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Presented  to  the 
LIBRARY  of  the 

UNIVERSITY  OF  TORONTO 

by 
William  L.  Shelden 


VI  CTRO  LA 

BOOK   OF 
THE  OPERA 


STORIES  OF  THE  OPERAS 

WITH  ILLUSTRATIONS  &  DESCRIPTIONS 

Of  VICTOR  OPERA  RECORDS 


SIXTH  EDITION 

Rewritten  and  Revised 

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

Copyright  1921  by 

VICTOR  TALKING  MACHINE  COMPANY 
Camden,  New  Jersey,  U.  S.  A. 

Prices  shown  herein  are  Victor  Company's 
current  list  prices 


INJ)EX 


Africaine,  Africana,  L' 1 

Aiida 5 

Alessandro  Stradella 374 

Amleto 150 

Andrea  Chenier 16 

Bajazzi 286 

Ballo  in  Maschera 245 

Barber  of  Seville,  The 17 

Barbiere  di  Siviglia,  II 17 

Bartered  Bride,  The 23 

Boheme 25 

Bohemian  Girl,  The 32 

Boris  Godounow 35 

Carmen 37 

Cavalleria  Rusticana 51 

Chimes  of  Normandy,  The.  ...  59 

Cid,  Le 60 

Cloak,  The 368 

Cleopatra,  Cleopatre .  62 

Cloches  de  Corneville,  Les 59 

Clowns 286 

Contes  d'Hoffman 375 

Coq  d'Or,  Le 64 

Damnation  of  Faust,  The 66 

Daughter  of  the  Regiment,  The  68 

Dinorah 70 

Don  Carlos 72 

Don  Giovanni,  Don  Juan 74 

Donne  Curiose,  Le 78 

Don  Pasquale 79 

Dusk  of  the  Gods,  The 141 

Elisire  d'Amore,  L" 82 

Elixir  of  Love,  The 82 

Erminie 85 

Ernani 87 

Eugen  Onegin 92 

Falstaff 94 

Faust 97 

Favorita,  La 114 

Favorite,  The 114 


Fidelio 118 

Figaro's  Hochzeit 233 

Figlio  del  Reggimento,  La  ....  68 

Fille  du  Regiment,  La 68 

Flauto  Magico,  II 215 

Fliegende  Hollander,  Der 120 

Flying  Dutchman,  The 120 

Force  of  Destiny,  The 124 

Forza  del  Destino,  La 124 

FraDiavolo 128 

Freeshooter,  The 129 

Freischiitz,  Der 129 

Germania 132 

Gianni  Schicchi 134 

Gioconda>  La. 135 

Giojelli  della   Madonna 171 

Golden  Cock,  Golden  Cockerel, 

The  64 

Gotterda'mmerung 141 

Goyescas 145 

Griselidis 147 

Guarany,  II 149 

Guglielmo  Tell 426 

Guillaume  Tell 426 

Hamlet 150 

Hansel  and  Gretel 154 

Herodiade,  Herodias 156 

Hochzeit  von  Figaro 233 

Huguenots,  Les 161 

Inquisitive  Women 78 

Iris 168 

Jewels  of  the  Madonna 171 

Jongleur  de  Notre  Dame 173 

Juggler  of  Notre  Dame 173 

King  of  Lahore 348 

King  of  Ys 349 

Konigin   von   Saba 327 

L'Africaine,  L'Africana 1 

Lakmc 175 

Lily  of  Killarney 180 


INDE 

X- 

(Continued} 

Linda  di  Chamounix  

181 

Queen  of  Sheba  (Goldmark)  . 

.  .  327 

Lohengrin  

183 

Queen  of  Sheba  '  (Gounod).  .. 

.  .  328 

Lombard!,  I  

191 

Queen  of  Spades  

.  .  314 

Louise  
Lucia  di  Lammermoor  
Lucrezia  Borgia  

193 
194 
201 

Regina  di   Saba  
Reine  de  Saba    
Rheingold,  Das  

327 
328 
.  .  331 

Macbeth  

203 

Rhinegold,  The  

.  .  331 

Madama  (Madame)  Butterfly.  . 

205 

Rigoletto  

.  .  335 

Madeleine  

213 

Rinaldo  

.  .  344 

Magic  Flute,  The  

215 

Robert  le  Diahle  

.  .  345 

Manon  (Massenet)  

221 

Robert  the  Devil  

.  .  345 

Manon  Lescaut  (Puccini)  

227 

Robin  Hood  

..  346 

Maritana  

231 

Roi  de  Lahore,  Le  

.  .  348 

Marriage  of  Figaro,  The  

233 

Roi  d'Ys,  Le  .  .  .  

..  349 

Martha,  Marta  

240 

Romeo  and  Juliet  

..  350 

Masked  Ball,  The..'  

245 

Romeo  e  Giulietta  

.  .  350 

Mastersingers,  The  

257 

Rustic   Chivalry  

.  .     51 

Mefistofele  (Mephistopheles)  .  . 
Meistersinger,  Die  
Mignon  

251 
257 
264 

Samson  and  Delilah  
Semiramide,  Semiramis  

355 
363 
365 

Mikado,  The  
Mireille,  Mirella  

268 
270 

Sister  Angelica  
Snegourotchka  

368 
..  369 

Natoma  

271 

Snow-Maiden,  The  

..  369 

Norma  

274 

Sonnambula,  La  

..  371 

Nozze  di  Figaro,  Le  

233 

Suor  Angelica  

..  368 

Oberon  

277 

Stradella  

374 

Orfeo  

279 

Tabarro,  11  •  

..  368 

Orpheus  and  Eurydice  

279 

Tales  of  Hoffman,  The  

..   375 

Othello,  Otello  

281 

Tannhauser  

..  380 

388 

Pagliacci  

286 

391 

Paillasse  
Parsifal  
Patience  
Pearl  Fishers,  The  

286 
296 
306 
307 

Traviata,  La  
Tristan  und  Isolde  
Trovatore,  11  

398 
403 
..  409 

Pearl  of  Brazil,  The  

311 

Ugonotti,    Gli  

.  .   161 

Pecheurs  de  Perles,  Les  

307 

Vaisseau    Fan  tome,  Le  

..   120 

Perle  du  Bresil,  Le  

311 

Valkyrie,  The  

.  .  417 

Pescatori  di  Perle  

307 

Vascello     Fantasma,  11  

..   120 

Pinafore  

312 

Verkaufte  Braut,  Die  

..     23 

Pique  Dame  
Pirates  of  Penzance  

314 

315 

Walkiire,  Die  

..  417 

Prince  Igor  
Prodana  Nevesta  

316 

23 

Werther  
William  Tell  

425 
..  426 

Profeta,  11,  Prophete,  Le  

319 

Zauberflote,  Die  

..  215 

Puritani,  I  

324 

Zaza  

432 

FAMOUS  AMERICAN  OPERA  HOUSES 


FAMOUS  OPERA  HOUSES  OF  EUROPE 


WHAT    IS   AN   OPERA? 


COMPARATIVELY  few  of  the 
hundred  and  ten  million  in- 
habitants of  these  United  States 
ever  have  seen  an  opera.  Most  of  the 
remainder  never  will  see  one.  A  con- 
siderable number  of  educated  people 
occasionally  go  to  the  opera,  and  have 
been  there  perhaps  a  half  dozen  times 
in  all.  And  a  still  smaller  proportion, 
probably  very  small,  may  be  classed 
as  "opera  fans,"  going  regularly  every 
season.  With  these  we  are  not  so 
deeply  concerned,  but  with  the  two 
former  classes  we  are,  and  especially 
with  those  who  go  once  in  a  while. 

Frequently  those  who  attend  theopera 
but  rarely,  come  away  disappointed, 
for  the  simple  reason  that  they  have 
gone  expecting  something  that  is  not 
there.  Consequently  they  have  failed 
to  get  the  full  value  of  what  is  there^— 
through  their  not  having  noticed  it. 
It  is  not  to  be  expected  that  one  can  at- 
tend this  exotic  form  of  entertainment 
and  at  once  comprehend  its  deepest 
subtleties.  We  may  very  well  ask 
ourselves,  therefore,  what  to  expect 
when  going  to  the  opera,  and  to  answer 
some  of  the  criticisms  of  the  opera 
which  sometimes  arise  through  lack  of 
understanding. 

Most  people,  if  asked  what  an  opera 
is,  would  answer  "A  play  set  to  music," 
but  this  is  only  true  in  the  most  general 
way.  An  opera  is  indeed  a  drama,  but 
it  consists  of  Action,  Speech,  Song  and 
Stage-setting.  Since  an  ordinary  spo- 
ken drama  provides  these  things  with- 
out the  music,  it  follows  that  the 
"song"  is  really  the  chief  thing  in  an 
opera,  and  the  one  thing  to  which  the 
other  factors  are  sacrificed  in  greater 
or  less  degree.  All  too  often,  Ameri- 
cans go  to  the  opera  expecting  plenty 
of  "action,"  and  are  correspondingly 
disappointed  when  they  find  that  there 
is  really  "very  little  doing."  A  mo- 
ment's thought  will  show  them  that  it 


is  impossible  for  a  human  being  to 
have  enough  breath  to  negotiate  a 
high  C  and  at  the  same  time  give  way 
to  violent  action  of  anv  kind.  If  there 
is  any  "violent  action  in  an  opera,  it 
usually  takes  place  "off-stage,"  or  is 
reduced  to  a  few  stereotyped  motions. 
In  a  "real"  play,  for  instance,  a  duel 
can  be  fought  out  with  great  verisimili- 
tude, as  it  usually  is  in  "Hamlet";  but 
in  an  opera  a  duel  is  generally  reduced 
to  a  few  sterotyped  motions  more  or 
less  in  time  to  the  music,  as  in  "  Faust." 
And  a  great  deal  of  the  time,  the  artists 
are  grouped  about  the  stage  in  pic- 
turesque attitudes  in  which  motion  is 
reduced  to  a  minimum  for  reasons 
easily  apparent;  those  actually  singing 
need  their  breath,  and  any  vigorous 
movement  apart  from  them  would  dis- 
tract the  attention  of  the  audience. 

As  a  matter  of  fact,  music  being  the 
language  of  the  emotions,  the  emotions 
in  an  opera  are  naturally  of  paramount 
importance.  We  are  supposed  to  be 
interested  not  so  much  in  what  our 
hero,  heroine  or  villain  may  do,  as  in 
how  he  feels  before  and  after  the  action 
is  performed.  Thus,  for  instance,  in 
"II  Trovatore,"  when  Manrico  learns 
that  Azucena,  whom  he  supposes  to  be 
his  mother,  has  been  captured,  his  im- 
mediate desire  is  to  rescue  her;  but 
instead  of  dashing  off  at  once  as  he 
might  dash  in  real  life,  he  steps  to  the 
front  of  the  stage  and  sings  a  song  ex- 
pressing his  mad  desire  for  vengeance. 
To  the  average  American,  unaccus- 
tomed to  -the  conventions  of  opera, 
there  is  in  this,  perhaps,  naturally 
something  very  strange;  but  the  humor 
strangely  lies  in  his  own  naive  confu- 
sion between  Life  itself  and  Art,  which 
mirrors  the  emotions  and  reactions  of 
life.  In  more  familiar  forms  of  art, 
even  dramatic  art,  he  is  ready  enough 
to  accept  the  conventions  without 
question.  If  the  same  scene  occurred 


VICTROLA     BOOK     OF     THE      OPERA 


in  a  photoplay,  for  instance,  we  should 
undoubtedly  have  a  "close-up"  in 
which  Manrico,  before  setting  off  to 
rescue  his  mother,  would  come  to  the 
front  of  the  screen  and  by  facial  ex- 
pression make  clear  his  emotions.  We 
are  so  used  to  this  that  we  accept  it 
without  question,  presumably  enter- 
tained in  watching  an  actor  "register" 
make-believe  horror,  hatred  and  ven- 
geance! In  the  photoplay,  however, 
action  is  the  chief  thing,  and  we  should 
have  to  see  him  attempt  the  rescue 
and  fail,  instead  of  going  right  on  to 
the  next  scene  where  we  find  Manrico 
in  a  dungeon  with  Azucena,  again 
melodiously  expressing  his  feelings. 
Unless  you  go  to  the  opera  prepared 
to  accept  its  conventions,  you  may  be 
disappointed. 

Another  thing  that  may  confront 
the  operatic  neophyte  is  the  compara- 
tive scantiness  of  the  kind  of  melody 
that  can  be  readily  whistled.  Here 
again,  he  forgets  that  in  true  opera, 
melody  is  a  lyrical  outburst  attainable 
only  in  moments  of  climax.  It  is  all 
very  well  for  Madame  Butterfly,  worked 
up  to  an  intense  pitch  of  belief  in 
Pinkerton 's  return,  to  sing  "Un  bel  di 
vedremo";  but  how  is  the  Pinkerton 
in  the  same  opera  to  invite  the  Ameri- 
can Consul  to  have  a  whiskey  and 
soda?  He  does  it  in  a  parlanfe,  a  sort 
of  recitative  in  which  the  voice  follows 
the  normal  inflections  of  spoken  voice, 
and  the  orchestra  plays  music  typify- 
ing his  particular  mood.  There  is  no 
room  for  melody,  no  reason  for  it.  The 
demand  for  melody  was  SQ  great  in 
days  gone  by,  when  opera-goers  went 
mainly  to  hear  this  or  that  great  artist, 
that  melody  was  often  employed  to  a 
degree  detrimental  to  the  development 
of  the  opera,  threatening  to  degenerate 
the  art  into  a  glorified  concert;  but 
such  reformers  as  Gluck,  Wagner  and 
the  later  Verdi  perceived  the  danger 
and  led  the  art  back  to  its  higher  levels. 


Those  who  go  to  a  modern  opera  ex- 
pecting a  "Celeste  Ai'da"  every  other 
minute,  are  doomed  to  disappointment. 
If  there  is  any  "melody"  at  all  (and 
ultra-modern  opera  composers  may 
seem  to  avoid  giving  us  any!)  it  is  re- 
served for  the  great  moments,  coming 
only  once  or  twice  in  an  evening.  In 
its  place,  however,  there  is  a  portrayal 
(and  it  can  be  a  wonderfully  subtle 
one!)  of  the  workings  of  the  human 
emotions,  the  cross-purposes,  the  com- 
binations and  permutations  of  feeling, 
suggested  by  the  interplay  of  strange 
harmonies,  fragmentary  melodies,  and 
the  voicing  of  strings,  woodwind  and 
brass. 

Another  question  that  sometimes 
arises  is:  "Why  don't  they  sing  in 
English?"  If  every  town  and  village 
in  America  had  an  opera-house  at- 
tended by  Americans  to  hear  American 
singers  sing  American  operas,  no  doubt 
they  would.  With  us,  however,  opera 
is  a  foreign  importation.  We  have 
very  little  opera,  but  what  there  is  is 
the  very  best  in  the  world.  We  hear 
French,  Italian,  German  opera  as  it  is 
to  be  heard  only  in  France,  Italy  and 
Germany,  usually  sung  by  the  pick  of 
the  artists  from  those  countries.  To 
force  these  artists  to  sing  in  a  hastily 
learned  English  would  be  as  unpleasant 
for  them  as  for  us.  Moreover,  the 
opera  with  us  is  a  luxury,  supported 
by  the  wealthier  class,  many*  of  whom 
keep  a  "working  acquaintance"  with 
one  or  more  European  languages.  They 
much  prefer  to  hear  operas  unmarred 
by  translation.  Only  those  who  have 
read  the  English  translations  of  foreign 
operas  know  how  terrible  these  trans- 
lations can  be.  The  plain  fact  is  that  an 
opera  loses  much  of  its  flavor  when 
translated  even  by  a  master  of  English 
when  that  master  is  compelled  to  con- 
form to  the  needs  of  the  music. 

It  is  sometimes  urged,  also,  that 
English  is  "unsingable"  owing  to  the 


VICTROLA     BOOK.     OF     THE      OPERA 


fact  that  most  English  words  end 
in  consonants.  If  these  consonants 
(many  of  which  are  sibilants)  are 
slurred  over,  the  words  are  unintelli- 
gible, yet  if  the  consonants  are  pro- 
nounced they  result  in  a  series  of  little 
explosions  not  satisfactory  to  the  ear. 
Even  German,  they  say,  is  better  be- 
cause so  many  words  end  in  vowel 
sounds.  We  believe,  however,  that  if 
Americans  really  desired  it,  a  way 
would  be  found  in  which  to  sing  the 
musical  language  of  Shakespeare  and 
Milton,  Byron,  Keats  and  Shelley. 
The  Victor  Company  has  met  the 
"English  problem,"  as  far  as  possible, 
by  having  records  sung  in  English  by 
acknowledged  masters  of  the  art,  as 
well  as  records  sung  by  foreign  artists 
in  their  own  tongue.  Generally  speak- 
ing, it  seems  as  though  most  Americans 
prefer  to  hear  the  best  artist  sing  the 


melodies  in  the  best  way,  regardless  of 
language,  for  the  great  demand  for 
operatic  records  sung  in  the  original 
seems  to  point  in  that  direction. 

In  this  newer  edition  of  the  "  Victrola 
Book  of  the  Opera, "  besides  retelling 
the  stories  of  the  opera,  we  have  in- 
cluded much  biographical,  historical 
and  critical  matter  relating  to  the  chief 
works,  believing  they  will  be  better 
appreciated  if  better  understood.  Only 
those  well  read  in  music  know  how 
much  confusion  exists  in  the  average 
mind  regarding  the  different  "schools" 
or  varieties  of  opera.  We  are  acutely 
aware  that  much  has  been  omitted,  but 
we  have  done  our  utmost  to  keep  free 
of  mistakes  of  any  kind,  and  to  main- 
tain the  broadest  and  most  inclusive 
critical  spirit  in  what  criticisms  may 
appear.  For  they  are  not  made  to  opin- 
ionize,  but  only  to  make  easier  the  way. 


HISTORY    OF   OPERA 


A   BRIEF  OUTLINE 


FORMS  of  dramatic  entertain- 
ment in  which  music  plays  a 
prominent  part,  have  been 
known  from  the  earliest  times.  But 
to  a  group  of  Florentine  nobles  and 
art-lovers,  Count  Bardi,  Peri,  Caccini 
and  others,  who  flourished  at  the  end 
of  the  sixteenth  century  and  the  be- 
ginning of  the  seventeenth,  belongs 
the  honor  of  having  founded  modern 
opera.  The  music  of  that  period  was 
chiefly  polyphonic,  that  is  to  say, 
based  upon  the  strict  laws  of  counter- 
point and  the  combination  of  melodies 
into  canons,  fugues,  and  the  like.  This 
was  admirable  for  ecclesiastical  uses, 
but  it  was  quite  unsuited  to  the 
drama;  so  these  Florentines,  turning, 
as  did  all  art-lovers  in  that  age  of 
the  Renaissance,  to  the  ancient  glories 
of  Greece  and  Rome,  strove  to  re- 
produce what  they  believed  to  be 
the  original  Greek  form  of  musical 
declamation.  Their  efforts  revealed  in 
such  works  as"  Euridice"  and"  Dafne," 
were  crude  enough,  yet  they  opened 
up  new  possibilities  in  composition,  of 
which  more  able  musicians,  such  as 
Carissini,  Monteverde,  and  especially 
Alessandro  Scarlatti,  soon  availed 
themselves.  Opera  quickly  passed 
from  the  narrow  circle  of  the  Floren- 
tine nobles,  and  achieved  a  new  func- 
tion when  it  was  used  to  glorify  the 
great  princes  of  the  Italian  cities. 
Scarlatti  took  it  a  step  further  by 
popularizing  it  with  the  masses;  so 
that  opera-houses  soon  appeared. 
These  were  definitely  devoted  to  the 
new  art,  the  first  of  its  kind  being 
the  Teatro  di  San  Cassiano,  in  Venice, 
1637. 

Opera  quickly  spread  to  other  coun- 
tries where  it  developed  for  the  most 
part  along  national  lines.  Space  does 
not  permit  an  elaborate  account  of  its 


development,  but  a  brief  summary  of 
the  part  each  country  played  in  the 
history  of  opera  may  be  attempted. 

ITALY 

Being  the  original  birthplace  of  the 
new  art,  Italy  naturally  dominated 
the  minds  of  opera  composers  for  many 
years.  And  when  other  countries 
established  and  maintained  it,  upon 
lines  peculiar  to  themselves,  Italy  still 
kept  its  musical  independence  of  style. 
The  Italian  opera  gradually  developed 
into  a  form  in  which  especial  attention 
was  paid  to  melody  and  to  vocal  dis- 
play, yielding,  at  its  height,  such 
works  as  the  masterpieces  of  Rossini, 
Bellini  and  Donizetti.  Despite  their 
beauties  and  those  of  less  significant 
works  the  domination  of  the  voice,  in 
these  led  to  a  certain  degeneracy  in 
style — a  true  lack  of  artistic  balance. 
Italian  opera  became  a  string  of  colora- 
tura arias  with  accompaniments  for 
the  orchestra  of  so  slight  a  kind  as  to 
be  trivial.  The  "plots"  also  were  of 
secondary  importance.  Dramatic  in- 
terest failed,  and  the  opera  might  just 
as  well  have  been  sung  off  stage. 
There  are  notable  exceptions  to  this,  as 
in  the  case  of  Rossini's  "  William  Tell," 
but  composers  in  other  countries  had 
shown  that  a  higher  standard  of  art 
was  possible.  The  first  to  realize  this 
was  Verdi,  whose  early  works  followed 
the  Rossini-Bellini  models.  He  was 
too  great  an  artist  to  remain  unaffected 
by  the  general  development  of  opera 
elsewhere,  and  soon  adopted  a  virile 
course  of  his  own  in  which,  while  re- 
maining true  to  Italian  ideals  of  plenti- 
ful melody,  he  gave  more  attention  to 
the  drama,  and  to  the  fuller  emotional 
expression  made  possible  by  modern 
harmonies  and  an  improved  orchestra. 
In  such  works  as  "Rigoletto,""Tra- 


VICTROLA     BOOK.     OF     THE      OPERA 


viata,"  "Aida,"  and  finally  in  "Otello" 
and  "Falstaff,"  he  brought  Italian 
opera  back  to  its  traditionally  high 
standards.  His  successors  such  as 
Giordani,  Ponchielli,  Puccini,  Mas- 
cagn  and  Leoncavallo,  have  main- 
tained his  achievements.  They  have 
held  to  Italian  ideals  as  to  melody,  but 
have  fully  availed  themselves  of  all 
modern  resources.  Their  plots  have 
tended  to  be  "  realistic,"  often  melo- 
dramatic, but  in  this  they  have  but 
followed  the  general  artistic  trend  of 
the  age. 

FRANCE 

Italian  opera  was  introduced  into 
France  by  Lulli,  about  fifty  years  after 
the  Bardi-Peri  experiments  in  Florence. 
Here  it  was  quickly  grafted  on  to  the 
older  French  art  of  the  Ballet,  and  it 
developed  along  lines  of  its  own. 
Lulli's  initial  efforts  were  succeeded  by 
those  of  Rameau,  a  Belgian  (1683- 
1764)  and  some  very  necessary  re- 
forms which  affected  opera  in  all  coun- 
tries were  brought  about  in  Paris  by 
Gluck  (1714-1787).  France  has  been 
peculiarly  indebted  to  foreigners  for 
the  development  of  her  opera,  but  has 
naturally  produced  many  opera-com- 
posers of  her  own.  The  French  gave 
special  attention  to  the  art  of  declama- 
tion and  they  have,  in  this  respect, 
steadily  maintained  their  prestige.  The 
opera-bouffe  is  a  form  of  opera  peculiar 
to  France,  for  which  the  world  remains 
in  her  debt.  French  ideals  were  main- 
tained by  such  composers  as  Halevy, 
Auber,  Thomas,  and  later,  Gounod 
and  Bizet  with  "Faust"  and  "Carmen" 
respectively.  Saint-Saens  and  Mas- 
senet did  much  to  develop  French  art 
in  the  latter  part  of  the  nineteenth 
and  beginning  of  the  twentieth  cen- 
turies, and  still  further  advances  have 
been  made  in  recent  years  by  Debussy 
and  others.  The  latter-day  French 
have  steadily  adhered  to  the  French 


ideal  of  faithful  declamation  rather 
than  melodic  inventions,  which  ac- 
counts for  the  fact  that  the  modern 
French  operas  yield  few  "tunes"  for 
the  multitude  to  whistle. 

GERMANY 

The  first  distinctively  German  operas 
were  given  us  by  Reinhard  Keiser,  who 
flourished  in  Hamburg,  where  Handel 
also  made  his  first  operatic  ventures. 
The  first  genuine  "Singspiel"  publicly 
performed  wasjohann  Theile's  "Adam 
and  Eve,"  produced  in  Hamburg,  1678. 
This  form  is  somewhat  akin  to  the 
English  "ballad-opera,"  consisting 
chiefly  of  a  dramatic  story  interpolated 
with  songs  and  ballads.  Even  Mozart, 
who  generally  followed  Italian  models, 
was  attracted  by  this  novel  form.  A 
notable  advance  in  German  opera  was 
Beethoven's  "Leonore,"  in  which  the 
great  master  followed  lines  of  his  own, 
somewhat  resembling  those  of  Gluck. 
The  modern  German  romantic  opera 
is  generally  said  to  have  been  founded 
by  Weber  with  "  Der  Freischiitz,"  in 
which  he  falls  back  for  his  subject  upon 
German  legend.  Spohr  and  Marschner 
also  contributed  to  this  movement, 
which  certainly  paved  the  way  for 
Richard  Wagner,  without  doubt  the 
greatest  dramatic  composer  the  world 
has  yet  known.  Not  only  did  Wagner 
exert  a  profound  influence  upon  Ger- 
man art,  but  he  affected  the  composers 
of  all  nations,  in  instrumental  as  well 
as  in  dramatic  music.  Since  Wagner's 
epoch  the  greatest  of  the  German  opera 
composers  has  been  Richard  Strauss, 
with  "Salome,"  "Elektra"  and  kin- 
dred works.  Other  notable  followers 
of  the  Wagnerian  model,  whose  works 
are  known  in  this  country,  have  been 
Humperdinck,  Goldmark  and  Smetana 
(whose"Bartered  Bride"is  a  Bo- 
hemian work  specially  characteristic 
of  latter-day  nationalistic  efforts).  A 
notable  contemporary  of  Wagner  was 


VICTROLA     BOOK     OF     THE      OPERA 


Meyerbeer,  who  for  awhile  dominated 
the  French  stage.  Meyerbeer  was  a 
law  unto  himself,  however,  producing 
works  along  German,  French  or  Italian 
lines  with  equal  facility,  contributing 
here  and  there  to  the  general  develop- 
ment of  opera  yet  founding  no  school, 
and  having  no  disciples.  The  Germans 
have  excelled  both  in  declamation  and 
in  melody,  and  have  greatly  enriched 
and  dignified  the  resources  of  opera 
with  their  great  learning  in  the  arts  of 
harmony,  counterpoint,  instrumenta- 
tion, stage-setting,  as  well  as  by  their 
highly  idealistic  standards  of  beauty. 
In  recent  times  these  qualities  ran  to 
seed  somewhat,  and  much  that  was 
beautiful  gave  way  to  that  which  was 
merely  "kolossal";  but  Germany  today 
is,  if  anything,  as  deeply  affected  as 
ever  by  the  splendid  traditions  of 
Beethoven  and  Wagner. 

ENGLAND 

In  England  the  operatic  ideas  of  the 
Italians  were  grafted  onto  the  Masque 
as  in  France  they  had  been  grafted 
onto  the  Ballet.  Purcell,  Thomas 
Arne  and  others  made  a  splendid  be- 
ginning. Handel  contributed  some- 
thing before  turning  his  attention  to 
oratorio;  but  on  the  whole  England 
has  not  added  anything  to  opera 
worthy  to  rank  with  her  splendid  con- 
tributions to  literature  and  the  stage. 
The  most  distinctive  type  of  opera 
England  has  given  the  world  has  been 
the  ballad-opera — such  as  "The  Bo- 
hemian Girl"  and"Maritana"  (both 
by  Irish  composers!). .,  The  lighter 
forms  of  opera  have  been  developed 
in  this  country  with  some  success. 
"The  Beggars'  Opera"  was  an  early 
effort  in  this  direction.  In  more  recent 
times,  a  more  distinctive  type  of  satir- 


ical comedy-opera  had  a  promising  be- 
ginning with  Gilbert  and  Sullivan,  but 
so  far  there  has  been  no  successor  to 
"H.  M.  S.  Pinafore,"  "The  Mikado" 
or  "  Patience,"  in  which  the  movements 
and  personalities  of  the  day  were  held 
up  to  salutary  ridicule. 

RUSSIA 

At  first  Russia  followed  strictly 
Italian  models,  but  in  "A  Life  for  the 
Czar"  (1836),  Glinka  showed  what 
might  be  drawn  from  Russia's  own 
immense  resources  in  national  folk- 
music,  and  since  his  day  such  com- 
posers as  Moussorgski,  Balakireff, 
Tschaikowsky,  Rimsky-Korsakoff, 
Borodin  and  others  have  produced 
some  highly  original  works.  These 
are  steadily  growing  in  favor. 

AMERICA 

Receptive  to  all  schools  of  opera,  the 
United  States  has  as  yet  produced  no 
distinctive  type,  the  works  of  Victor 
Herbert,  Cadman,  Horatio  Parker  and 
others  being  apparently  founded  more 
or  less  on  German  or  French  models. 
The  Metropolitan  Opera  House  in 
New  York  (if  we  except  the  opera  in 
New  Orleans)  so  far  is  almost  the  only 
organization  that  has  persisted  over  a 
number  of  years  in  producing  the  great- 
est works  in  the  best  style.  It  seems 
probable  that  Chicago  may  succeed 
in  maintaining  a  permanent  organi- 
zation of  its  own,  but  efforts  to  estab- 
lish permanent  independent  opera  in 
such  cities  as  Philadelphia  and  Boston 
have  so  far  proved  abortive.  Our 
other  cities  are  dependent  solely  upon 
local  amateur  efforts,  upon  visits  of 
the  Metropolitan  or  Chicago  Com- 
panies, or  the  more  or  less  successful 
itinerant  companies  which  struggle  for 
existence. 


NOTE  ON  PRONUNCIATION 


E\K  all  systems  of  pronunciation 
involving  foreign  languages,  the 
system  of  pronunciation  fol- 
lowed in  the  "Victrola  Book  of  the 
Opera,"  cannot  hope  to  reproduce 
every  sound  exactly. 

Many  European  languages  contain 
sounds,  especially  vowels,  which  have 
no  exact  equivalents  in  English.  Cer- 
tain French  sounds  are  exceedingly 
difficult  for  many  English-speaking 
persons  to  learn — the  vowel  sounds  of 
u  and  eu,  for  instance,  and  certain 
terminal  consonants,  such  as  the  n  in 
words  like  charmant.  The  German  ch, 
to  many,  also  is  difficult,  and  the 
vowels,  a  6  and  ii.  The  best  practice 
is  to  Anglicize  these  frankly,  where  the 
exact  pronunciation  cannot  be  learned 
by  word  of  mouth.  There  is  no  harm 
in  referring  to  "L'Africaine,"  for  in- 
stance, as  "Lafricayn";  anybody  who 
knows  the  French  name  of  this  opera 
will  understand  you,  will  accept  your 
pronunciation,  and  you  need  be  in  no 
fear  of  ridicule.  If  you  cannot  say 
Alberich,  call  this  character  Alberick. 
It  is  best,  of  course,  to  learn  each  pro- 
nunciation, but  where  this  is  not  pos- 
sible, the  best  thing  is  to  pronounce 
the  name  as  it  is  given  in  the  "Book  of 
the  Opera".  Imperfect  knowledge  is  a 
thousand  times  better,  in  such  matters, 
than  blank  ignorance. 

If  Italian  pronunciations  seem  con- 
fusing, it  is  well  to  remember  that  c, 
before  e  and  i,  is  pronounced  like  ch 
in  cheese;  before  other  vowels,  like  k. 
The  Italian  ch  is  "hard,"  like  our  own 
k.  G,  before  e  and  i,  is  soft,  as  in  gem 
and  gin;  before  other  consonants  hard 
as  in  gate,  go.  In  French  there  is  no 
syllabic  accent,  or  stress,  all  syllables 
being  sounded  equally.  But  here  and 
there,  in  French  names,  we  have  placed 


an  accent  mark  over  a  syllable,  to  indi- 
cate that  it  must  be  pronounced  as 
clearly  as  the  others,  and  not  slurred 
over. 

Many  of  the  standard  operas  have 
several  names,  according  to  the  lan- 
guage into  which  they  may  be  trans- 
lated. Wagner's  Fliegende  Hollander, 
for  example,  in  French  first  became 
Le  Vaisseau  Fantome,  which  is  not  a 
translation  at  all,  and  in  English  it  is 
The  Flying  Dutchman.  Pagliacci, 
in  French,  becomes  Paillasse;  the  first 
English  translator  rendered  it  simply 
Clowns.  Romeo  and  Juliet  in  Italian 
is  Romeo  e  Giulietta,  and  in  French 
Romeo  et  Juliette.  Here  and  "  there 
throughout  the  volume,  for  greater 
intimacy  with  English-speaking  audi- 
ences, a  character  originally  English  in 
origin  (as  Othello),  is  not  translated 
into  Italian  excepit  in  the  title  to  the 
opera.  Happily  most  operas  bear 
titles  (like  Ai'da),  for  example,  which 
are  the  same  in  all  languages. 

The  nomenclature  of  the  operas  is 
that  by  which  they  are  most  familiarly 
known  in  America.  The  titles  in  the 
index  include  all  the  variants,  in  differ- 
ent languages,  likely  to  be  called  for 
by  an  English-speaking  public.  Where 
a  name  is  similar  in  several  languages, 
the  original  article  is  not  changed. 

It  is  believed  this  procedure,  while 
affording  liberal  cross-references,  will 
save  a  good  deal  of  vexation.  Nothing 
is  more  exasperating,  to  the  music-lover 
unschooled  in  operatic  history,  than  to 
hear,  or  to  come  across,  references  to 
some  strange  work  which  proves  to  be 
only  a  familiar  one  under  an  unfamil- 
iar name.  European  countries,  despite 
their  knowledge  of  one  another's  speech, 
cling  pertinaciously  to  their  own  titles 
for  operatic  works. 


CARUSO 

AS  VASCO  DI  CAMA 


L'AFRICAINE 


CTHE   AFRICAN) 


MEYERBEER  might  be  called 
the  Chameleon  of  Music.  In 
the  arts,  he  was  all  things  to 
all  persons,  writing  for  public  demand. 
He  was  born  in  1791,  in  Berlin,  of 
Jewish  parentage.  His  father  was  a 
rich  banker  named  Beer,  and  the  com- 
poser added  the  "Meyer"  in  compli- 
ment to  an  uncle  bearing  that  name. 
He  early  exhibited  musical  powers, 
and  wrote  much  music,  in  a  stiff  and 
formal  style.  He  adapted  this  first, 
however,  to  the  needs  of  Vienna,  then 
to  the  needs  of  Italy,  where  he  was 
hailed  as  a  sort  of  new  Rossini.  In 
France  he  grew  more  Gallic,  it  would 
seem,  than  the  French. 

Meyerbeer  was  a  slow  and  uncertain 
workman.  He  wrote  and  erased  and 
re-wrote  interminably.  He  received  the 
libretto  of  "L'Africaine"  in  1838,  and 
it  occupied  him  for  years,  not  being 
actually  produced  until  after  his  death. 
The  plot  was  tinkered  with  and  modi- 
fied times  out  of  number — so  much  so, 
that  the  present  hero,  fiasco  di  Gawa, 
was  added  to  the  characters  as  an 
afterthought! 

"L'Africaine,"  says  Grove,  "is  the 
most  purely  lyrical  of  Meyerbeer's 
operas.  None  is  so  melodious  or  so 
pathetic,  or  so  free  from  blemishes  of 
conventionality.  .  .  It  approaches  the 
domain  of  poetry  more  nearly  than  any 
of  his  other  operas."  It  was  one  of  the 
longest,  requiring  six  hours  to  produce, 
so  that  it  had  to  be  cut  down  radi- 
cally. It  is  one  of  the  best,  however, 
of  Meyerbeer's  wortcs;  it  is  rich  in 
melody  and  contains  many  famous 
numbers,  some  of  them  recorded. 

THE  OPERA 

OPERA  in   five  acts.    Text   by 
Scribe;  music  by  Meyerbeer. 
First  produced  at  the  Opera,  Paris, 


April  28,  1865,  with  a  cast  including 
Sasse,  Batteo,Naudin  and  Faure. 
First  London  performance  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  American  production  December 
1,  1865.  Mmes.  Hauk,  Moran-Olden, 
Bettaque,Breval,Nordica  and  Litvinne 
are  some  of  the  famous  prime  donne 
who  have  appeared  as  Selika  in 
America.  Vasco  di  Gama  has  been 
sung  by  Campanini,  Giannini,  Perotti, 
Grienauer,  Dippel,  de  Reszke  and 
Tamagno;  and  Nelusko  by  Faure, 
Scotti,  Stracciari  and  Campanari.  Pro- 
duced at  the  New  Orleans  Opera 
December  18,  1869.  Important  New 
York  revivals  occured  in  1901  with 
Breval,  de  Reszke,  Adams,  Plangon 
and  Journet;  and  in  1906  with  Caruso 
(his  first  appearance  in  the  role), 
Fremstad,  Plane/on  and  Journet. 

CHARACTERS 

SELIK.A,  (S  ay-lee' -kah}  a  slave, 
formerly  an  African  prin- 
cess   Soprano 

INEZ,    (Ee'-nez)  daughter  of 

Don  Diego Soprano 

NELUSKO,  (Nay-loos' -koh)  a 
slave,  formerly  an  African 
chief Basso 

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

GRANDE  INQUISITORE Basso 

DON  DIEGO,  (Don  Dee-ay'-goh) 

Member  of  the  Council .  .  .  Basso 

HIGH  PRIEST  OF  BRAHMA 

(Brah'-mah) Basso 

VASCO  DI  GkM\,(Vahs'-koh  dee 
Gah'-mah)  an  officer  in  the 
Portuguese  Navy Tenor 


VICTROLA     BOOK     OF     THE      OPERA 


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

7  he  Action  occurs  in  Portugal,  on  Don 
Pedro's  Ship  at  Sea,  and  in  India 

(The  Italian  name  of  the  opera  is 
"L'Africana,"  Laf-ree-kah' -nah\  the 
French  is  "L'Africaine",  Laf-ree-kahn) . 

ACT  I 

SCENE — Council  Chamber  of  the 
King  of  Portugal 

VASCO  DI  GAM  A  has  returned 
after  an  expedition  with  news  of  a 
new  and  strange  land;  he  has  brought 
papers,  charts,  and  two  slaves,  Se/ika, 
formerly  an  African  princess,  and 
Nelusko,  a  former  chieftain  of  hers. 
Vasco  is  a  blend  of  quixotism  and 
practical  ability,  uniting  the  sailor's 
bluffness  with  the  poet's  idealism.  He 
is  eager  to  do  in  the  East  what  Colum- 
bus did  in  the  West,  and  to  add  a  new 
El  Dorado  to  the  Portuguese  realms. 
We  find  him  in  Council,  and  we  hear 
a  dignified  opening  chorus,  "Dio  che 
la  terra  venere"  (Thou  Whom  the 
Earth  Adores).  The  slaves  are  pre- 
sented— Indian  in  feature  though  he 
bought  them  in  Africa.  Vasco,  un- 
knowingly enough,  through  his  love 
for  Inez,  daughter  of  Don  Diego,  has 
awakened  the  enmity  of  Don  Pedro, 
President  of  the  Council,  and  when  he 
asks  for  funds  for  a  new  vessel  to  ex- 
plore the  new  territory,  his  request,  to 
his  amazement,  is  followed  by  his 
arrest,  and  he  is  led  off  between  guards. 

ACT  II 

SCENE — Prison  of  the  Inquisition 

VASCO  sleeps  fitfully,  Se/ika  watch- 
ing. As  she  sings  a  lullaby  of  her 
own  land,  Nelusko  enters  with  a  knife 
to  slay  him.  She  reminds  Nelusko  of 
his  debt  to  Vasco,  who  saved  his  life, 
and,  awakening  the  sleeper,  saves 
Vasco 's  in  turn.  Se/ika  tells  Vasco 
the  route  to  the  land  of  his  heart's 


desire.  He  embraces  her,  and  she  be- 
lieves she  has  won  him.  Inez  and  Don 
Pedro  enter.  The  girl's  father  and  the 
courtier  have  told  her  that  Vasco  loves 
Se/ika;  it  seems  true,  and  Inez  re- 
nounces him,  declaring  she  is  now  the 
affianced  of  Don  Pedro.  Vasco  is  set 
free,  and  he  removes  her  jealousy  by 
giving  her  the  two  slaves. 

Vasco  learns  that  the  King  has  given 
Don  Pedro  the  expedition  and  the 
governorship  of  the  new  country.  Don 
Pedro  offers  to  buy  the  slaves — to  learn 
the  route.  Nelusko  is  overjoyed,  for 
this  will  separate  Vasco  and  Se/ika. 
As  Vasco  leaves  the  prison,  he  learns 
that  Inez  has  wedded  his  arch-enemy. 

ACT  III 

SCENE — Deck  of  Don  Pedro's  Ship 

THERE  is  an  orchestral  prelude, 
in  placid  vein,  typifying  the  lapse 
of  time;  a  plaintive  melody  for  the 
cor  anglais  is  prominent.  The  rising 
curtain  discloses  the  ship's  deck,  where 
Nelusko,  who  has  misguided  her  course, 
planning  escape,  sings  the  weird  "AH' 
erta,  Mariner!"  (What  Ho,  Mariners!) 
followed  by  the  weirder  ballad  of 
"Adamastor,  Re  dell'onde  profonde" 
(Adamastor,  King  of  the  Seas).  This 
rolling  stave,  mocked  with  a  trombone, 
affects  all  with  superstitious  fear.  A 
storm  arises,  a  ship  is  seen  in  the  offing, 
and  Don  Pedro's  ship  heaves  to.  Vasco, 
with  true  chivalry,  comes  aboard.  He 
has  come  off  on  his  own  account,  and 
he  comes  to  warn  Don  Pedro  of  danger. 
Don  Pedro  orders  him  slain,  when 
Se/ika  rushes  at  Inez  with  a  poised 
knife,  threatening  to  kill  her  unless 
Vasco  is  released.  Don  Pedro  com- 
plies; but  Vasco  is  imprisoned  in  the 
hold.  Se/ika  is  led  to  be  flogged,  when 
the  storm  breaks  and  all  find  occupa- 
tion. Suddenly  the  ship  is  boarded  by 
Indians.  Don  Pedro  and  his  host  are 
slain.  Nelusko  is  acclaimed  leader, 
and  Se/ika  queen. 


VICTROLA      BOOK     OF     THE      OPERA 


THE    BALLAD    OF    ADAMASTOR 


ACT  IV 

SCENE — A  Temple  of  Brahma 

TO  the  semi-barbaric  strains  of  the 
"Marcia  Indiana,"  or  "Indian 
March",  Selika  is  placed  upon  her 
throne.  The  women  survivors  of  the 
ship  are  being  marched  to  the  deadly 
grove  of  mancinilla  trees,  whose  in- 
fluence is  poison.  Concealed  in  the 
ship's  hold,  fiasco  is  discovered  later, 
and  he  is  brought  before  Selika,  al- 
ready sentenced  to  death.  Left  alone 
with  his  guard,  he  sings  the  lovely 
"O  Paradiso"  (Oh  Paradise),  a  smooth 
lovely  cantilena  with  an  eloquent  cli- 
max. Then  the  crowds  return,  de- 
manding his  death.  Selika  is  with 
them;  she  can  only  save  his  life  by 
claiming  him  as  her  husband.  She 


compels  Neluskd's  consent  by  threaten- 
ing suicide.  The  priests  consent,  bur 
demand  a  ritual  marriage  in  native 
style.  Thinking  Inez  dead,  fasco  con- 
sents. Alone  with  his  bride,  he  hears 
the  voice  of  Inez — who  has  escaped. 

ACT  V 

SCENE  I — The  Queen's  Garden 

INEZ  is  recaptured.  Selika,  with 
swift  insight,  learns  her  love  is 
true,  pure  and  worthy  of  her  own  sac- 
rifice. She  gives  Nelusko  some  tablets 
declared  poisonous,  and  tells  him  to 
place  Inez  and  fiasco  on  a  homeward- 
bound  ship;  the  tablets,  to  he  ad- 
ministered on  the  way  home,  of  course 
are  harmless.  Then  Inez  prepares  for 
death. 


VICTROLA     BOOK     OF     THE      OPERA 


SCENE  II — A  Promontory  by  the  Sea 

AMANCINILLA  tree  overlooks 
the  broad  ocean.  Selika,  stand- 
ing beneath  it,  gazes  at  a  distant  sail. 
She  sings  a  long  and  sorrowful  fare- 
well, "Gia  1'odio  m'abbandona"  (All 
Thoughts  of  Hate).  She  seizes  some 
of  the  deadly  flowers,  and  inhales  the 
perfume.  Nelusko,  seeking  her,  finds 
her  swooning.  He,  too,  drinks  of  the 
poisoned  air  of  the  flowers,  and  sinks 
beside  her. 

THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  otherwise  noted) 

ACT  III 
ALL'  ERTA  MARINER! 

(What  Ho!   Mariners!)   TITTA   RUFFO, 
Baritone  87223     10-in.,  31.25 

ADAMASTOR,    RE  DELL'    ONDE    PRO- 
FONDE 

(Adamastor,    Ruler  of  Ocean)    TITTA 
RUFFO,  Baritone  88622     12-in.,     1.75 

NELUSKO: 

Adamastor,  monarch  of  the  pathless  deep, 
Swift  o'er  foaming  waves 


To  sound  of  fierce  winds  tramping; 

When  his  dark  steeds  vex  the  misty  sea, 

Beware,  mariner!    Beware,  mariner! 

When  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! 

ACT  IV 
O  PARADISO! 

(Oh  Paradise!1*  ENRICO  CARUSO,  Tenor 

88054     12-in.,  31.75 

GIOVANNI  MARTINELLI,  Tenor 

74440     12-in.,     1.75 


HIPPOLITO  LAZARO,  Tenor 

74495 


12-in.,     1.75 


EVAN  WILLIAMS,  Tenor    In  English 

74148     12-in.,     1.75 
VASCO: 

Hail!  fruitful  land  o£ plenty, 

An  earthly  Paradise  art  thou! 

Oh  Paradise  on  earth! 

Oh  azure  sky,  oh  fragrant  air 

All  enchant  my  heart; 

Thou  fair  new  world  art  mine! 

Thee,  a  radiant  gift, 

On  my  native  land  I'll  bestow! 

O  beauteous  country — mine  thou  art  at  last! 


DOUBLE-FACED  RECORDS 

|Scena  di  Selika,  Part  I  —  "Gia  1'odio  m'abbandona"  (All  Thought  of  Hate)] 

Maria  Ba/dini,  Sopranol 

Scena  di  Selika,  Part  II—  "Su  bianca  nuvoletta"  (On  Yon  White  Cloud)   | 
I  Maria  Baldini,  Soprano) 


1A  • 
L)'m'' 


ES  THE  JEALOUSY  OF  INEZ 


THE    RETURN'    OF    RHADAMES ACT   II 


AIDA 


GIUSEPPE  VERDI  was  almost 
sixty.  He  had  worked  long, 
hard  and  successfully,  and  he 
felt  he  had  earned  the  right  to  retire. 
But  the  Viceroy  of  Egypt  was  to  open 
the  new  Grand  Opera  House  in  Cairo, 
he  wanted  a  new  opera  for  the  dedica- 
tion, and  Verdi  seemed  the  logical  com- 
poser to  write  it.  A  work  dealing  with 
the  past  grandeurs  of  Egypt  was  to 
be  the  subject — to  which  Verdi's  genius 
for  the  grandiose  seemed  especially 
fitted.  When  approached,  however, 
he  sought  to  evade  the  commission  by 
naming  an  exorbitant  fee — a  method 
by  which  Grieg,  in  later  years,  sought 
to  avoid  the  rigors  of  a  sea  voyage 
and  an  American  concert  tour.  Verdi, 
like  Grieg,  was  embarrassed  when  his 
offer  was  accepted.  Unlike  Grieg,  he 
could  not  plead  ill  health,  and  he  set 
to  work.  He  soon  became  interested, 
as  he  felt  the  opera  growing  beneath 


his  hand.  When  completed,  it  was 
realized  to  be  the  greatest  work  of 
his  career.  He  little  dreamed  that 
sixteen  years  later  he  was  to  bring  forth 
an  even  greater  one! 

"Aida"  was  successful  from  the  first. 
It  lacked  none  of  the  composer's  earlier 
fire,  but  it  was  more  mature  in  style  and 
more  convincing  in  dramatic  power. 
Its  vivid  plot,  its  golden  pageantry, 
its  richness  of  melody,  of  harmony, 
and  of  orchestral  scoring,  marked  it 
not  simply  as  one  of  the  best  of  Verdi's 
works,  but  as  one  of  the  greatest  of  all 
time.  And  years  have  rather  increased 
than  diminished  its  reputation. 

In  "  Aida,' '  Verdi  realized  he  was  pre- 
paring a  pageant — an  opera  in  mag- 
nificent setting,  with  plenty  of  room  for 
display.  He  was  composing  for  large 
masses  of  people,  and  he  did  not  fail  to 
provide  melody  in  its  simplest  and 
most  impressive  form,  in  a  setting  of 


HOMER 

AS  AMNEKIS 


VICTROLA     BOOK     OF     THE     OPERA 


harmony  and  orchestration  all  might 
appreciate.  Yet  there  is  careful  char- 
acterization throughout.  The  music 
of  Rhadames  is  bold  and  romantic;  the 
vanity,  pride,  anger,  jealousy,  terror  of 
Amneris  find  ample  expression.  The 
simple,  loving  Aida  is  no  less  carefully 
drawn;  so  it  is  with  minor  characters, — 
Amonasro,  Ramfis,  The  King.  Nor  is 
the  proper  background  wanting — the 
blazing  pageantry  of  Rhadames'  re- 
turn; the  soft  beauty  and  mystery  of 
Egyptian  night;  the  awe-inspiring  rit- 
ual of  the  priests  of  Isis,  Osiris  and 
Ptah.  The  more  one  studies  "Aida" 
the  more  one  is  amazed  at  the  lavish 
genius  of  the  composer.  It  is  a  land- 
mark, not  only  in  his  own  develop- 
ment, but  in  that  of  opera  itself. 

THE  OPERA 

OPERA  in  four  acts.  Text  trans- 
lated from  the  French  of  Locle  by 
Antonio  Ghislanzoni.  Music  by  Giu- 
seppe Verdi.  First  produced  in  Cairo, 
December  24, 1871;  at  La  Scala,  Milan, 
under  the  direction  of  the  composer 
himself,  February  8, 1872;  at  Naples  in 
March,  1872;  at  Parma,  April,  1872; 
Berlin,  1874;  in  Paris,  at  the  Theatre 
Italien,  April  22,  1876;  revived  at  the 
same  theatre  in  1878;  and  given  at  the 
Opera,  March  22,  1880,  where  it  has 
since  been  one  of  the  most  popular  of 
all  works.  First  London  production  at  . 
Covent  Garden,  June  22,  1876;  pro- 
duced at  St.  Petersburg,  in  Russian, 
1879.  First  performance  in  America 
at  the  Academy  of  Music,  New  York, 
November  26,  1873,  the  cast  includ- 
ing Torriani,  Gary,  Campanini  and 
Maurel.  Produced  in  Philadelphia, 
December  12,  1873;  and  at  the  New 
Orleans  Opera  December  6,  1878.  The 
opera  has  always  been  a  favorite  one 
in  America,  and  holds  the  Metropoli- 
tan Opera  record  for  the  largest  num- 
ber of  performances.  In  1904  Caruso 
made  his  first  appearance  at  the  Metro- 


politan as  Rhadames.  A  highly  impres- 
sive open  air  production  was  given  in 
1912  at  the  foot  of  the  pyramids  of 
Egypt. 

CHARACTERS 

AIDA,   an    Ethiopian    slave 

(Ah-ee'-dah) Soprano 

THE  KING  OF  EGYPT Bass 

AMNERIS,  (Am-nay'-riss]    his 

daughter Mezzo-Soprano 

RHADAMES,  (Rahd'-ah  -maze} 

Captain  of  the  Guard Tenor 

AMONASRO,  (Am-oh-nahz'- 

roK)  King  of  Ethiopia. .  .  .Baritone 

RAMFIS,  (Rahm'-fiss]  High 

Priest Bass 

A  MESSENGER Tenor 

Priests,    Priestesses,    Ministers,    Cap- 
tains, Soldiers,  Officials,  Ethiop- 
ian Slaves  and  Prisoners, 
Egyptians,  etc. 

The  Scene  is  laid  in  Memphis  and 
Thebes,  in  Pharaoh 's  time. 

ACT  I 

SCENE  I — A  Hall  in  the  Palace.  Through 
the  Great  Gate  at  the  rear  may  be 
seen  the  Pyramids  and  the  Tem- 
ples  of  Memphis 

TO  a  soldier,  the  knowledge  of  his 
country's  danger  must  act  as  a 
trumpet-call;  to  Rhadames  it  implies 
even  more.  Ramfis,  the  high  priest, 
the  power  behind  the  throne,  has  told 
him  the  Ethiopians  are  about  to  rise 
against  Egypt,  and  that  an  expedi- 
tion is  to  go  forth  to  prevent  them. 
He  intimates  that  the  sacred  Isis, 
the  omnipotent  goddess  of  his  peo- 
ple, has  chosen  a  certain  brave  and 
young  warrior  to  command.  He  de- 
parts, leaving  Rhadames  to  ponder  his 
words. 

But  the  young  warrior  is  not  dream- 


VICTROLA     BOOK     OF     THE     OPERA 


AIDA    SUNG   AT   THE    FOOT   OF   THE    PYRAMIDS    IN    1<)12 


ing  simply  of  war.  Rethinks  also  of  his 
victorious  return  to  his  beloved  A'ida 
— the  slave,  captured  from  the  very 
people  he  proposes  to  attack.  In  his 
triumphs  he  will  have  full  power  to 
atone  for  her  present  misfortunes.  In 
the  visions  of  his  new  power  and  the 
intoxication  of  his  love,  he  sings  the 
beautiful  "Celeste  A'ida:" 


This  melody,  sung  against  a  shim- 
mering background  of  string-tone,  ex- 
presses to  the  full  the  devotion  oiRhad- 
ames.  Its  beauty  has  made  it  the 
most  popular  number  in  the  opera,  and 
the  number  most  frequently  played  by 
itself.  Yet  as  a  part  of  the  opera  it  is 
even  finer — establishing,  by  sheer  mus- 
ical beauty,  the  intensity  of  Rhadames' 
love  in  such  a  way  as  to  make  his  sub- 
sequent sacrifice  on  A'ida 's  behalf  both 
logical  and  inevitable. 

His  musings  are  broken  by  Amneris^ 


the  king's  daughter,  a  woman  whose 
demure  aspect  conceals  a  passionate 
and  highly  charged  nature.  She  ral- 
lies the  hero  upon  the  unwonted  fire  of 
his  glance,  declaring  the  woman  who 
may  inspire  it  is  to  be  envied.  A 
strange  and  ardent  light  indeed  gleams 
there,  but  it  gleams,  not  for  Amneris 
but  A'ida.)  who  is  seen  approaching. 
Her  woman's  wit  quickened  by  jeal- 
ousy, Amneris  comprehends.  She,  a 
royal  princess  of  Egypt,  ignored  for  a 
foreign-born  slave! 

Her  anger  is  delayed  by  the  entrance 
of  the  King,  with  his  guards.  A  mes- 
senger brings  the  news  that  the  Ethi- 
opian invasion  is  an  accomplished 
fact— that  the  enemy  approaches  under 
Amonasro,  ("My  father!"  exclaims 
Aida,  aside.)  Amid  excitement,  Rhad- 
ames  is  appointed  leader,  and  Amneris 
enjoys  a  proud  moment  as  she  pre- 
sents him  with  the  banner  beneath 
which  he  is  to  go  forth. 

The  King  enjoins  the  Egyptians  to 
guard  with  their  lives  the  sacred  Nile, 
and  they  depart  to  make  ready  for  war. 


VICTROLA     BOOK     OF     THE      OPERA 


THE    GREAT    CONSECRATION    SCENE 


Aida,  with  conflicting  feelings,  is  left 
alone  on  the  stage.  There  she  sings  the 
remarkable  aria,  "Ritorna  Vincitor," 
blaming  herself  for  the  words  of  en- 
couragement she  had  given  the  hero 
when  about  to  set  forth  against  her 
own  father,  yet  confessing  to  herself 
again  the  racking  power  of  her  love  for 
Rhadames. 

The  girl  is  horrified,  as  much  at  her- 
sjslf  as  at  the  workings  of  circumstance; 
but  she  sincerely  loves  Rhadames  and\ 
wishes  for  him  to  return  in  glory.  The 
varied  melody,  the  shifting  harmonies 
of  the  music  here,  supported  by  ever- 
varying  orchestral  touches  as  con- 
flicting ideas  seize  her,  make  this  a 
memorable  instance  of  Verdi's  mature 
genius.  A'ida  seems  ready  to  collapse. 
But  she  recovers,  calls  wildly  upon  the 
gods  for  aid,  and  goes  out  slowly  as  the 
curtain  falls. 

SCENE  II  —  The  Temple  of  Vulcan.  In 

the  center  is  an  Altar  illumined 

by  a  mysterious  Light 

from  above 


R1ADAMES  has  come  to  seek  the 
blessing  of  the  gods.  Ramfis  and 
his  priests  and  priestesses  intone  bless- 
ings upon  the  expedition,  while  an  in- 
visible choir  chants  the  praises  of  Ptah. 
Rhadames  enters  and  receives  the  con- 
secrated veil.  He  is  solemnly  blessed 
by  Ramfis,  responding  with  a  fervent 
prayer  to  his  gods  to  protect  the  sacred 
land  of  Egypt,  of  which  he  is  now  the 
sworn  champion  and  leader.  Ramfis 
then  sings  the  closing  invocation, 
"Nume  custode  e  vindice"  (God, 
Guardian  and  Avenger) .  This  is  a  broad 
dignified  melody,  against  a  steadily 
beating  orchestral  accompaniment  in 
which  a  majestic  contrapuntal  bass  is 
heard.  Soon  the  air  is  taken  up  bv 
Rhadames  and  the  chorus  with  rich 
and  gorgeous  effect.  Rhadames  is  in- 
vested with  the  sacred  armor,  and  as 
the  priestesses  go  through  the  mystic 
dance,  the  curtain  falls.  Never  is  Rhad- 
ames farther,  than  at  this  moment, 
from  the  thought  of  treachery  to  his 
beloved  country.  Wait  and  see! 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  II 

SCENE  I — A  Hall  in  Amneris'  Apart- 
ment. 

RHADAMES  has  been  away  for  some 
time — long  enough  for  him  to 
have  justified  his  command  with  victory, 
and  more  than  long  enough  to  set 
Amneris  thinking  upon  his  strange  be- 
havior with  the  slave-girl.  She  lies  in- 
dolently upon  her  couch,  her  own  girls 
chanting  songs  in  his  praise.  She  her- 
self calls  upon  love  to  fulfil  her  soul 
with  rapture  and  to  heal  her  own 
jealousy.  The  girls' chorus,  "Chi 
mai  fra"  (His  Glory  Now  Praise),  is 
rich  and  heavy  with  Oriental  color- 
ing. As  they  sing,  Amneris  takes  up 
the  melody.  There  is  a  beautiful, 
long-drawn  trumpet  note  in  the  accom- 
paniment. 

Seeing  A'ida  approach,  Amneris  pre- 
pares for  a  moment  of  revenge.  It  is 
deftly  achieved.  She  treacherously 
consoles  the  girl  just  long  enough  to 
gain  her  confidence;  then  when  the  se- 
cret is  out,  she  turns  upon  her  like  a 
scorpion.  "Time  will  heal  the  anguish 
of  thy  heart,"  she  declares,  "and  more 
than  this,  a  powerful  god-love."  Sym- 
pathy is  the  last  thing  the  captive  looks 
for,  and  she  is  melted.  The  talk  of  love 
disarms  her,  and  the  crafty  princess, 
watching  with  cat-like  eyes,  has  no  dif- 
ficulty in  reading  the  pallor  upon  her 
rival's  face. 

"Among  the  braves  who  fought  so  well, 
Has  someone  a  tender  sorrow  awakened  in 
your  heart?" 

This  is  enough.  "  What  say'st  thou  ?" 
cries  the  unhappy  girl,  and  her  secret  is 
out.  Amneris  then  confesses  her  own 
love  for  the  hero — the  love  of  the  king's 
own  daughter. 

Then  follows  a  powerful  scene. 
A'ida  is  dazed.  She  can  but  implore 
mercy — from  the  merciless.  She  makes 
no  denial,  only  pleads,  helplessly,  for 


pity.  Amneris  first  threatens  her 
with  death,  but  refines  upon  this  by 
demanding  that  she  shall  witness 
Rhadames'  triumphant  return,  and  his 
obeisances  to  herself  as  she  sits  beside 
her  father,  the  King. 

SCENE  \\-Without  the  City  Walls 

THE  scene  changes  to  a  gate  of  the 
city  of  Thebes.  The  King  and  his 
court  are  assembled  about  a  great 
throne  to  receive  and  welcome  the  con- 
quering army.  A  majestic  chorus  is 
sung  by  the  people  and  the  priests, 
leading  up  to  the  famous  "Grand 
March." 

This  is  introduced  by  trumpet  calls, 
in  an  introductory  crescendo,  broad, 
suave,  melodious,  followed  by  the  mar- 
tial strains  so  familiar  to  all.  Specially 
designed  trumpets  are  used  here.  They 
are  long  and  straight,  like  the  trumpets 
used  in  Renaissance  art.  Each  has  a 
tiny  valve  concealed  beneath  the 
trumpeter's  hand. 

The  pomp  and  the  splendor  of  this 
scene  are  unsurpassed  by  anything 
in  the  range  of  opera.  The  Egyptian 
troops,  preceded  by  the  trumpeters, 
enter,  followed  by  chariots  of  war,  en- 
signs, statues  .of  the  gods,  dancing 
girls  carrying  treasures,  and  finally 
Rhadames )  riding  in  triumph  under  a 
canopy  borne  by  twelve  slaves.  An 
additional  brass  band,  as  a  rule,  is 
employed  on  the  stage  here,  in  addi- 
tion to  the  trumpets.  The  effect  is 
magnificent  beyond  description. 

The  King  descends  from  the  throne 
to  embrace  Rhadames^  as  the  saviour  of 
his  country.  At  his  own  command, 
Amneris  crowns  the  victor,  who  is 
asked  to  name  any  boon  he  desires. 

At  that  moment  the  prisoners  enter, 
jncluding  Amonasro^  dressed  as  a  plain 
officer.  A'ida  cries  out  "My  father!" 
but  she  is  signaled  not  to  betray  his 
rank.  Amonasro  then  acknowledges 
his  daughter,  admits  defeat,  and  de- 


10 


VICTROLA      BOOK.     OF     THE      OPERA 


scribes  how  the  "King  of  the  Ethi- 
opians", (himself!)  transfixed  by 
wounds,  died  at  his  feet.  That  this 
"duplicity  is  not  simply  a  means  of 
salvation  but  of  revenge  is  shown  in 
his  plea  to  the  King,  whom  he  asks 
to  be  merciful,  as  Fate  may  bring  him 
his  own  misfortunes  on  the  morrow! 

Amonasro's  bluff,  soldierly  manner 
commends  itself  to  the  King.  The  popu- 
lace and  prisoners  beg  his  release;  the 
priests  demand  his  death,  and  that  of 
the  other  captives.  Rhadames  pleads 
for  mercy,  and  recalling  the  King's 
promise  of  whatever  he  desires,  de- 
mands life  and  liberty  for  the  Ethi- 
opians. The  King  yields,  stipulat- 
ing only  that  A'ida  and  Amonasro  re- 
main as  hostages.  So  far,  all  is  well; 
but  he  announces  that  Rhadames  shall 
have,  for  further  reward,  the  hand  of 
Amneris. 

Then  follows  a  magnificent  finale. 
Amonasro,  released,  swears  secret  ven- 
geance, already  planning,  a  bad  man 
but  a  true  man  of  action.  Amneris  is 


triumphant,  her  vengeance  complete. 
But  as  the  curtain  falls,  Rhadames  and 
Aida  gaze  upon  one  another  in  blank 
despair.  The  hand  of  Fate  has  struck 
them,  and  struck  hard. 

ACT    III 

SCENE — -The  Banks  of  the  Nile;  Moon- 
light. The  Temple  of  Isis  can  be 
seen  behind  Palm  Trees 

FROM  out  the  temple  is  heard  a 
sweet,  mysterious  chant  of  praise, 
"O  tu  che  sei  d'Osiride"  (O  Thou  who 
art  Osiris).  Oboes  and  wood-winds, 
against  a  gently  persistent  rhythmic 
accompaniment,  yield  tranquil  but 
weird  suggestions  of  the  Orient  night. 
The  calm  is  portentous,  however, 
as  before  a  storm.  A  boat  approaches 
with  Ramfis  and  with  Amneris,  who 
has  come  to  give  thanksgiving  for  vic- 
tory, and  to  pray  that  Rhadames  shall 
be  hers  forever.  The  pair  enter  the 
temple,  when  A'ida  comes  cautiously 
forward,  in  hope  that  Rhadames  him- 
self may  appear.  She  sings  a  tender 


CORY  T    MI9HKIN 

DALMORES  AS  RHADAMES 


CARUSO  AS  RHADAMES 
11 


VICTROLA     BOOK.     OF     THE      OPERA 


and  despairing  song  of  the  lovely  land 
she  may  never  see  again.  This  air,  "O 
Patria  Mia' '  (My  Native  Land),  is  one 
of  the  loveliest  in  the  work.  Blending 
with  its  melody  is  a  weird,  wandering 
strain  for  the  oboe,  faint,  high,  sweet 
and  mysterious. 

Turning  to  go,  she  sees  Amonasro, 
who  conceives  in  her  love  for  Rhad- 
ames  a  means  of  escape,  and  even 
victory.  Skilled  plotter,  he  plays,  even 
as  Amneris  had  played,  upon  the  feel- 
ings of  the  innocent  girl.  He  tells  her, 
almost  brutally,  he  knows  of  her  love, 
and  the  princess's  jealousy.  Agonized, 
she  cries  out  that  she  is  in  the  power  of 
Amneris,  when  he  tells  her  how  she 
may  gain  happiness  with  her  lover  and 
return  to  Ethiopia. 

The  proposal  is  an  ugly  one;  the  way 
for  it  is  laid  by  a  harrowing  picture  of 
the  Ethiopians'  treatment  by  their  con- 
querors. And  that  is  too  much  for 
the  girl,  who  recoils.  Then  follows  a 
terrible  scene,  in  which  the  woes  of  her 
people  are  laid  upon  her  own  head.  She 
cries  out  for  pity — but  what  are  the 
woes  of  a  girl  beside  the  ambitions  of 
kings  and  the  fates  of  peoples?  At  last 
she  yields,  and  the  tragedy  moves  on. 

Rhadames  at  this  moment  appears, 
Amonasro  concealing  himself  among 
trees.  The  hero  seeks  to  embrace  his 
beloved,  but,  scientifically  prepared, 
she  bids  him  prove  his  affection  by  flee- 
ing  with  her.  The  scene,  "Fuggiam 
gli  ardori' '  (Fly  With  Me),  is  a  remark- 
able dialog  in  music,  the  pleading  ac- 
cents of  the  girl  and  the  agitation  of 
the  hero  being  in  sharp  contrast.  He 
resists,  but  the  glamor  of  her  presence, 
the  spell  of  the  night,  and  the  desperate 
prospects  of  his  marriage  to  Amneris, 
weaken  his  resolve.  He  in  turn  suc- 
cumbs; and  caught  up,  by  reaction,  up- 
on the  surge  of  his  own  emotions,  he 
gives  way,  freely,  to  his  vision  of  an 
easy  future.  The  music  follows  and 
expounds  all.  In  yielding,  he  lets  slip 


the  information  that  the  Egyptian 
army  must  go  out  by  the  pass  of  Na- 
pata.  And  Amonasro  then  leaps  forth. 

Rhadames  commander  of  the  Egyp- 
tians, has  let  loose  his  plans.  But  his 
fatal  devotion  to  A'ida  is  too  strong, 
and  it  is  too  late  to  repent.  Amonasro, 
with  subtle  casuistry,  points  out  that 
he  is  guiltless,  that  his  betrayal  is  Fate. 
He  paints  an  attractive  picture  of  what 
lies,  for  all  of  them,  in  Ethiopia.  Rhad- 
ames, as  a  man,  is  done. 

The  worst  is  yet  to  follow.  Among 
the  still  palms,  there  has  been  a  double 
eavesdropping.  Amneris,  coming  from 
the  temple,  has  overheard. 

Mad  with  jealousy  she  rushes  in  and 
denounces  the  trio,  her  wrath  blazing 
forth  with  especial  virulence  against 
Rhadames,  the  betrayer  of  his  country, 
his  gods  and  herself.  So  blind  is  her 
passion,  that  Amonasro  escapes,  and 
with  him  A'ida  —  who  sees,  in  a  flash, 
that  her  one  hope  is  to  help  her  father 
in  his  attack  on  the  Egyptians,  if  Rhad- 
ames ever  is  to  be  rescued. 

ACT    IV 

SCENE  I  —  A  Room  in  the  Palace.    One 
side,  a  Door  leading  to  Rhadames' 
Prison  Cell 


AMNERIS  is  passionate,  hot-blood- 
ed, vindictive,  but  she  is  a  woman. 
If  self-love  is  the  guiding  star  of  her  life, 
she  nevertheless  loves  Rhadames  with 
the  full  hunger  of  a  selfish  nature.  As 
the  curtain  rises,  she  is  seen  in  despair, 
weighing  the  cost  of  her  own  action  in 
giving  up  her  lover  to  the  priests.  Her 
rival  has  escaped;  Rhadames,  through 
her  own  act,  awaits  a  traitor's  punish- 
ment —  how  unjustly  only  she  herself 
knows;  for  he  was  controlled  by  hurilE|& 
impulse,  not  design.  Could  he  learn 
to  love  her,  she  yet  might  save  him! 
She  resolves  to  try,  and  he  is  brought 
in.  Then  begins  the  first  great  duet  of 
the  act;  "Gia  i  sacerdoti"  (The  Priests 
Assemble).  Exerting  all  the  power  of 


12 


VICTROLA     BOOK     OF     THE      OPERA 


her  beauty  and  her  womanhood,  she 
offers  to  save  Rhadames  if  he  will  re- 
nounce Aida.  He  refuses,  and  is  told 
that  death  is  the  alternative.  What 
does  Rhadames  care  for  death  ?  As  the 
scene  wheels  on,"  Aida,  a  me  togliesti" 
(Aida,  Thou  Hast  Taken),  he  speaks 
again  of  his  rapt  affection  for  the  slave- 
girl.  The  duet  rises  to  supreme  heights 
when  he  declares  that  his  death  for 
Aida  s  sake  can  be  counted  as  the  high- 
est blessing  he  can  desire.  Then  the  pity 
of  Amneris  subsides  into  the  darkness 
of  hate,  and  she  calls  upon  the  gods  for 
revenge.  The  men-at-arms  appear, 
and  conduct  Rhadames  into  the  judg- 
ment room. 

Amneris  must  suffer  too.  Rhadames 
once  gone,  she  cries  out  against  the 
very  fate  to  which  she  has  sent  him. 
This  is  a  most  beautiful  moment; 
"Ohime,  Morir  mi  sen  to!"  (Ah,  Me, 
Death  Approaches!) sings  the  unhappy 
princess.  Then  she  turns,  to  see  Ramfis 
and  the  Priests  filing  past  her  and  enter- 


ing the  judgment  hall.  "Behold," she 
cries,  "the  fatal  ministers  of  death— 
Ah,  do  not  let  me  behold  those  white- 
robed  phantoms!"  But  the  law  now  is 
stronger  than  the  will  of  Amneris.  Her 
lamentation,  the  stern  voice  of  Ramfis 
and  his  priests,  from  behind  the  scenes, 
conducting  the  trial,  combine  to  pro- 
duce a  doubly  tragic  sense  of  forebod- 
ing. It  is  marvellously  reflected  in  the 
music.  The  bass  tuba  in  the  or- 
chestra sounds  with  baleful  effect,  and 
the  hollow  voices  of  the  priests,  chant- 
ing in  unison,  add  to  the  gloom  that 
prevails.  Amneris,  in  torture,  covers 
her  face  with  her  hands;  but  she  cannot 
shut  out  the  terrible  voices  of  Rhad- 
ames' accusers.  Throughout  all,  he 
remains  silent.  Finally  the  voice  of 
Ramfis  pronounces  the  sentence — 
death  by  burial  alive  beneath  the  altar 
of  the  gods  whose  nobler  attributes — of 
faith  and  justice — he  has  offended. 
The  priests  re-enter,  and  again  file  im- 
passively across  the  room,  before  the 


AIDA:  "Clasped  in  thy  arms,  love,  I  resolved  to  perish!" 
13 


VICTROLA  BOOK  OF  THE  OPERA 


despairing  eyes  of  Amneris.  The 
wretched  woman  denounces  them,  but 
they  repeat  that  their  work  is  done. 
She  departs  in  wild  despair,  her  last 
hope  gone;  for  nothing  now  can  save 
the  man  she  loves  from  the  terrible 
doom  that  awaits  him  beneath  the 
temple-floor. 

SCENE  II — Interior  of  the  Temple  of  Vul- 
can— below,  a  Subterranean 
Apartment,  the  Tomb  of 
Rhadames. 

THE  setting  of  the  last  scene  is  one 
of  the  most  remarkable  in  opera; 
Verdi  himself  is  said  to  have  devised  it. 
The  work,  in  the  words  of  Camille 
Blaigue,"  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  in- 
different gods;  below,  two  human  be- 
ings dying  in  each  other's  arms."  The 
stage,  indeed,  is  divided;  the  upper  half 
shows  the  temple,  where  the  chanting 
priests  intone  their  endless  litanies;  the 
lower  half,  underneath  the  very  statue 
of  Osiris,  the  deity  of  the  nether  world, 


is  the  tomb  where  Rhadames  awaits 
death  by  starvation. 

The  hero,  dedicated  to  death,  believes 
himself  alone,  and  his  reflections  are 
embodied  in  the  incomparable  music  of 
the  aria,  "La  Fatal  Pierra"  (The  Fa- 
tal Stone),  which  is  swung  into  place 
overhead.  He  laments,  not  suffering 
and  death,  but  separation  from  his  be- 
loved. As  the  last  sounds  die  out  above 
he  sees,  among  the  shadows,  the  out- 
line of  a  human  figure.  He  is  not  mis- 
taken, not  delirious,  it  is  she!  She  has 
come  to  partake  of  death  beside  him. 
Her  father  is  slain,  his  troops  scattered; 
she  has  crept  to  earth  like  a  stricken 
animal,  her  heart  foreseeing  the  sen- 
tence to  be  passed  upon  Rhadames. 

The  great  duet  between  the  pair  is 
one  of  the  supreme  moments  in  all  op- 
era. It  is  known  as  "O  terra  addio" 
(Farewell,  O  Earth).  Its  melody  is  in 
broad  calm  phrases,  tranquil  as  the  sea 
of  Eternity.  It  is  sung  in  unison — even 
the  blending  of  the  voice-parts  sym- 
bolizing the  absorption  of  their  souls 
into  a  union  free  of  all  earthly  dross. 
Together  they  bid  farewell  to  earth  and 
its  sorrows,  and  await  the  Dawn. 


ACT  I 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  otherwise  noted) 


CELESTE  Ai'DA! 

(Heavenly     ATda!)     ENRICO     CARUSO, 
Tenor  88127     12  in.,  $1.75 

GIOVANNI  MARTINELLI,  Tenor 

74424     12-in.,     1.75 
RHADAMES: 
Heavenly  ATda,  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! 

RITORNA  VINCITOR 

(Return  Victorious!)  JOHANNA  GADSKI, 
Soprano  88137     12-in.,     1.75 


AIDA: 

Return  victorious!  And  from  thy  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  words  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 — 
On  him  whom  I  love  so  much? 
Ah!  Never  on  earth  was  heart  torn  by  more 
cruel  agonies! 

14 


VICTROLA     BOOK     OF     THE      OPERA 


NUME  CUSTODE  E  VINDICE 

(Guardian  and  Avenger)  ANTONIO 
PAOLI,  Tenor,  ANDREA  DE  SEGUROLA, 
Bass  and  Chorus  89120  12-in.,  32.00 

ACT  III 
O  PATRIA  MIA 

(My    Native    Land)    EMMY    DESTINN, 

Soprano  88469     12-in..     1.75 

AIDA: 

My  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! 

ACT  IV 
GIA  I  SACERDOTI  ADUNANSI 

(The  Priests  Assemble)  LOUISE  HOMER, 
Contralto  and  ENRICO  CARUSO,  Tenor 

89050     12-in.,    2.00 


Al'DA  A  ME  TOGLIESTI 

(Aida  Thou  Hast  Taken)  LOUISE  HOMER, 
Contralto  and  ENRICO  CARUSO,  Tenor 

89051     12-m.,  32.00 

OHIME!  MORIR  MI  SENTO 

(Death  Approaches)  BIANCA  DE  CASES, 
Mezzo-Soprano  and  Chorus 

88270     12-in.,     1.75 

LA  FATAL  PI  ETR A 

(The  Fatal  Stone)  Final  duet,  Part  I 
JOHANNA  GADSKI,  Soprano  and  ENRICO 
CARUSO,  Tenor  89028  12-in.,  2.00 

LA  FATAL  PI  ETR  A 

(Solo  from  above  duet)  NICOLA  ZEROLA, 
Tenor  74225  12-in.,  1.75 

O  TERRA  ADDIO 

(Farewell,  Oh  Earth)  Final  duet,  Part  II 
JOHANNA  GADSKI,  Soprano  and  ENRICO 
CARUSO,  Tenor  89029  12-in.,  2.00 

LUCY  MARSH,  Soprano  and  JOHN 
MCCORMACK,  Tenor  74398  12-in.,  1.75 


DOUBLE-FACED  RECORDS 

f  Celeste  Aida!  (Heavenly  Aida!) Paul  Althouse, 

\     Standchen  (Serenade)  (Schubert)  (In  German) Paul  Reimers,  Tenor J 

fRitorna  vincitor   (Return  Victorious!) Lucy' Marsh,  Soprano^  -^ 35 

IO  patria  mia  (My  Native  Land) Lucy  Marsh,  Soprano) 

f  Aida — Grand  March Vessella's  Italian  Band\ 

\     Rondo  Capriccioso Vessella's  Italian  Band] 

1  Fuggiam  gli  ardori  (Ah!  Fly  With  Me) 
Lucy  Marsh,  Soprano  and  Paul  Althouse ,  7V«or>55058 
Madame  Bittterfly-O  quanti .  .Olive  Kline,  Soprano  and  Paul  Althouse,  Tenor] 

/Aida  Selection • Arthur  Pryor's  Band\-,r,Qr 

\     Attila— Grand  Trio  (Verdi) Kryl's  Bohemian  Band]  ~ 

f  Aida  Selection Hurtado  Brothers  Marimba  Band\  35559 

I     Lucia  Sextette Hurtado  Brothers  Marimba  Band] 

Gems  from  "Aida"— Part  I Victor  Opera  Company 

Chorus,  "Almighty  Phtha" — Solo,  "Heav'nly  Aida"  (Celesie  Aida)— 
Women's  Chorus,  "Come  Bind  Thy  Flowing  Tresses" — Soprano 
Solo,  "Love,  Fatal  Power"— Duet  and  Chorus,  "On  to  Victory". 

Gems  from  "Aida"— Part    II Victor  Opera  Company 

Chorus,  "Glory  to  Isis" — Solo,  "My  Native  Land"— Solo  and 
Chorus,  "Oh  King  in  Thy  Power,  Transcendent"— Finale,  Duet 
and  Chorus,  "Fatal  Stone" 


12 


12- 


12 


12- 


12 


in.,  31.50 
in.,  1.50 
in.,  1.35 

in.,     1.50 

in.,  1.35 
in.,  1.35 


35428     12-in.,     1.35 


15 


ANDREA  CHENIER 


OPERA  in  four  acts;  libretto  by 
Luigi  Illica;  music  by  Umberto 
Giordano.  First  produced  at 
La  Scala,  Milan,  March  28,  1896. 
First  performance  in  London,  1903, 
by  the  Carl  Rosa  Company,  in  English. 
Produced  in  Paris,  June  3,  1905.  First 
American  production  at  the  Academy 
of  Music, November  13,  1896.  Re- 
vived in  1908  by  Hammerstein's  Com- 
pany. 

THE  Countess  de  Coigny  is  giving  a 
ball  to  church  and  state  digni- 
taries. Chenier,  whose  verses  have 
found  interest,  is  to  be  a  guest.  Gerard, 
a  footman,  soon  to  be  revolutionary 
leader,  sees  his  aged  father,  a  lackey, 
at  work;  he  sings  the  powerful  dra- 
matic air,  "Son  Sessant'  Anni"  (For 
Sixty  Years)  decrying  his  servitude. 
The  guests  arrived,  the  Countess  asks 
Chenier  to  improvise;  he  refuses,  con- 
senting when  her  daughter  Madeleine 
pleads.  He  outrages  all  but  Madeleine, 
a  sincere,  spirited  girl,  by  his  idealistic 
social  and  human  creed.  This  is  sung 
in  the  aria,  "Un  di  all  'azzurro  spazio," 
criticizing  church  and  state.  A  troop 
of  beggars  enters,  introduced  by  Gerard 
as  "His  Serene  Highness,  Prince  Pov- 
erty," and  is  ejected,  with  Gerard. 
Chenier  follows. 

In  Act  II,  Chenier  becomes  a  Revo- 
lutionary. Roucher  appears  with  a  pass- 
port for  him,  counselling  flight.  He 
refuses  without  Madeleine,  who  arrives 
in  disguise,  and  begs  him  to  save  her 
fromGmm/,nowa  Revolutionary  power 
who  is  attracted  to  her.  They  start, 
but  are  caught  by  Gerard,  who  seizes 
the  girl.  Gerard  and  Chenier  fight, 
while  she  is  spirited  away.  Gerard  is 
hurt,  but  magnanimously  counsels 
Chenier  to  save  the  girl.  He  tells  the 
crowd  his  assailant  is  unknown  to  him. 


Later  on  Gerard  presides  over  a 
Revolutionary  tribunal.  A  spy 
announces  Chenier's  arrest,  urging 
Gerard  to  denounce  him.  The  papers 
are  signed  after  the  great  scene, 
"Nemico  della  patrie"  (The  Enemy 
of  His  Country).  Madeleine  appears 
and  offers  to  give  up  her  life  for  Chenier, 
who,  denounced  as  a  traitor,  pleads 
his  own  cause.  Gerard  would  relent, 
but  the  mob  thirsts  for  blood  and 
Chenier  is  led  off  for  execution. 

The  last  act  is  in  St.  Lazare  prison, 
where  Chenier  is  writing  his  last  verses, 
the  beautiful  "Come  un  bel  di 
di  Maggio"  (As  Some  Soft  Day  in 
May)  expressing  his  belief  in  truth 
and  beauty.  Madeleine  bribes  her 
way  in.  Gerard  brings  her,  then  goes 
for  a  last  vain  appeal  to  Robespierre 
himself.  At  dawn  the  death-tumbril 
comes  for  Chenier.  Madeleine  goes  to 
death  with  him.  Gerard,  self-redeemed, 
has  for  his  reward  the  consciousness 
of  his  own  lofty  self-sacrifice. 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 
ACT  I 

SON  SESSANT'  ANNI 

(Sixty  Years  Hast  Thou  Served  Them) 
TITTA  RUFFO,  Baritone 

87325     10-in.,  31.25 

UN  DI  ALL'  AZZURRO  SPAZIO 

(Once  O'er  the  Azure  Fields)   ENRICO 
CARUSO,  Tenor  88060     12-in.,     1.75 

ACT  III 
NEMICO  DELLA  PATRIE? 

(The  Enemy  -of  His  Country?)  TITTA 
RUFFO,  Baritone  88626     12-in.,     1.75 

ACT  IV 
COME  UN  BEL  Dl  DI  MAGGIO 

(As  Some  Soft  Day  in  May)   ENRICO 
CARUSO,  Tenor  87266     10-in.,     1.25 


16 


BARBER   OF  SEVILLE 

(IL  BARBIERE   DI   SIVIGLIA) 


WHEN  told   that  Rossini    had 
composed    "The    Barber"    in 
thirteen    days,    Donizetti    re- 
plied: "Very    possible;   he  is  so  lazy." 
The  remark  was  at  once  a  tribute  and 
a    censure;    for    Giaoachino    Antonio 
Rossini  was  one  of  those  men  upon 
whom  Providence  most  lavishly  scat- 
ters gifts. 

Superficially,  Donizetti's  taunt  is  de- 
served in  "The  Barber."  It  bears  all 
the  signs  of  a  work  hastily  flung  to- 
gether. The  original  overture  was 
lost  and  the  present  one  belongs  to  a 
totally  different  opera — "Elizabetta"; 
the  opening  of  the  cavatina  "Ecco 
ridente"  is  borrowed  from  "Aureli- 
ano";  the  air  of  Bertha,  "  II  vecchietto 
cerca  moglie"  was  suggested  by  a 
Russian  tune,  and  the  eight  opening 
measures  of  "Zitti,  Zitti"  are  taken 
from  Simon's  air  in  Haydn's  "Sea- 
sons." Yet  these  numbers  are  at  least 
well  chosen,  and  the  rest  of  the  opera 
is  so  rich  with  original  melody,  so 
joyous  in  its  abounding  good  spirits, 
so  spontaneous  and  fresh,  so  subtle 
in  its  characterization  and  so  brilliant 
in  its  climaxes  that  "The  Barber"  is 
regarded  by  many  as  the  greatest  of 
Rossini's  works.  Not  even  the  fact 
that  the  incomparable  Mozart  himself 
had  dealt  with  the  same  Figaro  in 
another  episode  from  the  comedy  of 
Beaumarcnais  "The  Marriage  of  Fi- 
garo" dims  altogether  its  lustre. 

"The  Barber  of  Seville"  was  a  vio- 
lent failure  when  first  produced  in 
Rome.  In  this  it  fulfilled  an  almost 
fixed  tradition  with  meritorious,  or 
afterwards  popular,  works. 

Aware  that  his  opera  was  good, 
Rossini  took  failure  with  philosophy; 
he  believed  that  the  opera  would  ulti- 
mately succeed,  and  the  belief  was 


justified.  To  this  day, "The  Barber 
of  Seville"  has  the  place  of  honor 
among  the  twenty  operas  Rossini 
wrote  in  the  eight  years  from  1815  to 

1823.  It  is  only  surpassed  —  if  it  is 
surpassed — by  "William  Tell,"  written 
in  1829 — the  last  opera  the  composer 
wrote,  though  he  was   not   yet    forty 
years  of  age. 

Rossini's  greatest  contribution  to 
music  in  "The  Barber"  is  his  joyous 
spontaneity.  The  melodies  are  so 
fresh  and  vigorous,  so  lavish  in  their 
bubbling  fertility,  that  they  disarm 
technical  analysis;  but  one  technical 
gift  Rossini  did  possess — a  thorough 
understanding  of  the  human  voice; 
and  this  gift  is  displayed  to  the  utmost 
in  "The  Barber  of  Seville."  The 
"Largo  al  factotum"  is  possibly  the 
best  basso  buffo  number  ever  written 
and  among  coloratura  arias  none  is 
more  famous  than  "Una  voce  poco 
fa."  In  these,  only  the  initiated  can 
tell  how  artfully  the  composer  has 
contrived  to  give  the  singer  every 
chance  to  make  the  most  of  vocal 
skill  without  in  any  way  lessening  the 
flow  of  natural  melodic  inspiration. 

THE  OPERA 

COMIC  opera  in  two  acts ;  text 
by  Sterbini;  founded  on  the 
trilogy  of  Beaumarchais.  Music 
by  Rossini.  First  presented  at 
Rome,  February  5,  1816.  The  opera 
was  at  first  called  "Almaviva,"  to  dis- 
tinguish it  from  Paisiello's  "  Barber." 
First  London  production,  1818.  At 
Paris,  in  Italian,  1819;  in  French, 

1824.  First  production  in  Germany 
at   Brunswick,   1820.  ,  Produced   at 
Vienna,   1820;    Berlin,   1822.    First 
N.  Y.  production  November  29,  1825, 
by  Manuel  Garcia  and  company;  sung 


17 


VICTROLA    BOOK    OF   THE    OPERA 


at  the  New  Orleans  Opera,  March  9, 
1828.  Many  notable  revivals  have  oc- 
curred in  America  of  recent  years — in 
1892  with  Patti,  her  last  appearance 
in  New  York  as  Rosina;  in  1898,  for 
Melba,  who  made  her  first  American 
appearance  as  Rosina;  for  Sembrich's 
farewell  operatic  appearance  in  1909; 
by  Hammerstein,  for  Tetrazzini;  the 
New  Theatre  production  with  Lipkow- 
ska,  and  the  Metropolitan  revival, 
February  5,  1916,  on  the  100th  anni- 
versary of  the  first  production,  with 
Barrientos,  Mattfeld,  de  Luca,  Da- 
macco  and  de  Segurola. 

CHARACTERS 

COUNT  ALMAVIVA  (Ahl-mah-vee'-vah) 

Tenor 
BARTOLO  (Bahr '-toh-loti)  physician 

Bass 

ROSINA  (Ro-zee-nah)  his  ward .  Soprano 
BASILIO  (Bah-seel'-yoh)  music  master 

Bass 
BERTHA,  Rosina's  governess.  .Soprano 

FIGARO  (Fee' -gah-roh) Baritone 

FIORELLO  (Fyo-rcl'-loh)  servant  to 

the  Count Tenor 

Scene  and  Period:  Seville,  the 
Seventeenth  Century 

(The  original  Italian  name  of  the 
opera  is  "II  Barbiere  di  Siviglia",  Eel 
Bahr-be-ay-reh  dee  See-veel'-yah). 

ACT  I 

SCENE  I — A  Street  in  Seville. 
Day  is  Breaking 

THE  handsome  and  distinguished 
Count  Almaviva  is  deeply  in  love 
with  Rosina,  the  ward  of  Doctor  Bartolo, 
a  physician  both  mean  and  suspicious. 
Not  wishing  to  have  the  glamor  of  his 
rank  influence  the  girl,  Count  Alma- 
viva  has  taken  the  nameofL/Wor,  and 
as  such,  when  the  curtain  rises,  we 
find  him  serenading  the  lady  of  his 
heart.  Not  very  successfully,  it  must 


be  admitted,  for  she  pays  no  attention 
though  the  musicians  are  making  noise 
enough  to  wake  the  neighborhood.  He 
sings  a  lovely  serenade,  but  as  it  fails, 
he  conceals  himself  to  watch  a  new- 
comer who  is  vigorously  making  known 
his  identity.  It  is  Figaro,  the  factotum,, 
the  jack-of-all-trades,  the  debonaire 
Barber  of  Seville — the  same  hero  who 
figures  again  in  Mozart's  "The  Mar- 
riage of  Figaro."  Figaro  is  thoroughly 
well  satisfied  with  himself,  and  gives 
a  list  of  his  accomplishments  in  the 
famous  "Largo  al  factotum"  (Room 
for  the  Factotum).  It  should  be  re- 
membered that  in  the  days  of  perukes, 
powder  and  patches,  the  barber  was 
not  only  "tonsorial  artist,"  but  also  a 
dentist  and  chirurgeon  who  bled  his 
customers  as  readily  as  he  shaved 
them.  Incidentally,  he  was  a  privileged 
person,  whose  easy  access  to  the  homes 
of  the  distinguished  made  him  a  con- 
venient instrument  for  the  plots  and 
schemes  of  young  lovers  and  old  roues. 

This  brilliant  and  loquacious  "Largo 
al  factotum"  (Room  for  the  Factotum) 
sung  at  breakneck'  speed,  is  a  severe 
test  of  the  singer's  art.  The  music  is 
as  merry  and  forceful  as  the  words. 

Figaro  is  accosted  by  the  Count,  who 
asks  him  to  arrange  a  meeting  with 
the  fair  Rosina.  They  have  no  sooner 
made  an  alliance  than  Rosina  and  old 
Bartolo  appear  at  the  balcony  window. 
If  Rosina  has  seemed  unresponsive 
to  the  serenading  Lindor  it  has  not 
been  from  choice  but  from  necessity, 
as  her  suspicious  guardian  has  been 
watching  her.  Although  he  is  behind 
her  on  the  balcony  she  contrives  to 
drop  a  note  for  the  Count. 

Shortly  after,  Bartolo  leaves  the 
house,  ordering  that  nobody  shall  be 
admitted  save  Basi/io,  a  music  master, 
and  incidentally  a  matrimonial  agent. 
Meanwhile,  however,  Figaro  has  plot- 
ted to  gain  admittance  for  the  Count. 
Troops  are  coming  to  the  city,  and 


18 


VICTROLA     BOOK     OF     THE      OPERA 


Almaviva,  disguised  as  a  dragoon,  may 
easily  be  billeted  on  the  unwilling 
Bartolo.  This  is  a  grand  idea! 

SCENE  II — A  Room  in  Bartolo' s 
House 

RDSINA  is  discovered  reading  a 
note  from  Lindor.'  She  is  agi- 
tated, as  one  might  expect,  and  she 
lets  loose  her  reelings  in  an  ever- 
delightful  coloratura  aria,  the  "  I  na 
voce  poco  fa  "(A  Little  Voice  I  Hear). 
It  is  one  of  the  gems  of  the  work. 

Almost  every  resource  known  to  the 
coloratura  singer's  art  is  employed  in 
this  glittering  number.  Rapid  scales, 
detached,  legato;  brilliant  arpeggi,now 
soft,  now  loud,  now  high,  now  low,  sur- 
prise the  ear,  and  in  their  bubbling 
gaiety  express  the  full  charm  of  the 
equally  gay  and  charming  words. 

At  the  end  of  it  Rosina  runs  out  of 
the  room  when  her  guardian  appears 
in  company  with  Basilio.  Bartolo  is 
telling  the  matrimonial  agent  that  he 
wishes  to  marry  Rosina  himself,  but 
that  her  hand  is  sought  by  one  Count 


Almaviva,  though  he  little  suspects 
that  the  serenader  of  the  night  before 
and  the. Count  are  one  and  the  same. 
Basilio,  scenting  profit,  is  sympathetic, 
and  they  agree  to  produce  a  story  that 
will  disgrace  him.  "A  calumny!"  cries 
Basilio.  "What  is  that?"  asks  the 
Doctor.  In  reply  the  musical  matri- 
monial agent  gfves  his  famous  descrip- 
tion in  song,  "La  calunnia"  (Slander's 
Whisper),  full  of  bombastic  humor. 

With  the  departure  of  the  two  plot- 
ters, Rosina  returns  accompanied  by 
Figaro,  who  tells  her  that  her  guardian 
plans  to  marry  her  himself.  She 
laughs  at  the  idea  and  asks  Figaro  who 
the  young  man  is  she  has  seen  from 
the  balcony.  Figaro  admi'ts  he  is  an 
excellent  youth,  but  has  one  failing. 
"A  failing?"  cries  the  girl.  "Yes,  a 
great  one,"  answers  the  factotum 
blandly,  "he  is  dying  of  love."  The 
girl,  greatly  interested,  presses  for 
further  details,  and  learns  that  the 
adored  maiden  is  none  other  than 
Rosina  .herself.  "You  are  mocking," 
she  cries;  and  the  two  make  merry  in 


MKL.BA  AS   ROSINA 


COPY  T  TERKELSON  ft   HENRY 
TtTRAZZINI  AS    ROMS' A 


COPY  T  DO  PONT 

&EMBKICH  AS   ROMNA 


19 


a  delightful  duet,  the  "  Dunque  io  son  " 
(What!  I?).  And  all  seems  well. 

The  comedy  so  characteristic  of  the 
whole  work  here  gallops  through  the 
music.  Figaro  leaves  after  telling  her 
his  scheme  to  billet  Lindor  upon  the 
household,  and  Bartolo  returns,  to 
accuse  Rosina  of  writing  a  note  and 
dropping  it  from  the*  balcony.  He 
misses  the  very  sheet  of  paper: 
"Mancaun  foglio"  (Here's  a 
Leaf  Missing),  declares  he. 

The  old  Doctor 's  anger  and 
the  girl's  impertinent  replies 
are  admirably  treated  in  the 
music.  He  points  out  an  ink- 
mark  on  her  ringer,  to  which 
she  answers  that  she  used  the 
ink  as  a  salve  for  a  small  cut. 
He  calls  attention  to  a  freshly 
trimmed  quill  pen  and  the 
missing  sheet  of  paper;  and 
she  replies  that  she  used  the 
paper  to  wrap  up  some  sweets 
for  a  girl  friend  and  the  pen  to 
design  a  flower  for  her  em- 
broidery; the  old  man  is  in  a 
violent  and  quite  just  rage. 

A  loud  knocking  is  heard  at 
the  door — the  Count  in  his 
soldier's  guise,  pretending  to 
be  drunk.  A 


comic    scene 


follows,  in  which  Lindor  man- 
ages to  get  a  word  with  Rosina 
before  the  police  are  called  in.  The 
Count  escapes  arrest  by  secretly  declar- 
ing himself  to  the  commandant,  when 
the  astonished  official  salutes  and  takes 
his  men  away.  Bartolo  is  so  enraged 
he  can  hardly  speak;  he  does,  though, 
and  the  act  ends  with  the  brilliant 
quartet, "  Guarda  Don  Bartolo  "  (Look 
at  Don  Bartolo). 

ACT  II 

SCENE — A  Room  in  Bartolo's  House 

THOUGH  the  soldier  scheme  has 
fallen    through,    Figaro    soon    in- 
vents another  by  which  the  Count  may 


COPY'T  MATZENE 

RUFFO  AS  THE  BARBER 


obtain  entry  to  Bartolo's  dwelling.  As 
the  curtain  rises,  we  find  the  old  Doctor 
wondering  if  the  drunken  soldier  may 
not  be  an  emissary  of  Count  Almaviva. 
He  is  interrupted  by  a  stranger,  none 
less  than  the  Count  himself,  but  this 
time  disguised  as  a  music-master.  He 
explains  that  Don  Basilio  is  ill,  and  that 
he  has  come  to  give  Rosina  her  music 
lesson  in  his  place.  He  makes 
himself  known  in  a  melodious 
greeting,  the  "Pace  e  gioia" 
(Heaven  Send  You  Peace  and 
Joy).  Neither  is  at  hand. 

In  this  interesting  number 
the  Count  exhibits  himself  as 
a  specially  humble  and  obliging 
music-master,  but  Bartolo  sus- 
pects he  had  seen  a  man  of 
similar  build  before.  To  allay 
these  suspicions  the  Count  does 
a  bold  thing;  he  produces  the 
note  written  by  Rosina  to  her 
charming  Lindor,  asserting 
that  he  found  it  at  the  inn 
where  Count  Almaviva  is  stay- 
ing, and  he  offers  to  make 
Rosina  believe  she  is  the 
Count's  dupe.  The  idea  pleases 
Bartolo,  Rosina  enters,  and  the 
famous  lesson  scene  begins. 
Rossini  wrote  a  special 


trio 


for  this  scene,  but  unfortunately 
the  manuscript  is  lost  and 
Rosina  usually  interpolates  an  air  ad 
libitum,  sometimes  a  strange  one! 

As  Bartolo  insists  on  remaining  it 
looks  as  though  the  Count  would  have 
to  make  good  his  promise  to  deceive 
Rosina,  but  the  resourceful  Figaro  ar- 
rives and  declares  this  is  the  Doctor  s 
day  for  shaving.  He  contrives,  more- 
over, to  secure  the  key  to  the  balcony 
for  future  use.  The  game  once  more 
approaches  a  disastrous  end  when  Don 
Basilio,  the  real  music  teacher,  ap- 
pears expecting  to  give  Rosina  her 
lesson.  The  Count  is  resourceful,  how- 
ever, and  reminding  Bartolo  of  their 


20 


VICTROLA     BOOK     OF     THE      OPERA 


scheme  to  deceive  Rosina,  he  points 
out  that  the  matrimonial-agent-music- 
teacher  must  be  gotten  rid  of.  Doctor 
Bartolo  immediately  detects  in  Don 
Basilio  the  symptoms  of  an  imaginary 
fever.  The  Count  and  Figaro  promptly 
follow  his  lead.  The  mystified  Don 
Basilio  is  disposed  to  insist  on  the  ex- 
cellence of  his  health,  but  with  a  fat 
purse  the  Count  manages  to  convince 
him  he  is  suffering  acutely.  The  shav- 
ing is  renewed  after  Don  Basilio's  de- 
parture and  Rosina  and  the  Count 
under  cover  of  the  music  lesson,  talk 
elopement.  The  situation  cannot  last, 
however,  and  soon  Bartolo  becomes 
suspicious.  He  approaches  the  pre- 
occupied lovers,  to  realize  that  he  has 
again  been  duped.  The  three  con- 
spirators laugh  at  him  and  run  out, 
followed  by  the  Doctor,  who  is  purple 
with  rage. 

The  pertinacity  of  Figaro  and  the 
Count  is  such  that  Doctor  Bartolo  is 
now  determined  to  play  his  last  card. 
He  shows  Rosina  the  note,  saying 


that  her  supposedly  devoted  Lindor  is 
conspiring  to  give  her  up  to  Count 
Almaviva.  The  furious  Rosina  offers 
to  marry  Bartolo  at  once,  tells  him  of 
the  plan  to  elope  and  bids  him  have 
Lindor  and  Figaro  arrested  as  soon 
as  they  arrive.  Bartolo  goes  for  the 
police  and  for  the  marriage  broker.  He 
is  barely  out  of  sight  when  the  Count 
and  Figaro  enter  by  means  of  the  key 
which  Figaro  procured  during  the 
music  lesson.  Rosina  greets  them 
with  a  storm  of  reproaches,  accus- 
ing Lindor  of  duplicity.  The  Count 
promptly  makes  known  his  true  iden- 
tity and  the  lovers  are  soon  embracing 
amid  a  shower  of  blessings  from  Figaro. 
They  are  interrupted  by  Don  Basilio 
who  has  returned  in  the  office  of  notary 
and  marriage  broker,  to  unite  Rosina 
and  Bartolo,  but  with  the  aid  of  a  pistol 
he  is  persuaded  to  unite  Rosina  and 
Count  Almaviva.  No  sooner  is  the 
marriage  completed  than  Bartolo  ar- 
rives with  the  police.  The  comman- 
dant demands  the  name  of  the  culprit, 


BAKIOLO  ARRIVES   WITH  THE 


.DIF.RS FINALE,  AC! 


21 


VICTROLA     BOOK     OF     THE      OPERA 


but  finding  he  has  to  do  with  the  dis- 
tinguished Count  Almaviva,  already 
married,  he  declines  to  interfere,  and 
Bartolo  submits  with  the  best  possible 
grace,  the  opera  closing  with  the  gar- 
rulous good  wishes  of  the  irrepressible 
Figaro. 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 
ACT  I 

LARGO  AL  FACTOTUM 

(Room    for    the    Factotum)    PASQUALE 
AMATO,  Baritone  88329     12-in.,  31.75 

EMILIO  DE  GOGORZA,  Baritone 

88181     12-in.,     1.75 

TITTA  RUFFO,  Baritone    88391     12-in.,     1.75 
GIUSEPPE  DE  LUCA,  Baritone 

FJCARO:  74514     12-'in"     1J5 

Room  for  the  city's  factotum  here, 
La,  la,  la,  la,  la,  la. 

I  must  be  off  to  my  shop,  for  dawn  is  near, 
What  a  merry  life,  what  pleasure  gay, 
Awaits  a  barber  of  quality. 

UNA  VOCE  POCO  FA 

(A  Little  Voice  I  Hear)  MARCELLA  SEM- 
BRICH,  Soprano  88097     12-in.,     1.75 

LUISA  TETRAZZINI,  Soprano 

88301     12-in.,     1.75 
AMELITA  GALLI-CURCI,  Soprano 

74541     12-in.,     1.75 


ROSINA:  . 

A  little  voice  I  heard  just  now: 

Oh,  it  has  thrilPd  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  ne'er  consent; 

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

And  we,  oh,  joy!  be  wedded  yet. 

LA  CALUNNIA 

(Slander's  Whisper)  MARCEL  JOURNET, 
Bass  74104     12-in.,     1.75 

BASILIC: 

Oh!  calumny  is  like  the  sigh 
Of  gentlest  zephyrs  breathing  by; 
How  softly  sweet  along  the  ground, 
Its  first  still  voice  is  heard  around. 
So  soft,  that  sighing  amid  the  bowers 
It  scarcely  fans  the  drooping  flowers. 
Thus  will  the  voice  of  calumny, 
More  subtle  than  the  plaintive  sigh, 
In  many  a  serpent-wreathing  find 
Its  secret  passage  to  the  mind; 
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! 

DUNQUE  IO  SON 

(What!  I?)   MARIA  GALVANY,  Soprano 
and  TITTA  RUFFO,  Baritone 

92501     12-in.,     2.00 


22 


AN  OPEN-AIR  PERFORMANCE  OF  BARTERED  BRIDE  AT  7.OPPSOT 


THE  BARTERED   BRIDE 


FRIEDRICH  SMETANA  strove 
to  do  for  his  native  Bohemia 
what  Liszt  had  done  for  Hun- 
gary— nationalize  its  music.  One  re- 
sult was  "The  Bartered  Bride."  He 
wrote  eight  operas  and  a  set  of  sym- 
phonic poems,  all  in  national  style.  In 
late  life,  like  Beethoven,  he  grew  deaf, 
yet  produced  some  of  his  finest  music 
during  this  deafness.  He  was  born  in 
1824,  studied  with  Liszt,  and  first  be- 
came known  as  a  conductor.  The 
"Founder  of  the  Bohemian  School,"  it 
was  he  who  first  recognized  and  aided 
Dvorak. 

THE  OPERA 

COMIC  opera  in  three  acts; 
libretto  by  Sabina.  Music  by 
Friedrich  Smetana.  First  performance, 
Prague,  May  30,  1866,  where  the  suc- 
cess of  the  work  led  to  Smetana's  ap- 
pointment as  director  of  the  Prague 
opera.  Produced  at  the  Vienna  Music 
Festival  1892.  First  Ix>ndon  produc- 
tion in  1895.  First  heard  in  America 
at  the  Metropolitan,  February  19,  1909, 


with  Destinn,  Jorn,  Didur  and  Reiss, 
under  the  direction  of  Gustav  Mahler. 

HANS,  a  servant  in  the  household 
of  Kruschina,  has  won  the  love  of 
that  rich  peasant's  daughter,  Marie ^ 
who  is  planned,  at  the  instance  of  a 
marriage  broker,  Keza/,  to  be  married 
by  her  father  to  the  rich  but  half-witted 
Wenzel^  son  of  Kruschinas  friend 
Micha.  Kezal  offers  Hans  300  crowns  to 
renounce  her;  he  agrees  if  the  contract 
shall  contain  the  words  "Marie  shall 
be  married  only  to  a  son  of  Micha" 
Marie  refuses  to  believe  Hans  has  sold 
her;  but  on  meeting  him,  he  seems 
quite  joyous  over  the  affair.  Micha 
and  his  wife  arrive  in  time  to  recog- 
nize in  Hans  their  long-lost  eldest  son. 
The  contract  remains  valid,  and  the 
marriage  broker  is  out  300  crowns. 

The  opera  is  lively,  brilliant,  and  is 
written  in  finished  style.  Perhaps  the 
best-known  individual  number  is  its 
Overture, inspired  by  Bohemian  airs  and 
treated  with  consummate  musicianship. 


DOUBLE-FACED  RECORD 

/Bartered  Bride  Overture  ..................................  Pryor's  &*»<?ciio 

I    Madame  Butterfly—  Selection  (Puccini)  ....................  Pryor's  ^ 

23 


11  :_     «i  jc 


RUDOLPH    AND    MIMI 


24 


LA    BOHEME 


PUCCINI  is  one  of  the  few  compos- 
ers of  recent  times  whose  operatic 
successes  are  both  numerous  and 
lasting.  Indeed,  he  is  matched  only  by 
Massenet  as  to  numbers,  and  so  far  as 
frequency  of  performance  is  concerned, 
the  Italian  composer  far  surpasses  the 
Frenchman,  in  America  at  least.  No 
doubt  this  is  largely  due  to  the  highly 
melodic  character  of  his  works.  Puc- 
cini's music  is  modern  without  being 
.ultra-modern.  You  will  hark  in  vain 
for  the  trills  and  tremolos,  the  musical 
frills  and  furbelows,  of  old-time"!  talian 
Opera;"  and  you  will  hark  just  as 
vainly  for  the  non-melodious  murky 
obscurity  characteristic  of  some  more 
recent  operatic  developments  (of  course 
we  exclude  Massenet  from  the  latter 
class).  For  the  rest,  his  harmonies  and 
orchestration  are  opulent  as  to  color 
and  his  melodies  informal  in  character, 
breaking  in  on  the  thread  of  musical 
discourse  only  when  justified  by  the 
dramatic  situation,  and  apt  to  be  re- 
pressed as  rapidly  as  they  have  been 
begun  by  some  sudden  turn  of  dramatic 
events. 

Not  only  is  "La  Boheme"  rich  in 


melody,  but  the  melody  is  of  the  most 
appealing  kind.  Puccini,  like  his 
heroes,  Rudolph,  Marcel,  Colline  and 
Schaunard,  was  in  his  youth  an  artist 
whose  riches  were  measured  in  terms 
of  genius  rather  than  hard  cash.  He, 
too,  lived  in  an  attic  wherein  he  found 
the  problems  of  existence  more  baffling 
than  those  of  Harmony  and  Counter- 
point. His  life  was  touched  also  by  the 
romance,  the  beauty  of  living,  inter- 
spersed with  that  drudgery  and  discom- 
fort which  only  become  tolerable  when 
viewed  through  the  mists  of  memory. 
Experiences  such  as  these,  hallowed  by 
time  and  made  precious  by  success, 
could  hardly  fail  to  influence  him  in 
composing  the  music  of  "La  Boheme." 
It  is  said,  indeed,  that  some  of  the  in- 
cidents in  the  opera  came  directly  from 
his  own  experience,  and,  while  the 
opera  is,  of  course,  founded  on  Miir- 
ger's  novel,  "La  Vie  Boheme,"  it 
varies  considerably  from  the  original  in 
detail,  though  most  faithfully  preserv- 
ing the  spirit  of  the  work,  a  spirit  in 
which  comedy  and  tragedy,  charming 
idealism  and  harsh  reality,  are  richly 
interwoven. 


TH  E    OPERA 


OPERA  in  four  acts.  Text  by 
Giacosa  and  Illica;  music  by  Puc- 
cini; being  an  adaptation  of  part  of 
Miirger's  La  vie  Boheme,  which  depicts 
life  in  the  Quartier  Latin,  or  the  Stud- 
ents' Quarter,  in  1830.  First  produced 
at  the  Teatro  Reggio,  Turin,  February 
1,  1896,  under  the  direction  of  Tosca- 
nini.  In  English  as  "The  Bohemians," 
at  Manchester  (Carl  Rosa  Company), 
April  22,  1897,  and  at  Covent  Garden 
with  the  same  company,  October  2d 
of  the  same  year.  At  the  Opfra  Comi- 
que,  Paris,  June  1898.  In  Italian  at 
Covent  Garden,  July  1,  1899.  First 


productibn  in  the  Americas  at  Buenos 
Ayres  in  1896.  First  U.  S.  production 
at  San  Francisco  March,  1898,  by  the 
Royal  Italian  Opera  Company,  follow- 
ing their  tour  of  Mexico.  Thecompanv 
later  sang  the  opera  in  New  York,  Wai- 
lack's  Theatre,  May  16,  1898.  Given 
in  English  by  the  Castle  Square  Opera 
Company  at  the  American  Theatre, 
New  York,  November  20,  1898.  The 
first  important  production  in  Italian 
was  that  given  by  Melba's  Company  in 
Philadelphia,  December  29, 1898.  Pro- 
duced in  1907  at  the  Metropolitan, 
with  Caruso,  Sembrich  and  Scotti. 


25 


VICTROLA     BOOK     OF     THE      OPERA 


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 

MUSETTA,  a  grisette  .........  Soprano 

MIMI,  a  maker  of  embroidery  .  .Soprano 

Students,  Work-girls,    Citizens, 
Shop-keepers,  Venders,    Soldiers, 

Waiters,  etc. 
Scene  and  Period:     Paris,  about 


ACT   I 

SCENE  —  In  the  Attic 

TWO  of  the  four  inseparables  of 
art  are  at  home.  Marcel  is  busy 
painting  at  his  never-finished  canvas, 
"The  Passage  of  the  Red  Sea,"  blowing 
on  his  hands  from  time  to  time  to  warm 
them.  Rudolph,  the  poet,  is  gazing 
through  the  window  over  the  snow- 


capped roofs  of  Paris.  The  attic  itself 
is  roomy,  but  sparsely  furnished — a 
fireplace  empty  of  fire,  a  table,  a  small 
cupboard,  a  few  chairs,  a  few  books, 
many  packs  of  cards,  an  easel,  and 
the  riff-raff  of  an  artist's  studio.  Mar- 
cel is  first  to  break  the  silence;  he 
complains  of  the  cold,  saying  he  feels 
as  though  the  Red  Sea  were  flowing 
down  his  back.  Rudolph  answers  in 
kind,  and  finally  Marcel  ceases  paint- 
ing and  is  about  to  break  up  a  chair, 
but  Rudolph  offers  instead  the  manu- 
script of  one  of  his  own  plays.  They 
burn  it  act  by  act,  warming  their  bodies 
and  feasting  their  eyes  on  its  meagre 
flames.  The  acts  burn  quickly,  and 
Rudolph  admits  that  brevity  is  the  soul 
of  wit,  finding  his  drama  quite  spar- 
kling. Colline,  the  philosopher,  enters, 
stamping  with  cold.  Suddenly,  how- 
ever, Schaunard  comes,  too,  bringing 
wood  for  the  fire,  food  for  the  table, 
wine  and  money — and  plenty  of  each. 
The  three  others  gaze  in  rapturous 


COPY  T   MISHKIN 
GI.UCK  AS  MIMI 


PHOTO    BERT 

FARRAR  AND  SCOTTI  AS  MIMI  AND  MARCEL 
(ACT  III) 


COPY  T   DUPONT 

SEMBRICH  AS  MIMI 


26 


VICTROLA      BOOK     OF     THE      OPERA 


amazement.  Schaunard^  pressed  for 
an  explanation,  informs  them  he  has 
been  giving  a  music  lesson  to  a  rich 
English  amateur — this  was  before  the 
days  of  the  American  tourist-invasion 
of  Paris.  They  begin  to  feast  merrily, 
but  are  interrupted  by  the  landlord, 
who  wants  his  rent,  having,  after  the 
manner  of  his  kind,  scented  the  riches 
from  afar.  They  show  him  money  and 
give  him  wine — more  wine — and  again 
wine — till  he  becomes  in  turn  jovial, 
melancholy  and  maudlin,  after  which 
they  throw  him  out  of  the  room.  "I 
have  paid  the  last  quarter's  rent,"  re- 
marks Marcel^  shrugging  his  shoulders 
as  he  locks  the  door. 

Though  more  comfortable,  or  per- 
haps because  of  it,  Rudolph  is  still  dis- 
posed to  be  pensive;  so  he  refuses  to 
go  with  the  others  when  they  hilari- 
ously depart  to  spend  the  money  they 
have  saved  from  the  landlord's  clutches 
— Colline  wearing  the  splendid  coat 
which  he  has  so  far  contrived  to  keep 
in  spite  of  its  obvious  salability.  It 
covers  a  multitude  of  sartorial  short- 
comings, that  coat! 

A  timid  knock  is  heard  at  the  door. 
It  is  Mimi,  the  girl  from  the  room 
above.  She  is  a  slight  girl,  frail  but 
graceful,  with  a  complexion  that  has 
the  white  velvety  bloom  of  the  camelia, 
though  suffused  with  a  warm  glow  that 
would  have  warned  anybody  but  a  poet 
that  her  health  is  not  of  the  best. 
"This  frail  beauty  allured  Rudolph" 
says  Miirger,  "  but  what  wholly  served 
to  enchant  him  were  Mimis  tiny  hands 
that,  despite  household  duties,  she  con- 
trived to  keep  as  white  as  snow."  She 
has  come  to  ask  for  a  light  for  her  can- 
dle, and  the  two  fall  into  conversation. 
She  asks  him,  artlessly  enough,  what 
his  occupation  is,  and  he  tells  her  in 
the  familiar  "Narrative." 

This  air  is  one  of  the  great  numbers 
from  the  opera,  and  one  of  the  most 
popular  of  recorded  numbers.  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, 
and  the  final  brilliant  high  note  are  un- 
forgettably lovely. 

She  in  turn  tells  him  her  story — how 
she  makes  artificial  flowers  for  a  living 
— the  while  she  yearns  for  the  blossoms 
and  green  meadows  of  the  country; 
that  she  leads  a  lonely  life  in  her  garret 
among  the  housetops.  She  gives  us  in- 
sight into  her  tenderness,  her  youth, 
her  tremulous  but  infectious  gaiety,  so 
that  we,  with  Rudolph^  feel  the  magnet- 
ism of  her  charm,  and  sympathize  with 
her  desire  for  a  fuller  and  richer  life. 

Soon  the  two  are  close  friends.  They 
hear  the  other  three  artists  hilariously 
shouting  as  they  make  their  way  across 
the  courtyard  below,  and  move  to  the 
window  to  watch  Marcel^  Colline  and 
Schaunard  depart.  A  flood  of  moon- 
light envelops  Mimi,  and  Rudolph^  look- 
ing at  her,  knows  that  life  for  him  will 
never  be  the  same  again.  The  act 
closes  with  the  beautiful  duet,  "O 
soave  fanciulla,"  in  which  Rudolph  and 
Mimi  awake  to  a  realization  of  each 
other.  The  lovely  melody  with  which 
the  duet  begins  is  associated  with  Mimi 
all  through  the  opera,  and  is  employed 
with  touching  effect  in  the  death  scene 
of  Act  IV. 

Mimi  shyly  begs  Rudolph  to  take  her 
with  him  to  the  Cafe  Momus,  where  he 
is  to  rejoin  his  friends,  and  the  curtain 
slowly  falls  as  they  leave.  The  "little 
white  hands"  have  fastened  themselves 
on  Rudolph's  heart  forevermore. 

ACT  II 

SCENE — A  Students'  Cafe  in  Paris 

THE  Cafe  Momus  is  one  of  those 
odd  restaurants  in  Paris  much 
frequented  by  artists,  and  by  those  of 
the  outside  world  who  wish  to  do  as  the 
artists  do — vain  searchers  after  the 
elusive  joys  of  "Bohemia"  which  can 


27 


VICTROLA      BOOK     OF     THE      OPERA 


SCENE    FROM    ACT    II 


come  only  to  those  who  can  suffer  as 
well  as  rejoice;  a  class  whom  the  artists 
themselves  have  dubbed  "  Philistines," 
who  may  suitably  be  despoiled  by  the 
Children  of  Light.  Hither  come  Ru- 
dolph and  Mimi  to  join  their  com- 
panions, who  are  already  here.  So  also 
is  Musetta,  a  delightful  little  lady  who 
is  enjoying  the  hospitality  of  one  Alcin- 
doroy  a  rich  Philistine.  She  makes  eyes 
at  her  old  friend  Marcel,  and  is  not  a 
whit  abashed  when  his  offended  jeal- 
ousy makes  him  pretend  not-to  see  her. 
She  gets  rid  of  her  elderly  admirer  and 
joins  the  party,  singing  the  charming 
""Musetta  Waltz." 

This  number  is  not  only  charming  in 
itself,  but  it  typifies  the  lightness,  the 
joyous  abandon,  the  freedom  of  the 
"Quartier  Latin."  The  melody  is  famil- 
iar to  every  one,  and  indeed  there  is  no 
better  waltz  melody  in  modern  music. 
It  has  wings.  It  floats  airily  and  lightly 
in  one's  brain,  after  the  record  is  silent. 

The  fun  now  becomes  fast  and  furi- 
ous. Musetta  is  finallv  carried  shoulder 


high  by  the  friends,  while  the  foolish 
old  banker,  Alcindoro,  is  left  to  pay  the 
bills  of  the  entire  party. 

ACT  III 

SCENE — A  City  Gate  in  Paris 

BUT  good  times  cannot  last  forever, 
and  one  bitter  cold  morning  we 
find  Mimi  shivering  as  she  asks  the 
officer  at  the  gate  in  the  environs  of 
Paris  if  she  can  see  Marcel.  Marcel 
has  left  the  studio,  and  is  staying  at  an 
inn  on  the  Orleans  road,  painting  not 
landscapes  but  tavern  signs  for  a  living. 
He  is  surprised  to  find  Mimi,  who  has 
come  to  tell  him  that  she  can  no  longer 
live  with  Rudolph — she  cannot  endure 
their  continual  quarrels.  Love  in  a 
lofty  garret,  it  seems,  is  no  nearer  heav- 
enly bliss  than  love  in  a  cottage  when 
the  cupboard  is  bare.  Marcel  expresses 
his  astonishment  in  "Mimi  io  son." 

This  duet  affords  a  fine  glimpse  of 
Marcel's  sympathetic  nature,  and  his 
concern  on  discovering  that  Mimi  is 
not  only  unhappy  but  physically  ill. 


28 


VICTROLA      BOOK     OF     THE      OPERA 


Much  disturbed,  he  goes  into  the  inn, 
where  Rudolph  has  come  to  visit  him — 
to  tell  his  version  of  the  trouble  with 
Mimi.  Mimi,  meanwhile,  secretes  her- 
self, and  is  not  surprised  to  overhear 
Rudolph  accusing  her  of  fickleness. 

Marcel  is  once  more  placed  in  the 
position  of  a  sympathetic  observer  as 
his  friend  upbraids  Mimi  with  flirting, 
apparently  not  without  cause. 

A  distressing  fit  of  coughing,  how- 
ever, puts  an  end  to  Mimi  s  eavesdrop- 
ping, and  brings  Marcel  and  Rudolph 
out  to  her. 

Mimi  bids  farewell  to  her  lover  with 
exquisite  pathos.  Her  "Farewell"  mel- 
ody is  one  of  the  loveliest  in  the  entire 
work,  and  is  a  universal  favorite.  Most 
tenderly  does  the  poor  girl's  "Farewell, 
may  you  be  happy"  come  from  her 
simple  heart  as  she  turns  to  go.  Ru- 
dolph protests,  something  of  his  old 
affection  having  returned  at  the  sight 
of  her  wan  beauty. 

They  are  interrupted  by  the  entrance 
of  Musetta,  who  is  in  turn  accused  by 
Marcel  of  flirting.  A  pretty  quarrel 
ensues — a  vulgar  but  human  and 
wholesome  "scrap"  in  sharp  contrast 
with  the  depth  of  feeling  underlying 
Rudolph's  quarrel  with  Mimi.  The 
other  two,  however,  are  drawn  into  the 
discussion,  and  a  remarkable  quartet 
ensues,  the  "Addio,  dolce  svegliare." 

In  this  remarkable  modern  ensemble 
the  emotions  expressed  are  as  diverse 
as  they  are  in  the  famous  "Rigoletto" 
quartet,  though  it  in  no  way  resembles 
that  number  in  style.  The  sadness  of 
Mimi's  farewell  to  Rudolph,  his  last- 
minute  tender  efforts  to  induce  her  to 
remain,  the  fond  recollections  of  hap- 
pier times — and  in  contrast  the  sharp 
bickerings  of  Marcel  and  Musetta;  all 
these  differing  moods  find  plastic  ex- 
pression in  Puccini's  music. 

With  this  the  Act  closes,  the  love 
affair  of  Rudolph  and  Mimi,  which 
began  so  prettily  in  the  moonlight, 


having  ended  rather  dismally  in  the 
fogs  of  misunderstanding  and  recrimi- 
nation. 

ACT  IV 

SCENE — Same  as  Act  I 

BEREFT  of  their  sweethearts,  the 
two  men  are  living  sad  and  lonely 
lives.  "At  this  time,"  says  Miirger, 
"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  rib- 
bons which  had  been  left  behind  by 
Musetta,  and  when  one  day  he  detected 
Rudolph  gazing  fondly  at  the  pink  bon- 
net Mimi  had  forgotten,  he  muttered: 
'It  seems  I  am  not  the  only  one!'  "  In 
the  opening  scene  Marcel  stands  at  the 
easel  pretending  to  paint,  while  Ru- 
dolph, apparently  writing,  is  furtively 
gazing  at  Mimi's  little  pink  bonnet. 
The  true  state  of  affairs  is  finely  re- 
vealed in  the  famous  duet,  "Ah,  Mimi, 
tu  piu"  (Ah,  Mimi,  False  One).  The 
music  is  remarkably  rich  in  feeling  and 
melodious  in  character.  This  number 
is  so  familiar  that  to  describe  it  would 
be  to  gild  the  lily.  Its  depth  of  feel- 
ing, however,  and  the  spontaneity  of 
its  melody  make  it  one  of  the  rarest 
and  richest  numbers  in  modern  music. 
The  two  men  pretend  to  brighten  up 
when  Schaunard  and  Colline  appear 
with  materials  for  supper.  This  scene 
of  rather  forced  gaiety  is  interrupted 
by  Musetta,  who  has  come,  wide-eyed, 
to  tell  them  that  Mimi  has  been  de- 
serted by  her  viscount  and  is  coming 
home  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  for  delicacies  for  the  sick  girl, 
decides  to  pawn  his  famous  overcoat. 


29 


VICTROLA     BOOK     OF     THE      OPERA 


He  bids  farewell  to  the  coat  in  a  song 
that  is  not  without  its  touch  of  whim- 
sical pathos, — the  "Vecchia  zimarra" 
(Farewell,  Old  Coat),  the  delight  of  the 
operatic  basso. 

This  little  flicker  of  comedy  in  a 
scene  otherwise  overburdened  with 
tragedy  affords  a  charming  relief.  The 
coat  affords  one  of  the  byplays  of 
comedy  throughout  the  opera.  No 
matter  how  destitute  the  four  insepar- 
ables may  be,  Colline  refuses  to  raise 
money  on  this  garment.  Yet  in  the 
hour  of  Mimi  s  necessity  he  parts  with 
it  like  the  good  fellow  he  is. 

Colline  and  Schaunard  go  softly 
away,  leaving  Mimi  and  Rudolph  to- 
gether, and  they  sing  their  beautiful 
farewell  song.  This  is  the  last  thing 
before  the  passing  of  Mimi.  In  dreamy 
tones  the  dying  girl  recalls  other  days 
they  spent  together,  and  with  heart- 
breaking pathos  they  plan  yet  happier 
days  together. 

There  is  something  pitifully  tragic  in 
this  last  scene,  as  they  discuss  a  future 
which  shall  be  free  from  jealousies  and 
quarrels,  for  Rudolph  at  least  knows 
that  such  a  future  is  only  too  likely  for 
both  of  them,  Mimi  s  end  being  now 
very  near. 

Just  as  Mimi,  in  soft  accents,  re- 
calls their  first  meeting,  she  is  seized 
with  a  sudden  faintness  that  alarms 
Rudolph.  The  young  man's  grief  is 
pitiful. 

The  music  of  this  final  moment  is 
touching  in  its  simplicity,  suggesting 
indeed,  that  "peace  which  .passeth 
understanding,"  toward  which  the  un- 
happy girl  is  bound. 

Rudolph  quickly  summons  his  friends 
who  are  returning  with  the  delicacies 
for  which,  alas,  there  is  now  no  need; 
for  the  young  girl,  weakened  by  disease 
and  privation,  passes  away  in  the 
midst  of  her  weeping  friends,  and  the 
curtain  falls  to  Rudolph' s  despairing 
cry  of  "Mimi!  Mimi!" 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  noted) 

ACT  I 
RACCONTO    DI    RODOLFO 

(Rudolph's  Narrative)  ENRICO  CARUSO, 

Tenor  88002     12-in.,  $1.75 

GIOVANNI  MARTINELU,  Tenor 

74381     12-in.,     1.75 

JOHN  McCoRMACK.,  Tenor  74222  12-in.,  1.75 
ORVILLE  HARROLD  Tenor74624  12-in.,  1.75 
EVAN  WILLIAMS,  Tenor  In  English 

74129     12-in.,     1.75 
MI  CHIAMANO  MIMI 

(My  Name  is  Mimi)   NELLIE   MELBA, 

Soprano  88074     12-in.,     1.75 

GERALDINE  FARRAR,  Soprano 

88413     12-in.,     1.75 

LUCREZIA  BORI,  Soprano  88475  12-in.,  1.75 
FRANCES  ALDA,  Soprano  74448  12-in.,  1.75 

O  SOAVE  FANCIULLA 

(Thou  Sweetest  Maiden)   NELLIE   MELBA, 
Soprano  and  ENRICO  CARUSO,  Tenor 

95200     12-in.,     2.50 

FRANCES  Alda,  Soprano  and  GIOVANNI 

MARTINELLI,  Tenor      89132     12-in.,     2.00 

LUCREZIA  BORI,  Soprano  and  JOHN  MC- 
CORMACK, Tenor  87512     10-in.,     1.50 

ACT  II 
MUSETTA  WALTZ 

ALMA  GLUCK,  Soprano     64560     10-in.,     1.25 

ACT  III 
MIMI,  IO  SON 

(Mimi,  Thou  Here!)  GERALDINE  FARRAR, 
Soprano  and  ANTONIO  SCOTTI,  Baritone 

89016     12-in.,     2.00 
ADDIO 

(Farewell)  GERALDINE  FARRAR,  Soprano 

88406     12  in.,     1.75 
NELLIE     MELBA,    Soprano 

.    ^  88072     12-in.,     1.75 
ALMA  GLUCK,  Soprano  v  64225     10-in.,     1.25 

QUARTET,  "ADDIO,  DOLCE  SVEGLIARE 

(Farewell,     Sweet     Love)     GERALDINE 
FARRAR,  Soprano,  GINA  C.  VIAFORA, 
Soprano,  ENRICO  CARUSO,  Tenor  and 
ANTONIO  SCOTTI,  Baritone 

96002     12- in.,     3.00 
ACT  IV 

AH  MIMI,  TU  PIU 

(Ah,  Mimi,  False  One)  ENRICO  CARUSO, 
Tenor  and  ANTONIO  SCOTTI,  Baritone 

89006     12-in.,    2.00 
VECCHIA  ZIMARRA 

(Farewell,  Old  Coat)  MARCEL  JOURNET, 
Bass  64035     10-in.,     1.25 


30 


V  I  C  T  R  O  L  A      HOOK     OF     THE      OPERA 


DOUBLE-FACED  RECORDS 

{Mimi  e  una  civetta  (Cold-Hearted  Mimi!)   (In  Italian) 
de  Gregorio,  Casini  and  Ferretti\684S3 
Trovatore  —  Soldiers'  Chorus  (Verdi)   (In  Italian)  .......  La  Scala  Chorus] 

fSind  wir  allein?  (Are  We  Alone?)  (In  German)  ] 

Claire  Dux,  Soprano;  Karl  J  or  n,  7V«or!-rn7n 
MimisTod  (Mimi's   Death  Scene)  (In  German) 

Claire  Dux,  Soprano;  Karl  Jorn,  Tenor] 

/  Boheme  Selection  ........................................  Pryors  Band\*rn77 

i     Jolly  Rogers  Overture  ...................................  Pryor's  Eandr* 


f  Boheme  Selection  ........................................  Pryors 

X     Madame  Butterfly  Fantasia     'Cello  ....................  Rosario  Bourdon 

/Musetta  Waltz   (Whistling   Sold)  ........................  Guido  Gialdini\,faQ^ 

\     Carmen  Selection    Xylophone  ............................  Wm.  H.  Reitzl^ 

/Ah,  Mimi,  tu  piu  (Ah  Mimi,  False  One)  (In  Italian)  Murphy  and  Werrenrath\<r->^ 
I     Faust  Trio—  Prison  Scene,  Part  III  ........  :  ...........  Victor  Opera  TV;  J45 

/Air  de  Rodolphe  (In  French)  .....................  Leon  Campa^nola,  Tenor\  :rno-> 

\     Pazliacci—Vesti  la  Kiubba  (In  French)  ..........  I*on  Campa^nola,  ^ 


12-in., 
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COPV'r  MISHKIS 

GII.LV  AS   MARCEL 


COPY  T  MISHKIN 

C'ARI'SO  AS    KIUOI  I'M 


PHOTO    BYRON 


THE    CARNIVAL    AT    PRESBURG ACT    II 


THE  BOHEMIAN  GIRL 


THE  never  failing  melodic  charm 
of  "The  Bohemian  Girl"  is 
neither  Latin  nor  Teutonic  but 
Celtic,  at  least  by  geography.  The 
composer,  Michael  William  Balfe,  was 
a  Dublin  boy,  born  1808,  the  son  of  a 
dancing  master.  Early  proficiency  as 
a  violinist  ripened  into  the  greater 
gifts  of  musical  composition,  with  a 
special  faculty  for  writing  simple  but 
effective  tunes.  Of  Balfe's  many  oper- 
atic works, "The Bohemian  Girl"  is  by 
far  the  most  famous;  and  its  popularity 
is  justified  by  its  melodious  character. 
The  composer's  fame  extended  all 
over  Europe,  and  he  was  particularly 
admired  by  the  French.  "The 
Bohemian  Girl"  won  him  the  French 
decoration  of  Chevalier  of  the  "Legion 
of  Honor"  as  well  as  other  honors  from 
other  governments.  He  lived  chiefly 
in  England,  where  he  died  in  1870. 

THE  OPERA 

OPERA  in  three  acts;    text  by 
Bunn;    music    by    Balfe.     First 
produced   at  Drury  Lane,  London, 


November  27,  1843,  the  cast  in- 
cluding Harrison,  Rainforth,  Betts, 
Stretton  and  Borrani.  An  Italian 
version  was  brought  out  at  Drury 
Lane,  February  6,  1858.  First  Ameri- 
can production  November  25,  1844, 
with  Frazer,  Seguin,  Pearson  and 
Andrews.  The  work,  after  its  English 
success,  was  translated  into  many 
languages,  and  produced  in  Italy  as 
La  Zingara  (at  Trieste,  1854);  in 
Hamburg  as  La  Gitana;  in  Vienna  as 
Die  Zigeunerin,  and  in  Paris  as  La 
Bohemienne. 

CHARACTERS 

ARLINE,  daughter  of  Count 

Arnheim Soprano 

THADDEUS,  a  Polish  exile Tenor 

GYPSY  QUEEN Contralto 

DEVILSHOOF,  Gypsy  leader Bass 

COUNT  ARNHEIM,  Governor  of 

Presburg Baritone 

FI.ORESTINE,   nephew  of   the 

Count Tenor 

Retainers,  Hunters,  Soldiers, 
Gypsies,  etc. 


32 


VICTROLA      BOOK     OF     THE      OPERA 


Time  and  Place:  Presburg,  Hungary; 
Nineteenth  Century 

ACT  I 

SCENE — Country   Estate  of  Count 
Arnheim,  near  Presburg 

A  MERRY  hunting  party  is  in  prog- 
ress in  the  Castle  grounds  at 
Arnheim,  and  the  assembly  is  com- 
pleted by  the  arrival  of  the  Count 
himself,  who  greets  his  little  daughter 
Arline  before  joining  the  hunt.  As 
soon  as  the  hunters  depart,  Thaddeus, 
a  young  Polish  nobleman,  appears. 
He  is  a  fugitive  escaping  from  Austrian 
political  enemies,  and  in  a  desperate 
case.  Devilshoof  and  a  party  of  gypsies 
then  arrive,  and  are  about  to  attack 
Thaddeus,  when  he  explains  his  con- 
dition, and  is  made  a  member  of  the 
band.  No  sooner  has  this  occurred  than 
a  great  noise  is  heard.  Little  Arline, 
it  appears,  is  in  danger  from  a  wild 
stag,  and  all  is  confusion  as  the  hunts- 
men come  rushing  back.  Thaddeus 
alone  keeps  his  head,  and,  seizing  a 
rifle,  he  manages  to  shoot  the  beast. 
The  child  is  taken  to  the  castle,  badly 
scared,  and  slightly  wounded  in  the 
arm,  while  Thaddeus  is  invited  to  the 
feast  and  freely  lionized.  His  refusal 
to  drink  the  health  of  the  Austrian 
Emperor,  however,  causes  trouble. 
Seeing  him  in  danger,  the  Count  flings 
him  a  bag  of  gold  and  bids  him  depart. 
Thaddeus  indignantly  refuses  the  gold 
and  is  attacked  by  the  guests.  Devils- 
hoof  comes  to  his  rescue  and  he 
escapes,  but  the  gypsy  chief  is  himself 
captured  and  imprisoned  in  the  castle. 
While  the  feast  is  resumed,  DevilshooJ 
not  only  gets  away,  but  kidnaps  the 
unfortunate  Arline.  He  is  seen,  and 
the  hunters  go  in  pursuit,  but  Devils- 
hoof  kicks  away  a  tree  that  is  the 
only  bridge  across  a  rocky  ravine  and 
so  gets  oflf.  The  Count  falls  fainting 
at  the  loss  of  his  daughter. 


ACT  II 

SCENE — Gypsy   Camp  in  the  Outskirts 
of  Presburg 

TWELVE  years  elapse  before  the 
gypsies  again  return  to  Presburg. 
They  make  their  presence  known  by 
robbing  Florestine,  the  self-indulgent 
and  drunken  nephew  of  the  Count. 
He  parts  in  good  grace  from  his  watch 
and  jewels  but  laments  the  loss  of  a 
valuable  medallion.  A  pretty  romance 
between  Thaddeus  and  Arline,  follows 
the  girl's  recital  of  her  vision,  "I 
Dreamt  I  Dwelt  in  Marble  Halls." 
Thaddeus  tells  her  of  her  noble  origin 
and  capture  by  the  gypsies,  and  the 
two  plight  their  troth.  The  Gypsy 
Queen,  who  is  in  love  with  Thaddeus, 
attempts  to  separate  them,  but  only 
succeeds  in  hastening  a  gypsy  wedding 
between  the  two  lovers.  Her  oppor- 
tunity for  revenge  occurs  in  the  next 
scene — a  carnival  in  the  public  square. 
F/orestine  attempts  to  flirt  with  Arline 
but  is  repulsed.  Observing  this  event, 
the  Gypsy  Queen  gives  her  the  medallion 
stolen  from  Florestine  the  night  before. 
This  is  subsequently  discovered  by 
Florestine,  and  Arline  is  arrested  as  a 
thief  and  brought  before  Count 
Arnheim.  The  Count  has  just  been 
ruminating  over  his  long  lost  daughter, 
singing  "The  Heart  Bowed  Down." 
When  Arline  appears  he  is  struck  by 
her  beauty  and  obvious  innocence, 
and  later  discovers  the  scar  on  her  arm 
from  the  wound  made  by  the  stag.  By 
this  he  knows  her  for  his  own  child 
and  the  Act  closes  in  a  happy  reunion. 

ACT  III 

SCENE — Castle  of  Arnheim 

ARLINE,  restored,  nevertheless  is 
pining  for  her  gypsy  lover  and 
husband,  Thaddeus,  and  is  overjoyed 
when  Devilshoof  contrives  to  bring 
him  to  her  chamber.  The  sweethearts 
are  interrupted,  however,  by  Count 


33 


VICTROLA     BOOK     OF     THE      OPERA 


Arnheim  and  his  friends,  and  Arlim 
barely  has  time  to  conceal  Thaddeus 
in  a  closet.  A  veiled  woman  enters 
the  room  and  approaches  the  Count. 
It  is  the  Gypsy  Queen,  and  she  bids 
him  look  in  the  closet  where  Thaddeus  ' 
is  concealed.  A  highly  dramatic 
scene  follows  this  disclosure,  and 
though  Arline  pleads  boldly  for  her 
lover,  the  angry  Count  bids  him  depart. 
Before  leaving,  however,  Thaddeus 
shows  that  he  is  of  noble  blood,  and 
Arline  reminds  her  father  that 
Thaddeus  saved  her  live.  This  softens 
the  Count  and  all  appears  to  be  about 
to  end  happily.  But  the  vengeful 
Gypsy  Queen  directs  one  of  her  followers 
to  shoot  Arline.  He  puts  the  rifle  to 
his  shoulder  and  is  about  to  fire  when 


Devilshoof  intervenes  and  turns  the 
rifle  in  the  direction  of  the  Queen  her- 
self, who  falls  as  the  shot  is  fired. 
The  safety  and  happiness  of  Thaddeus 
and  Arline  is  thus  assured,  and  the 
curtain  falls  on  a  joyous  scene. 

THE  VICTOR  RECORDS 

ACT  II 

I  DREAMT  I  DWELT  IN  MARBLE  HALLS 
MABEL  GARRISON,  Soprano 

64641     10-in.,  31.25 

HEART  BOW'D  DOWN 

CLARENCE  WHITEHILL,  Baritone 

74407     12-in.,     1.75 

THEN  YOU'LL  REMEMBER  ME 
JOHN  McCoRMACK,  Tenor 

64599     10-in.  1.25 

GEORGE  HAMLIN,  Tenor     74134     12-in    1.75 


DOUBLE-FACED  RECORDS 


(Overture  to  Bohemian  Girl Arthur  Pryor's 

\     La  Czarine  Mazurka  (Ganne) Arthur  Pryor's  Band 

II  Dreamt  I  Dwelt  in  Marble  Halls Elizabeth  Wheeler,  Soprano\ 

(Then  You'll  Remember  Me Harry  Macdonough,  Tenor] 

/The  Heart  Bow'd  Down Reinald  Werrenrath,  Baritone\rr^-,Q 

\     Faust — Even  the  Bravest  Heart Reinald  Werrenrath,  Baritone] 


10-in.,       .85 


JQ  j  or 


12-in.,     1.50 


/The  Heart  Bow'd  Down Alan  Turner,  Baritone\,^^.j     ,Q  .  or 

\     Trovatore — Home  to  Our  Mountains  .  .  Corinne  Morgan-Harry  Macdonough)  '' 


/Then  You'll  Remember  Me  and  I  Dreamt  I  Dwelt McKee  Trio\  10, Qn 

\     Good-Night,   Beloved     (Nevin) (Violin-' Cello-Piano)  McKee  Trio)1* 


f  Selection  from  Bohemian  Girl Arthur  Pryor's 

\     Ye/va  Overture  (Reissiger) Arthur  Pryor's  Band\ 

Gems  from  Bohemian  Girl — Part  I Victor  Opera  Company 

Chorus,  "Away  to  Hill  and  Glen" — Solo,  "I  Dreamt  I  Dwelt  in 
Marble  Halls" — Solo,  "Heart  Bow'd  Down" — Mixed  Quartet,  "Si- 
lence, the  Lady  Moon" — Solo,  "Fair  Land  of  Poland" — Chorus, 
"Happy  and  Light" 

Gems  from  Bohemian  Girl — Part  II Victor  Opera  Company 

Chorus,  "In  the  Gypsy's  Life" — Solo  and  Chorus,  "Come  with  the 
Gypsy  Bride" — Solo,  "Bliss  Forever  Past" — Duet,  "What  is  the 
Spell" — Solo,  "Then  You'll  Remember  Me" — Solo  and  Chorus, 
"Oh,  What  Full  Delight" 


10-in.,       .85 


12-in.,     1.35 


>35603     12-in.,     1.35 


34 


BORIS  GODOUNOW 


MOUSSURGSKY'S   life  and  ge- 
nius were  strangely  erratic  and 
disordered.  He  died  in  poverty 
hastened  by  dissipation.     His  musical 
training  was  irregular;  yet  he  was  per- 
haps the  most  original  composer  Russia 
ever  produced.  "Boris  Godounow"  has 
powerfully  influenced  the  music  of  our 
own  day,  and  from  it  many  composers 
have  gathered  fresh  and  vivid  material. 

THE  OPERA 

OPERA  in  three  acts.  Text  ar- 
ranged by  Moussorgsky,  based  on 
a  historical  drama  by  the  famous 
Russian  poet,  Pushkin.  Music  by 
Modeste  Moussorgsky.  Portions  of  the 
opera  were  given  at  St.  Petersburg  in 
February,  1873,  but  the  production  of 
the  work  in  its  entirety  was  delayed 
until  January  24,  1874.  Produced  at 
Moscow  in  1889.  In  1896  the  orches- 
tration was  somewhat  revised  by  the 
composer's  friend,  Rimsky-Korsakoff. 
Given  at  Paris  in  1908  by  a  Russian 
opera  company,  with  Chaliapine  in  the 
title  role.  First  American  production 
at  the  Metropolitan  Opera  House,  New 
York,  November  19,  1913,  with  the 
original  costumes  and  scenery  painted 
for  the  Paris  production. 

CHARACTERS 

(With  the  Cast  of  the  First  American 

Production) 
BORIS  GODOUNOW,  Regent  of  Russia 

Adamo  DidUr 
XENIA,  his  daughter.  .  Leonora  Sparkes 

THEODORE,  his  son Anna  Case 

THE  NURSE Maria  Duchene 

MARINA Louise  Homer 

CHOUISKY Angelo    Bada 

DIMITRI Paul  Althouse 

VARLAAM Andrea  de  Segurola 

Miss AII Pietro  Audisio 

TCHEI.KALOFF.  .  .Vincenzo  Reschiglian 
PIMENN..  ..Leon  Rothier 


A  SIMPLETON Albert  Reiss 

A  POLICE  OFFICER Giulio  Rossi 

Two  TFSTTITS       -!  Louis  Kreidler 

1  wu   lAaUli S .  .   i  Yn  T*        i  •    f 

(  V  incenzo  Reschiglian 
Time  and  Place:  About  1600;  Russia 

(The  name  of  the  opera  is  pronounced 
Boh'-reess  Goh'-doo-nojf). 

THE  first  scene  is  before  the  Novo- 
dievitchi  Convent,  Moscow.  Boris 
Godounow  is  regent  for  Czar  Feodor,  son 
of  Ivan  the  Terrible.  In  an  ambitious 
moment  Boris  has  murdered  his  nephew 
Dimitri  t  Ivan's  younger  brother,  to 
whom  the  throne  would  have  passed 
upon  the  tyrant's  death;  but  seized 
with  remorse,  he  has  fled  to  the  Novo- 
dievitchi  Convent  to  expiate  the  sin. 
He  has  a  wide  following  among  the 
people,  who  are  unaware  of  the  mur- 
der. And  they  have  thronged,  with  no- 
bility at  their  head,  to  beg  him  to  take 
the  throne. 

The  scene  changes  to  a  cell  in  the 
Convent  of  Miracles.  Pimenn,  an  old 
monk,  reveals  to  Gregory,  a  young 
monk,  the  story  of  Dimitri's  death. 
Gregory,  learning  that  Dimitri  was  of 
his  own  age,  resolves  to  spread  the  re- 
port that  Dimitri  wa$  never  slain,  and 
to  usurp  the  Russian  throne.  Again 
the  scene  changes;  Boris,  among  great 
pomp,  consents  to  take  the  throne  as 
regent.  This  scene  affords  a  magnifi- 
cent half-barbaric  stage  setting. 

The  second  act,  in  the  opera  as 
usually  given,  opens  in  an  inn  on  the 
Lithuanian  border,  whither  Gregory, 
with  two  companions,  has  escaped 
from  the  Convent.  He  hopes  to  cross 
the  frontier  and  raise  an  army,  but  is 
prevented  by  a  Government  order 
issued  after  escape.  He  just  misses 
arrest,  by  making  a  soldier  believe  one 
of  his  companions  the  offender,  then 
leaping  off  through  a  window. 

Meanwhile,  Boris,  in  the  Czars  pal- 


35 


VIC  TR  OLA     BOOK     OF     THE      OPERA 


ace  in  the  Kremlin,  a  prey  to  fear  and 
remorse,  is  talking  with  his  young 
son,  Theodore,  when  an  old  accomplice, 
Chomsky ',  appears,  to  bring  the  news 
that  people  are  in  revolt,  under  the  be- 
lief that  Dimitri  still  lives.  They  are 
actually  at  the  Russian  border;  and  if 
they  once  enter  the  country,  the  coun- 
try must  fall.  Boris,  a  superstitious 
mystic,  actually  wonders  if  the  ghost 
of  Dimitri  has  risen  to  appear  against 
him. 

In  the  third  act  Gregory  awaits  the 
lovely  Marina,  a  Polish  lady  who  serves 
the  interests  of  Poland  by  helping 
him  play  Dimitri.  He  lurks  in  her 
garden  during  a  great  banquet.  When 
this  is  ended,  Marina  appears,  to  stir 
up  together  his  ambition  for  the  throne 
and  his  love  for  herself.  This  is  the 
remarkable  "Garden  Scene,"  with  its 
wonderful  slow-swinging,  seductive 
rhythm  and  melody,  like  nothing  else 
in  music. 

The  next  phase  of  the  work  is  in 
the  Forest  of  Krony,  where  peasants 
are  making  sport  of  a  nobleman  who 
has  fallen  into  their  hands.  The  scene, 
written  years  ago,  is  a  prophecy  of 
what  since  has  happened  in  Russia. 
Gregory,  as  the  false  Dimitri,  enters, 


and  the  people,  dissatisfied  with  Boris, 
join  him  in  revolt.  As  they  disappear, 
a  village  Fool  sits  alone  in  the  snow, 
singing  a  heart-rending  ditty  on  the 
hopeless  condition  of  the  empire.  The 
simple  irony  of  this  touch  is  unsur- 
passed in  opera. 

Finally,  the  Duma  gathers  in  the 
Imperial  Palace  to  meet  Boris.  Chou- 
isky  plans  treachery,  and  hints  to  the 
assembled  boyars,  or  nobles,  some- 
thing of  the  real  truth  regarding  Di- 
mitri. Boris,  entering,  is  confronted  by 
Pimenn,  who  tells  how  a  blind  man  has 
been  restored  to  vision  at  the  tomb 
of  the  murdered  youth.  Boris  listens 
with  horror,  and  finally  interrupts  with 
a  cry.  He  is  dying,  and  he  asks  for 
Theodore.  He  passes  away  begging  the 
son  to  rule  wisely  and  to  protect  Xenia, 
his  sister.  The  opera  ends  abruptly, 
leaving  the  inference  that  Gregory's 
rebellion  must  perish,  the  true  facts  of 
Dimitri' s  death  being  known. 

THE  VICTOR  RECORD 

BORIS  GODOUNOW 

(Garden  Scene — Finale,  Act  III)  MAR- 
GARETE  OBER,  Contralto  and  PAUL 
AI.THOU.SE,  Tenor  In  Italian 

76031     12-in.,  #2.00 


PHOTO    WHITE 


ALTHOUSE  AS  DIMITRI 
36 


I'HOlo     BYRON 


THE    DEATH    OF    CARMEN' — ACT    IV 


CARMEN 


CARMEN  is  among  the  three  or 
four  most  popular  operas  of  all 
time;  yet  recognition  came  to 
it  but  slowly.  For  one  thing,  its 
originality  was  against  it.  "Carmen" 
appeared  at  a  time  when  Wagnerian 
theories  of  opera  were  bringing  con- 
sternation among  conservative  musical 
critics;  and,  as  Bizet  adopted  innova- 
tions in  his  scorings  he  was  charged 
with  imitating  Wagner.  Unquestion- 
ably, Bizet  was  influenced  by  Wagner's 
ideas,  like  any  progressive  composer; 
but  he  was  no  imitator,  and  the  fact 
was  recognized  in  due  course.  It  was 
declared,  too,  that  the  work  was  "im- 
moral,"— for  Paris  was  going  through 
the  "crinoline  stage"of  prudery.  Again, 
internal  politics  at  the  Paris  Opera 
were  against  it.  But  these  things  died 
out  after  the  first  overwhelming  suc- 
cess of  the  work  in  London;  today  the 
work  has  no  rival  in  Paris,  unless,  per- 
haps, "Faust"  itself.  Bizet  regarded 
"  Carmen' '  as  his  magnum  opits^  and  he 
was  distressed  at  its  first  failure,  which 
is  said  to  have  hastened  his  death,  three 


months  after  its  first  performance.  He 
never  knew  that  he  had  given  the  world 
what  is  to  this  day,  perhaps,  the  finest 
example  of  French  operatic  art. 

George  Bizet  was  born  in  Paris,  Oc- 
tober 25,  1838;  he  died  there  June  3, 
1875.  He  studied  at  the  Conservatory, 
winning  the  coveted  Prix  de  Rome  in 
1857,  with  its  period  of  study  in  Italy. 
In  this  year  his  first  opera,  "Docteur 
Miracle,' '  was  produced  in  Paris.  He 
had  studied  with  Halevy,  whose  daugh- 
ter he  married.  The  career  thus  aus- 
piciously begun,  however,  was  not  to 
continue  so  fortunately.  Other  works 
of  his  were  produced,  among  them  "Les 
Pecheurs  des  Perles,"  "La  Jolie  Fille 
de  Perth,"  the  incidental  music  to 
Daudet's  play,  "L'Arlesienne,"  but 
their  success  was  trifling.  Bizet's 
chronic  poverty  is  revealed  in  a  letter 
in  which  he  complains  that  he  has  to 
waste  valuable  composing  time  in  mak- 
ing cornet-arrangements  of  popular 
tunes — an  experience  also  of  Wagner's. 
But  many  friends  acknowledged  Bi- 
zet's genius, — among  them  Liszt,  for 


37 


COPY  T    DUPONT 

FARRAR    IN    ACT    I 


>PY'T    MISHKIN  COPY  T    MISHKIN 

CARUSO    AS    DON   JOSE  AMATO    AS    THE    TOREADOR 


PHOTO    WHITE 


THE    QUINTET ACT    II 


COPY  T    DUPONT 

FARRAR    AS    CARMEN ACT    III 


THE    METROPOLITAN    REVIVAL    OF    1915 

38 


VICTROLA      BOOK     OF     THE      OPERA 


when  did  Liszt  ever  fail  to  recognize 
genius?  Nor  did  h«  lack  recognition 
from  fellow-craftsmen, — which,  no 
doubt,  helped  him  endure  somehow  the 
slings  and  arrows  of  an  unnecessarily 
outrageous  fortune. 

Bizet's  was  not  an  obscure  genius; 
considering  his  gift  of  melody  and  his 
talent  for  clothing  his  tunes  in  warm 
harmonies,  his  want  of  success  is  hard 
to  understand.  Perhaps  he  was  not 
finally  happy  in  his  choice  of  subjects; 
not  until  "Carmen"  did  he  "find  him- 
self" and  display  his  magnificent  mas- 
tery over  "local  color."  This  opera, 
with  its  gypsy  scenes,  its  Spanish  set- 
ting, furnished  him  with  every  pic- 
turesque opportunity  he  could  wish 
for,  and  the  drama  itself,  with  its  clear 
play  of  elemental  human  passions  mov- 
ing logically  and  inevitably  to  a  tragic 
end,  revealed  in  Bizet  an  unexpected 
dramatic  ability,  worked  out  with  ad- 
equate power  of  treatment  but  fine  re- 
straint. There  is  no  ranting  in  "Car- 
men." '  The  conflict  of  passions  set  up 
in  the  first  act,  works  out  simply  and 
majestically  to  its  certain  consumma- 
tion. Despite  his  talent  for  local  color, 
the  composer  never  pauses  to  paint 
pretty  but  unessential  tone- pictures. 
His  gift  is  used  as  a  means  to  an  end; 
notwithstanding  the  lively  scenes,  gay 
melodies,  one  feels  throughout  the 
sense  of  foreboding,  of  impending  dis- 
aster, maintained  with  growing  inten- 
sity until  the  curtain  falls.  Only  a 
master  of  musical  dramatics  could  en- 
sure to  us  this  steady  crescendo  of 
emotion. 

Carmen, a.  beautiful,  audacious  gypsy 
girl,  has  been  working  in  a  cigarette 
factory  in  Seville.  To  the  square,  op- 
posite, comes  a  troop  of  dragoons, 
among  them  Don  Jose.  Don  Jose  is  af- 
fianced to  Micaela,  who  comes  from  his 
native  village  to  see  him,  with  money 
and  a  message  from  his  mother.  Don 
Jose  loves  the  girl,  but  he  is  attracted 


by  Carmen's  deliberate  coquetries. 
Carmen  is  arrested  for  stabbing  one  of 
the  factory  girls  in  a  quarrel,  and  is 
placed  in  charge  of  Don  Jose.  She  in- 
duces him  to  untie  the  rope  that  binds 
her,  and  she  escapes.  For  this  Don 
Jose  is  arrested  and  himself  impris- 
oned. Carmen  repairs  to  a  tavern 
near  Seville,  frequented  by  smugglers, 
to  await  Don  Jose's  release. 

Carmen  passes  her  time  gaily  at  the 
inn,  where  she  meets  Escamillo,  a  tore- 
ador, whose  courage  and  dash  attract 
her.  When  Don  Jose  comes  to  the  inn, 
she  says  nothing  of  Escamillo,  but  en- 
deavors to  make  the  dragoon  join  the 
smugglers.  She  fails,  but  he  overstays 
his  leave.  His  officer,  entering,  tries  to 
flirt  with  Carmen.  He  orders  Don  Jose 
to  depart  to  barracks,  and  strikes  him. 
A  fight  follows,  and  the  pair  are  sep- 
arated by  Carmen's  friends.  But  Don 
Jose,  now  guilty  of  insubordination,  is 
forced  to  desert  and  join  the  smug- 
glers. He  goes  off  with  them  and  with 
Carmen,  whom  he  now  adores  pas- 
sionately. 

Don  Jose  is  not  happy  in  his  new 
surroundings;  Carmen  mistakes  his 
feeling  for  cowardice.  Quarrels  arise. 
Carmen,  perplexed,  "reading  the  cards," 
is  appalled  when  she  turns  up  spades — 
"a  grave!"  The  smugglers  go  off  on 
a  mission  of  their  own,  leaving  Don 
Jose  as  sentinel;  he  fires  a  shot  at  a 
stranger  in  the  distance.  He  proves 
to  be  Escamillo,  who  has  come  after 
Carmen.  Don  Jose  is  enraged  and  a 
fight  ensues.  The  pair  are  separated 
by  the  gypsies  and  Carmen,  attracted 
by  the  shot.  Don  Jose  is  for  having 
it  out,  then  and  there,  when  Micaela 
appears  with  the  news  that  his  mother 
is  dying  and  would  see  him.  He  de- 
parts, after  Escamillo  has  invited  all 
to  the  bull  fight. 

The  closing  scene  is  at  Seville,  out- 
side the  bull  ring.  The  crowd  has 
gathered  to  receive  Escamillo,  now  in 


VICTROLA     BOOK     OF     THE      OPERA 


his  glory,  and  Carmen ,  who  has  fol- 
lowed him.  The  toreador  and  his  ad- 
mirers enter  the  ring,  but  Carmen, 
despite  warnings,  awaits  Don  Jose 
outside.  He  arrives,  and  piteously 
begs  her  to  remain  true  to  him.  She 
refuses.  His  anger  arises;  when  she 
remains  obdurate,  he  stabs  her  to  the 
heart — just  as  the  victorious  Escamillo 
emerges  from  the  doors  of  the  bull 
ring  to  receive  her  congratulations. 
He  finds  her  dead,  and  Don  Jose,  in 
agony,  throws  himself  across  the  body. 

THE  MUSIC 

With  such  a  theme  in  such  a 
setting,  Bizet  came  into  his  own. 
Each  number  of  "Carmen"  is  a 
musical  masterpiece,  brilliant  with  life 
and  color;  yet  no  number  is  out  of 
keeping  with  the  rest,  and  the  principal 
airs  stand  out  like  jewels  in  a  perfect 
mounting.  Bizet  united  French  logic, 
Gallic  fitness,  to  a  vivid  Jewish  imagina- 
tion. Moreover,  in  his  characteriza- 
tions he  displays  a  profound  psycho- 
logy; and  despite  his  easy,  flowing 
style,  his  inexhaustible  tunefulness, 
his  dash  and  brilliancy,  which  cannot 
hope  but  captivate  the  most  superficial 
audiences,  his  music  withstands  the 
scrupulous  analysis  of  those  who  really 
look  underneath  the  surface. 

He  is  especially  tuneful  in  delineat- 
ing Carmen — who  is  far  from  being  the 
unconventional,  "Bohemian"  sort  of 
person  early  critics  considered  her.  If 
she  does  not  live  according  to  the  con- 
ventions of  the  village-bred  Micaela, 
it  is  because  she  neither  understands 
nor  appreciates.  She  has  been  reared 
among  smugglers  and  bandits  and  out- 
laws— with  whom  wildness  and  auda- 
city are  the  true  "conventions."  They 
are  gamblers  who  play  with  life  and 
liberty — who  stake  a  full  stomach  and 
a  fat  purse  against  a  bloody  death, 
who  know  no  greater  disgrace  than  to 
fail  to  pay  their  own  strange  debts  of 


honor.  If  these  are  conventions,  then 
Carmen  is  the  most  conventional  of  all. 
She,  too,  is  a  gambler,  taking  gamblers' 
chances  with  what  cards  are  dealt  her. 
Her  cards  are  her  own  audacious 
beauty,  her  wild  coquetry,  the  danger- 
ous fires  of  human  passion;  against  the 
prize  she  plays  for,  the  hearts  of  men, 
she  can  stake  only — -herself.  If  we  do 
not  accept  this  as  the  basic  psychology 
of  Carmen 's  nature,  the  last  act  of  the 
opera  becomes  meaningless.  Why 
should  she  face  Don  Jose  alone  when 
she  might  have  gone  into  the  bull  ring, 
or  commanded  a  body-guard  of  her 
own  friends?  She  knows  that  Don 
Jose,  a  ruined  man,  is  desperate  and 
fearless  when  aroused.  Yet  she  chooses 
to  stay  deliberately.  According  to 
gypsy  law,  she  is  his  until  the  union  is 
broken  by  mutual  consent.  Her 
"gamble"  has  been  that  he  will  weary 
of  her  when  she  wearied  of  him;  and 
she  has  lost.  Well,  she  will  pay.  None 
can  accuse  her  of  fear  or  falsehood. 
She  owes  that  much  to  her  self-respect 
in  conformity  with  gypsy  convention. 
So  she  stands  alone  and  "faces  her 
man." 

All  this  is  revealed  in  the  music. 
The  "Fate"  motive  which  sounds  so 
ominously  at  the  end  of  the  overture, 
is  echoed  again  and  again  through  the 
score,  changing  its  form  in  a  dozen 
ways.  In  the  card  scene  it  flickers 
through  and  through,  like  an  angry 
tongue  of  flame  in  a  bank  of  smoke. 

At  the  end,  when  the  tragedy  is 
done,  it  blazes  forth  luridly.  Carmen's 
own  music  is  saturated  throughout 
with  her  own  seductive  charm.  No 
less  care  is  given  Don  Jose,  a  normal, 
well-regulated  man  with  a  dark  streak 
of  passion  woven  into  his  being; 
observe  his  tenderness  toward  Micaela, 
his  devotion  to  his  mother,  his  sense 
of  shame  at  deserting!  All  this  contrasts 
darkly  with  Carmen's  recklessness. 
Incompatibility  is  bound  to  spring  up 


40 


VICTROLA      BOOK     OF     THE      OF1  ERA 


CARMEN    SINGING    THE        HABANERA    ACT    I 


— and  worse,  for  these  are  people  of  give  her  the  quiet  courage  necessary 
strong  passion;  contempt  for  each  to  make  her  way  to  the  smug- 
other's  way  of  life  is  sure  to  bring  glers'  abode  and  Don  Jose.  Rscamillo 


tragedy.  Micaela,  the  modest  exemp- 
lar of  civilized  convention,  is  all  maid- 
enly shyness,  ill  gentle  loyalty;  these 


is  brave  as  he  is  boastful.  To  each 
the  music  fits,  as  the  flesh  fits  the 
spirit. 


THE    OPERA 


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  production  June  22, 1878. 
First  American  production  October 
23,  1879,  with  Minnie  Hauk,  Campa- 
nini  and  del  Puente.  First  New  Orleans 
production,  January  14,  1881,  with 
Mmes.  Ambre  and  Tournie.  Some 
notable  revivals  in  New  York 


were 


in  1893,  being  Calve's  first  appearance, 
the  cast  including  Fames,  de  Reszke 
and  La  Salle;  in  1905  with  Caruso; 
and  the  Hammerstein  revivals  of  1906, 
with  Bressler-Gianoli,  Dalmores,  Gili- 
bert,  Trentini  and  Ancona;  and  1908 
with  Calve.  After  five  years'  neglect 
the  Metropolitan,  in  1915,  staged  a 
brilliant  revival  with  an  "all-star" 
cast,  including  Farrar,  Caruso,  Alda 
and  Amato.  The  opera  is  frequently 
given  today. 


11 


VICTROLA     BOOK     OF     THE      OPERA 


CHARACTERS 

DON  JOSE  (Don  Ho-zay'}  a  Brig- 

adier ....................  Tenor 

ESCAMILLO   (Es-ca-meel  '-oh}    a 

Toreador  ..............  Baritone 

DANCAIRO  (Dan-ky'  -roh}  .....  Baritone 
REMENDADO  (Rem-en-dah1  -doH)  .  .Tenor 

(Smugglers) 
ZUNIGA  (Tsoo-nee'-gaJi)  a  Captain.  Bass 

MORALES  (Moh-rah'  -lez)  a  Brig- 

adier .....................  Bass 

MICAELA  (Mih-kah-ay'-lah)  a 

Peasant  Girl  ...........  Soprano 

FRASQUITA  (Frass-kee'-tah)  )    Mezzo- 
MERCEDES  (Mer-chay  '-dayz  j  Soprano 

(Gypsies,  friends  of  Carmen) 

CARMEN  (Kar'-men)  a  Cigarette  Girl, 
afterwards  a  Gypsy  .....  Soprano 

An    Innkeeper,    Guide,   Officers,  Dra- 

goons, Lads,  Cigar  Girls,  Gypsies, 

Smugglers 

Scene  and  Period:    Seville,  Spain; 
about  1820 

ACT  I 

SCENE  —  A  Public  Square  in  Seville 


prelude  to  "Carmen"  is  vivid, 
J.  inspiriting,  intense,  bidding  the 
blood  to  tingle  as  it  calls  up  visions  of 
the  crowds  gathering  outside  the 
bull  ring  in  Seville.  The  women  are 
magnificent  dark  beauties,  with  sump- 
tuous black  hair  and  flashing  black 
eyes  that  glitter  like  half-hidden  gems 
from  beneath  their  lace  mantillas. 
They  are  garmented  in  silks  that  are 
stiff  and  heavy  with  embroideries  and 
tassels,  and  they  are  shod  with  black 
"zapatos,"  high-heeled  shoes  that  give 
to  the  graceful  Spanish  gait  an  added 
charm  and  mystery.  Their  escorts 
are  lean,  swarthy  men,  tanned  with 
the  sun  and  hardened  with  outdoor 
life.  They,  too,  are  clad  in  gala  attire. 
The  dashing  "March  of  the  Tore- 


adors," the  first  theme  of  the  prelude, 
is  probably  one  of  the  most  invigorat- 
ing themes  in  all  opera.  It  gives  way 
to  the  proud,  steady  step  of  the  world- 
famous  "Toreador  Song,"  goes  back 
to  the  march  theme,  and  then  dies  out 
with  the  ominous  "Fate"  theme  which 
pursues  Carmen,  an  audible  shadow  of 
disaster,  until  the  very  end. 


There  is  an  odd  story  told  of  this 
theme,  which  is  said  to  be  of  Eastern 
origin.  The  legend  is  that  when  Satan, 
according  to  Mohammedan  tradition, 
was  cast  from  Paradise,  he  remem- 
bered only  one  strain  of  the  music  he 
had  heard  there.  This  was  known  as 
"Asbein,"  or  the  "Devil's  Strain,"  and 
Bizet  used  it  with  fine  symbolic  as 
well  as  perfect  musical  fitness. 

The  effect  in  the  prelude,  after  the 
bright  measures  of  the  Toreador's 
music,  is  almost  appalling;  the  lugu- 
brious notes  of  the  brasses,  heard  be- 
neath the  flickering  tremolo  of  strings, 
giving  true  and  poignant  expression 
to  the  tragedy  of  Don  Jose  and  his 
gypsy  sweetheart,  whose  fickleness 
only  aggravates  her  charm.  This 
movement  breaks  off  with  a  sudden 
detached  chord  as  the  curtain  rises. 
This  short  but  brilliant  prelude  is  a 
summation  of  the  whole  opera,  and  a 
key  to  it.  It  is  complete  in  itself,  and 
makes  an  admirable  record. 

The  curtain  rises  upon  the  noon- 
hour  of  the  cigarette  girls.  They  are 
gathered  in  little  knots,  chatting  gaily 
with  the  men.  Most  of  them  surround 
Carmen,  who  is  piqued  at  Don  Jose's 
indifference  to  her  charms,  as  well  as 
by  his  handsome  figure  in  his  dragoon's 
uniform.  It  is  less  to  the  others  than 
at  Don  Jose  that  she  sings  the  "Ha- 
banera" (Love  is  Like  a  Wood-Bird). 


42 


VICTROLA      BOOK     OF     THE     OPERA 


This  is  the  first  "air"  of  the  opera, 
and  one  of  the  best  known,  though, 
strangely  enough,  Bizet  did  not  write 
its  music.  He  selected  it,  a  typical 
Spanish  tune,  from  Yradier's  "Album 
des  Chansons  Espagnoles."  The  rather 
slow,  seductive  tempo,  the  dreamily 
sensuous  melody,  are  most  aptly 
placed;  the  refrain  is  particularly 
fascinating. 

With  this  Don  Jose's  fate  is  sealed. 
He  is  not  in  love  with  Carmen — yet; 
but  he  cannot  banish  her  image  from 
his  mind,  even  when,  later,  Micae/a, 
his  bethrothed  sweetheart,  appears 
with  the  letter  from  his  mother,  who 
also  sends  him  a  kiss — most  shyly  and 
modestly  delivered. 

A  lovely  duet  follows,  "Parle-moi 
de  ma  mere"  (Tell  Me  of  My  Mother). 
It  shows,  as  plainly  as  music  may, 
that  Don  Jose's  affection  for  the  girl 
is  real,  and  that  she,  in  turn,  has  given 
him  her  whole  heart.  Micaelas  air 
develops  into  a  broad,  sustained  melody 


of  real  lyric  "swing"  and  power,  Don 
Jose  taking  it  up  as  the  memories  of 
his  old  home  crowd  back  upon  him — 
the  valley,  his  mother,  his  first  love 
for  Micaela. 

When  the  girl  departs,  Don  Jose  is 
left  alone  with  his  thoughts.  But  it 
is  not  for  long.  A  commotion  breaks 
out  in  the  factory  and  the  reading  of 
his  mother's  letter  is  interrupted  by 
the  outpouring  of  an  excited  rabble. 
Carmen  has  quarrelled  with  another 
girl  and  stabbed  her.  She  is  brought 
before  the  officer  of  the  guard  and 
arrested. 

The  girl  behaves  with  insolence.  Her 
hands  are  therefore  tied  behind  her, 
and  she  is  left  in  charge  of  Don  Jose 
while  the  soldiers  drive  off  the  crowd. 
Alone  with  him,  she  proceeds  to  bring 
to  bear  upon  the  dragoon  all  of  her 
powers  of  fascination;  she  is  frankly 
charmed  by  the  handsome  youngster 
and  piqued  by  his  apparent  indiffer- 
ence. Does  she  know  it  is  not  real? 


1-lliH"     KEUTLINUKK 

THE  CARDS  PREDICT  CARMEN'.S  DEATH 
(EMMA  CAI.VE) 


fHOTO    WHIIK 


ALDA    AS    MICAE1.A 


43 


VICTROLA      BOOK     OF     THE      OPERA 


She  proceeds,  woman-wise,  to  bring 
these  powers  into  play.  She  sings  to 
him  the  famous  "Seguidilla,"  another 
famous  dance-song,  composed  in  an 
insidious  yet  powerfully  rhythmic  vein. 
Its  cadences  cannot  fail,  in  his  present 
state,  to  move  the  heart  of  Don  Jose. 
She  tells  him  of  her  plans  to  go  to  the 
inn  of  Lillas  Pastia,  near  the  ramparts 
of  Seville.  The  tormented  dragoon 
knows  that  she  is  making  the  vulgarest 
love  to  him,  for  purposes  of  her  own; 
yet  he  cannot  resist  her  beauty  and 
her  song — especially  when  she  tells 
him  that  she  will  meet  at  the  inn  a 
soldier  whom  she  loves.  Who  can  this 
be  but  Don  Jose  himself?  Blind  to  all 
but  his  infatuation,  blind  to  his  duty, 
forgetful  of  Micaela,  heedless  of  what 
may  happen,  he  unties  her  hands. 
When  the  soldiers  come  to  take  her 
away,  she  pushes  Don  Jose  aside,  and 
in  the  confusion  escapes — to  the  inn 
of  Lillas  Pastia. 

Between  the  first  and  the  second 
acts,  a  graceful  orchestral  interlude 
serves  to  typify  the  lapse  of  time  until 


Don  Jose,  free  of  prison,  is  able  to  re- 
join Carmen.  This  interlude  is  a  gem. 
It  is  complete  in  itself,  yet  it  gives 
continuity  to  the  opera,  where  it  is 
placed  with  the  certainty  with  which 
a  single  deft  note  is  placed  in  "a  melody 
and  with  as  much  significance.  Its 
dancy,  gypsy  rhythm  and  its  many- 
colored  orchestral  setting,  figure  forth 
the  new  world  in  which  Don  Jose  is  to 
find  himself — a  light-hearted,  reckless, 
but  jealous  and  high-blooded  com- 
munity of  smugglers  and  thieves  and 
vagabonds. 

ACT  II 

SCENE — Tavern  in  Suburbs  of  Seville 
/BARMEN  is  in  her  element.  Gypsy 
\^  smugglers  have  come  down  from 
the  mountains.  They  are  having  a 
gay  time — dancing,  feasting  on  rabbits 
and  olives,  and  drinking  muddy  wine. 
They  break  into  a  dashing  gypsy  song, 
"Les  tringles  de  sistres,"  one  of  the 
most  typical  gypsy  numbers  in  the 
opera.  Its  eager  rhythm,  the  clash  of 
tambourines,  the  freshness  and  origi- 


COPY  T  uimiNr 

1)E     I.USSAN    AS    CARMKN 


KMMV    DESTINN    AS    CARMEN 


44 


COPY  T    DtlPONT 

CALVE    SINGING    THE    GYPSY 
SONG — ACT    II 


VICTROLA     BOOK     OF     THE      OPERA 


nality  of  the  harmonies  and  modula- 
tions, which  never  grow  stale  repeat- 
ing, the  delicacy  or  the  instrumenta- 
tion— all  are  in  Bizet's  happiest  vein. 

The  dance  is  repeated,  the  smugglers 
are  ready  to  go,  and  they  invite  Carmen 
to  join  them.  But  mindful  of  Don  Jose, 
she  refuses.  Meanwhile,  before  her 
lover  appears,  she  makes  a  new  friend 
— Escami/lo,  the  Toreador,  who  intro- 
duces himself  in  what  is  perhaps  the 
most  famous  air  of  the  whole  opera; 
and  what  is  certainly  one  of  the  most 
clever  pieces  of  description  in  all  music. 

This  fiery  tale  of  the  bull  fight  itself 
is  admirably  set  in  the  melody  and  its 
accompaniment,  while  the  refrain  is 
one  that  sets  the  heart  beating.  The 
refrain  is  that  previously  heard  in  the 
"Prelude,"  and  it  occurs,  in  different 
forms,  throughout  the  opera  whenever 
the  Toreador  comes  to  the  scene.  Its 
effect  on  Carmen  is  singular.  She  is 
loyal  to  Don  Jose,  but  she  is  rather 
upset  by  the  Toreador. 

Don  Jose  is  heard  singing  in  the 
distance.  Carmen  and  her  friends  peer 
through  the  shutter.  They  admire  his 
appearance  and  agree  he  would  make 
a  fine  smuggler.  Carmen  pushes  them 
from  the  roomandprepares  to  meet  him, 
as  he  enters  singing  the  last  high  note  of 
the  soldierly  air,  "Halte  la!  Qui  va  la?" 
(Halt There).  He  is  greeted  with  joy. 

Carmen  dances  for  Don  Jose — to  an 
odd  little  air  of  her  own  composing, 
with  castanets.  She  begs  him  to  join 
the  smugglers.  Beat  for  beat,  how- 
ever, the  bugles  sound  against  her  odd 
song.  Affairs  come  to  a  climax,  in  a 
splendid  piece  of  dramatic  writing. 
Carmen  pitches  Don  Jose  his  cap  and 
sabre,  and  bids  him  begone.  He  is 
more  enslaved  than  ever;  he  is  morti- 
fied by  the  prospect  of  losing  her,  and 
his  passion  surges  up  to  the  boiling- 
point.  Now  is  the  moment  for  a  really 
great  love  song — and  we  have  it,  in 
the  "Air  de  la  Fleur,"  or  Flower  Song. 


Don  Jose  reminds  Carmen  of  the  flower 
she  threw  to  him  at  their  first  meeting, 
and  he  tells  her,  in  touching  accents, 
how  he  kept  it  through  the  dreary 
weeks  of  his  prison  life. 


IE  *  i 


c ir  si 


The  young  man  pours  out  his  heart 
in  this  rich  and  tender  romanza. 
Carmen 's  wild  heart  is  touched,  and 
she  grows  more  determined  than  'ever 
that  he  shall  go  off  with  her  to  the  joy 
and  the  freedom  of  the  gypsies'  life — 
the  adventures  and  the  dangers  and 
escapes,  the  long  nights  under  the  free 
winds  and  the  stars. 

He  and  Carmen  sing  of  them  to- 
gether "La  bas  dans  la  montagne" 
(Away  to  Yonder  Mountains);  but 
Don  Jose  is  determined,  for  the  time 
being,  to  go  back  to  his  duties  as  a 
soldier.  His  love  affair  seems  likely 
to  come  to  an  end  when  his  captain, 
Zuniga,  enters  the  inn.  He  insolently 
orders  Don  Jose  to  be  off,  and  he  turns 
upon  Carmen  an  eye  of  proprietorship. 
Don  Jose  refuses,  Zuniga  strikes  him, 
and  the  trooper,  mad  with  rage,  draws 
the  sabre  which  Carmen  had  thrown 
him  a  little  while  before. 

Carmen  screams  for  help — to  prevent 
bloodshed.  Officer  and  man  are  sepa- 
rated and  overpowered,  and  for  Don 
Jose  the  life  of  a  law-keeping  subject 
and  soldier  is  done.  Guilty  of  insubor- 
dination, of  an  attempt  upon  a  su- 
perior's life,  he  can  only  go  with  the 
gypsies,  desert  and  become  an  outcast 
— however  much  the  lover  of  Carmen. 

Before  the  next  act  there  is  another 
interlude  of  great  beauty — a  pastoral 
melody  of  exquisite  and  touching  grace. 
Its  melody  is  given  by  a  flute  against 
plucked  strings: 


45 


VICTROLA     BOOK     OF     THE      OPERA 


It  is  taken  up  in  "imitation"  by 
other  instruments.  Its  song-like  sweet- 
ness and  purity  are  like  cooling  waters 
after  the  heady  and  intoxicating  vint- 
ages of  the  second  act.  They  refresh 
the  emotions  for  the  struggles  yet  to 


come. 


ACT  III 


SCENE — A  Wild  and  Rocky  Pass  in  the 

Mountains  at  Night 

^  I  ^HE  drama  sweeps  on.  Don  Jose 
J_  is  lost.  He  has  burned  his  bridges; 
he  is  passionately  in  love  with  Carmen. 
He  has  forgotten  Micae/a,  he  has  for- 
gotten his  mother,  he  has  abjured  the 
laws  which  governed  him,  he  has  broken 
all  authority,  he  is  an  outcast  with  a 
price  upon  his  head.  And  Carmen? 
He  is  her  slave;  woman-like  she  is  tiring 
of  him,  because  she  has  discovered  his 
weakness.  Don  Jose  is  hardly  a  good 
smuggler.  Loyal  unto  the  band,  he 
despises  the  life,  is  resentful  against 


her  even  while  he  loves  her;  then,  in 
the  background,  is  Escamillo.  Already 
in  spirit  Don  Jose  and  Carmen  are 
separate — separate  by  the  strange 
forces  of  heredity  and  circumstance 
that  by  determining  society,  control 
life,  even  as  against  the  very  passions 
that  bind  them  together. 

The  stage  is  dark.  It  is  the  hour 
before  dawn;  the  smugglers  arrive  in 
groups,  set  down  their  bundles  and 
light  a  fire.  Here  occurs  the  famous 
Sextette.  Carmen  and  Jose  are  at 
open  odds.  Carmen  drifts  to  where 
Frasquita  and  Mercedes  are  "reading 
the  cards." 

Here  she  sings  the  "Voyons  que 
j'essaie"  (Let  Me  Know  My  Fate) 
trying  to  read  her  own  fortune.  Out 
of  the  orchestra  steals  the  terrible 
"Fate-theme."  Spades,  spades,  spades, 
the  emblems  of  death  and  disaster! 
She  throws  them  aside  with  fury — but 
with  despair.  The  camp  is  ready,  the 


COPY  T    UUPONT 

CARUSO    AS    DON    JOSE ACT    III 


COPY  T    UUPONT 

CAI.VE    AS    CARMEN- 


COPY  T    MISHKIN 
DALMORES    AS    DON    JOSE 


46 


VICTROLA      BOOK     OF     THE      OPERA 


smugglers  retire.  Then,  though  Don 
Jose  is  on  guard,  there  steals  in  the 
pitiful  figure  of  Micaela. 

Don  Jose's  mother  is  dying,  and  the 
girl,  for  all  her  terrors,  has  brought  the 
news  into  the  mountains.  In  a  beauti- 
ful air,  "Je  dis  que  rien  ne  me'epouv- 
ante"  (I  am  not  Faint-Hearted)  she 
calls  upon  heaven  to  protect  her.  The 
music  takes  on  the  softer  and  tenderer 
coloring  appropriate  to  her  pure  devo- 
tion to  Don  Jose.  The  solo  is  touching 
in  this  tenderness,  and  in  curious  con- 
trast to  the  weird  gloom  of  the  card 
scene. 

A  shot  is  fired,  and  the  girl  runs  into 
a  cave.  Don  Jose  has  seen  a  stranger, 
and  fired  at  him.  It  is  Escamillo^  who 
has  come  to  join  Carmen.  He  appears 
examining  his  hat,  which  the  bullet 
has  pierced.  He  introduces  himself 
with  fine  bravado:  "  Je  suis  Escamillo" 
(I  am  Escamillo).  The  two  men  learn 
they  are  rivals.  In  a  moment  knives 
are  out,  when  Carmen  and  the  smug- 
glers, attracted  by  the  shot,  again  ap- 
pear and  intervene.  Don  Jose  again 
would  bring  the  matter  to  a  finish,  but 
Micaela  appears  with  her  news,  and 
Don  Jose  must  leave  to  see  his  mother 
before  her  death.  All  else  is  forgotten. 


Carmen  scornfully  echoes  Micaela  s 
request,  the  music  echoing  Don  Jose's 
jealousy.  The  Toreador  song  chorus 
returns,  as  if  to  indicate  Escamillo's 
ascendency,  but  it  dies  out  in  strangely 
distorted  echoes.  Don  Jose  and  Micaela 
disappear  in  the  opposite  direction. 
Carmen  leans  faintly  against  a  boulder 
and  watches  them  depart.  With  a 
shudder  she  remembers  the  message 
of  the  cards.  Well,  whatever  will  be, 
will  be.  Such  is  fate. 

ACT  IV 

SCENE — A  Square  in  Seville^  before  the 
Entrance  to  the  Bull  Ring 

A  THIRD  intermezzo  indicates 
again  the  changed  scenes  of  the 
opera.  It  is  lively,  delicate  yet  vigor- 
ous, like  a  swift  dance — only  the  oboe 
has  a  few  plaintive  notes.  Then  the 
curtain  rises  on  the  crowd  outside  the 
great  "Plaza  de  Toros."  A  brilliantly 
dressed  throng  awaits  the  procession 
into  the  ring  and  the  entrance  of  Es- 
camillo. The  brilliant  opening  theme 
of  the  prelude  rings  out  again  with  ir- 
resistible verve.  Street  hawkers  with 
oranges,  fans  and  favors,  are  vigor- 
ously pushing  their  wares.  Soldiers 


CARD    SCENE ACT    III 


47 


VICTROLA      BOOK     OF     THE      OPERA 


and  civilians,  cits  and  peasants,  aristo- 
crats and  bull-ringloafers,  black-haired, 
'black-eyed  women  with  towering 
combs  and  floating  mantillas  and  em- 
broidered silken  shawls,  throng  the 
open  square.  Escamillo  appears  with 
Carmen,  both  magnificently  dressed. 
Carmen's  own  brilliant  attire  proclaims 
its  own  story,  and  hers.  The"Toreador 
Song"  greets  Escamillo,  who  takes  leave 
or  Carmen  before  he  enters  the  ring, 
in  the  song,  "Si  tu  m'amas"  (If  You 
Love  Me!),  He  promises  to  fight  all 
the  better  for  her  love;  for  Escamillo, 
despite  his  rough  life  and  his  gayeties, 
is  a  brave  and  gallant  Spanish  gentle- 
man. Carmen,  won  to  him,  yet  half- 
conscious  of  what  Fate  is  bringing  her, 
avows,  in  return,  her  own  willingness 
to  die  for  Escamillo.  As  the  Toreador 
enters  the  ring,  Carmen  is  warned  of 
Don  Jose's  nearness.  But  she  is  no 
coward  herself  and  she  replies  that 
she  does  not  fear  him.  Alone  upon  the 
stage  she  waits  his  reappearance — 
which  does  not  take  long. 

Then  the  clouds  of  tragedy  lower  in 
truth.  The  final  duet  begins,  dis- 
tributed over  three  records,  "C'est 
Toi"  ('Tis  Thou?),  "Jet'aime  encore" 


(Let  Me  Implore  You)  and  the  Duet 
and  Finale.  For  the  first  few  moments 
the  air  is  tense;  question  and  reply  are 
swift,  the  one  pleading,  the  other  mer- 
ciless. Don  Jose  pleads  in  impassioned 
accents;  Carmen  for  a  moment  seems 
even  to  waver;  but  from  the  interior 
of  the  ring  come  the  plaudits  of  the 
crowd,  the  first  theme  of  the  prelude 
reappearing,  reinforced  with  magnifi- 
cent choral  harmony.  Carmen  faces 
it  out,  but  her  heart  is  chill,  for  she 
knows  that  the  end  is  come.  Don 
Jose's  rage  increases  when  the  applause 
of  the  multitude  again  crashes  forth. 
Carmen,  seeming  uplifted,  throws  at 
Don  Jose's  feet  the  ring  he  has  given 
her.  He  draws  his  knife  and  rushes  in. 
Carmen  has  seen  death. 

When  Escamillo  appears,  a  moment 
later,  among  the  crowd,  at  the  wide- 
flung  doors,  Carmen  is  lying  there  and 
Don  Jose  has  surrendered.  But  at  the 
sight  of  his  rival,  Don  Jose  frees  himself 
a  moment,  and  flings  himself,  as  if  to 
join  her  in  the  death  he  cannot  yet 
hope  for,  across  the  body  of  his  be- 
loved. Another  magnificent  phrase 
peals  out,  "My  Adored  Carmen!" 
and  Fate  has  had  its  will. 


THE   VICTOR   RECORDS 

(Sung  in  French  unless  noted) 


ACT  I 
PRELUDE 

Philadelphia    Orchestra  64822     10-in.,  $1.25 
HABANERA 

(Love  is  Like  a  Wood-bird)  EMMA  CALVE, 

Soprano  88085     12-in.,     1.75 

GERALDINE  FARRAR,  Soprano 

87210     10-in ,     1.25 
GABRIELLA    BESANZONI,  Contralto     /;/ 

Italian  74613     12-in.,     1.75 

SOPHIE  BRASI.AU,  Contralto 

64469     10-in.,     1.25 

CARMEN: 

Ah!  love,  thou  art  a  wilful,  wild  bird, 
And  none  may  hope  thy  wings  to  tame, 
If  it  please  thee  to  be  a  rebel, 
Say,  who  can  try  and  thee  reclaim? 


Threats  and  prayers  alike  unheeding; 
Oft  ardent  homage  thou'lt  refuse, 
Whilst  he  who  doth  coldly  slight  thee, 
Thou  for  thy  master  oft  thou'lt  choose. 
Ah,  love! 

For  love  he  is  the  lord  of  all, 
And  ne'er  law's  icy  fetters  will  he  wear, 
If  thou  me  lovest  not,  I  love  thee, 
And  if  I  love  thee,  now  beware! 
If  thou  me  lovest  not,  beware! 
But  if  I  love  you,  if  I  love  you,  beware! 
beware! 

PARLE-MOI  DE  MA  MERE 

(Tell  Me  of  My  Mother)  LUCY  MARSH, 
Soprano  and  JOHN  McCoRMACK, Tenor 

SEGUIDILLA    '  74MS    I2i""        Ul 

(Near  the  Walls  of  Seville)  GERAI.DINE 
FARRAR,  Soprano  88511      12-in.,     1.75 

48 


VICTROLA      BOOK     OF     THE      OPERA 


CARMEN  (airily): 

Nigh  to  the  walls  of  Sevilla, 

Soon  at  my  friend  l.illas  Pastia 

I'll  trip  thro'  the  light  Seguidilla, 

And  I'll  quaff  Manzanilla, 

I'll  go  seek  out  my  friend  Li'las  Pastia. 

(Plaintively,  casting  glances  at  Jose): 

Yes,  but  alone  one's  joys  are  few, 

Our  pleasures  double,  shared  by  two! 

So  just  to  keep  me  company, 

My  beau  I'll  take  along  with  me! 

A  handsome  lad — deuce  take  it  all! — 

Three  days  ago  I  sent  him  off. 

But  this  new  love,  he  loves  me  well; 

And  him  to  choose  my  mind  is  bent. 

ACT  II 
LES  TRINGLES  DE  SISTRES 

(Gypsy     Song)     GERALDINE     FARRAR, 
Soprano  88512     12-in.,     1.75 

Ah!  when  of  gay  guitars  the  sound 
On  the  air  in  cadence  ringing, 
Quickly  forth  the  gypsies  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. 

CANCION  DEL  TOREADOR 

(Toreador  Song)  TITTA  RUFFO,  Baritone 
and  La  Scala  Chorus     In  Italian 

92065  12-in.,  1.75 
PASQUALE  AMATO,  Baritone  In  Italian 

88327  12-in.,  1.75 
EMILIO  DE  GOGORZA,  Baritone  and  New 

York  Opera  Chorus      88178     12-in.,     1.75 
GIUSEPPE  CAMPANARI,  Baritone 

In  Italian  85073     12-in.,     1.75 

HALTE  LA!  QUI  VA  LA? 

(Halt  There!)     GERALDINE     FARRAR, 
Soprano  and  GIOVANNI  MARTINELLI, 
Tenor  89112     12-in.,     2.00 

AIR  DE  LA  FLEUR 

(Flower  Song)  ENRICO  CARUSO,  Tenor 

88208  12-in.,  1.75 
KNKICU  CARUSO,  Tenor  In  Italian 

88209  12-in.,  1.75 
GIOVANNI  MARTINELLI,  Tenor 

74391  12-in.,  1.75 
EVAN  WILLIAMS,  Tenor  In  English 

74122  12-in.,  1.75 
JOHN  McCoRMACK,  Tenor  In  Italian 

74218     12-in.,     1.75 

Do\  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  onre  again! 
O,  Carmen,  mine!  here  as  thy  slave,  love  binds 
me  fast, 

Carmen,  I  love  thee! 
From  Schirmer  score.    Copy't  G.  Schirmer 

LA-BAS  DANS  LA  MONTAGNE 
GERALDINE  FARRAR,  SOPRANO 

88513     12-in.,     1.75 

ACT  III 

VOYONS  QUE  J'ESSAIE 

(Let  Me  Know  My  Fate)    GERALDINE 
FARRAR,  Soprano          88534     12-in.,     1.75 

CARMEN: 

Come,  let  me  know  my  destiny. 
Pictures!  spades!  a  grave! 
They  lie  not;  first  to  me,  and  then  to  him, 
And  then  to  both — a  grave! 

JE  DIS  QUE  RIEN  NE  M'EPOUVANTE 

(I  Am  Not  Faint-Hearted)    (Micaela's 

Air)    GERALDINE    FARRAR,    Soprano 

88144     12-in.,     1.75 

FRANCES  ALDA,  Soprano  74353     12-in.,     1.75 
ALMA  GLUCK,  Soprano     74245     12-in.,     1.75 
MIC  A  E  LA: 

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! 


49 


VICTROLA      BOOK     OF     THE      OPERA 


ACT  IV 
ARAGONAISE 

(Prelude)  TOSCANINI  and  La  Scala  Or- 
chestra 64999  10-in.,  1.25 

SI  TU  M'AIMES 

(If  You  Love  Me)  GERALDINE  FARRAR, 
Soprano,  PASQUALE  AMATO,  Baritone, 
with  Metropoli  tanOpera  Chorus 

89086     12-in.,     2.00 


C'EST  TOI! 

(You  Here  ?)  GERALDINE  FARRAR, 
Soprano  and  GIOVANNI  MARTINELU, 
Tenor  89111  12-in.,  2.00 

JE  T'AIME  ENCORE 

(Let  Me  Implore  You)  GERALDINE 
FARRAR,  Soprano,  GIOVANNI  MARTI- 
NELLI,  Tenor  with  Metropolitan 
Opera  Chorus  89110  12- in.,  2.00 


THE  DOUBLE-FACED  RECORDS 

[Carmen  Selection Sousa's  Band\ 

\         Prelude,  Act  I— Entr'  acte,  Act  IV— Toreador  Song  [35000 

I     Freischiitz — Overture Sousa's  Band) 

(Toreador  Song Werrenrath  and  Chorus^ , 

I     Pagliacci — Prologue    (In   Italian) Reinald   Werrenrath,    Baritone}' 

("Toreador  Song  (In  English} Alan   Turner,  Baritone} 

\     Trovatore — Tempest  of  the  Heart  (In  English) .....  .Alan  Turner,  Baritone J 

(Canzone  del  Toreador  (Toreador  Song)  (In  Italian)  1 

.  .  .Cigada,  Huguet,  Salvador,  La  Scala  Chorus\626\& 
[     Cavalleria     Rusticana — Intermezzo Pryor's     Orchestra) 

fCarmen  Selection  (Xylophone) Wm.  Reitz°\,,-on2 

\     Boheme — Musetta    Waltz    (Whistling) Guido  Gialdini] 

[Carmen  Selection Vessella's  Italian  Band\ 

|          Prelude — Toreador  Song — Habanera  >35610 

I     Coronation  March  (Le  Prophete)  (Meyerbeer) Vessella's  Italian  Band] 

fC'est  toi!  (You  Here?) Brohly  and  Campagnola^rr^, 

Ije  t'aime  encore — Let  Me  Implore  You Mile.  Brohly;     M.  Campagnola] 

(Prelude  (2)  First  Intermezzo Victor  Herbert's  Orchestral 

\Prelude — Finale  and  Third  Intermezzo. . .  .  .  Victor  Herbert's  Orchestra]' ' 


12-in.,  #1.35 

12-in., 
10-in., 

10-in., 
10-in., 


1.50 
.85 

.85 


12-in.,     1.35 


,  -n 


17-          i  cr/-» 
"' 


DON    JOSE    AND    CARMEN 


50 


PHOTO    1.ANDE 


TOSCANINI 


A    REHEARSAL    OF    CAVAM.KRIA    AT   THE    METROPOLITAN    OPERA    HOUSE,    NEW    YORK 

CAVALLERIA  RUSTICANA 


UNLIKE  many  suddenly  success- 
ful works,  "Cavalleria  Rusti- 
cana"  continues  to  hold  its  own 
as  one  of  the  most  popular  of  operas. 
Nor  is  this  hard  to  understand.  The 
plot  moves  directly  and  simply  to  its 
predestined  end;  the  music  is  forceful 
and  strong,  intensely  dramatic  in  feel- 
ing and  rich  in  harmony  and  orchestra- 
tion. Best  of  all,  Mascagni  manages 
to  combine  a  good  deal  of  straightfor- 
ward melody  in  a  score  which  otherwise 
follows  the  modern  idea  in  having  no 
set  arias  and  ensembles. 

For  Pietro  Mascagni,  the  production 
of  "Cavalleria  Rusticana"  proved  as 
dramatic  a  turn  in  fortune's  wheel  as 
any  such  turn,  perhaps,  in  the  history 
of  opera.  The  son  of  a  poor  baker  of 
Leghorn,  born  December  7,  1863,  aided 
by  a  friendly  uncle,  he  entered  the 
Cherubini  Conservatory  against  his 


parents'  wishes.  Some  preliminary  suc- 
cesses not  only  reconciled  his  father, 
but  brought  aid  from  Count  Florestano 
de  Larderel,  a  wealthy  amateur,  who 
sent  him  to  the  famous  Conservatory 
at  Milan.  Here  success  for  a  time 
deserted  him.  Resenting  the  dry  stud- 
ies of  harmony  and  counterpoint,  he 
soon  left  his  teachers,  not  unwillingly, 
to  mould  artistic  temperaments  less 
assertive  than  his  own.  He  found 
himself  conductor  of  an  obscure  touring 
opera  company  visiting  the  smaller 
Italian  cities  with  no  very  brilliant 
prospects  for  the  future,  though  he 
learned  many  practical  details  of  his 
art  which  he  might  never  have  learned 
at  the  Conservatory.  Wearying  of  this 
life  of  constant  travelling,  he  married 
and  settled  down  to  the  humdrum 
career  of  a  music  teacher  at  Cerignola, 
near  Foggia.  About  this  time,  how- 


Si 


VICTROLA     BOOK     OF     THE"    OP   ERA 


ever,  there  was  need  felt  in  Milan  for 
short,  concise  one-act  operas,  and  a 
prize  for  such  a  work  was  offered  by 
Sozogno,  the  music  publisher.  Securing 
a  libretto,  Mascagni -worked  feverishly, 
and  in  eight  days  wrote  "Cavalleria 
Rusticana."  Not  only  did  he  win 
Sozogno's  prize,  but  he  won  the  yet 
greater  prize  of  universal  approval,  and 
while  still  in  his  twenties  this  obscure 
music  teacher  found  himself  hailed  as  a 
genius,  one  of  the  newest  and  brightest 
stars  in  Italy's  lustrous  host  of  operatic 
composers.  Medals  were  struck  in  his 
honor.  His  native  city,  Leghorn,  wel- 
comed him  back  with  torchlight  pro- 
cessions and  illuminations,  and  the 
King  of  Italy  conferred  upon  him  the 
order  of  the  crown  of  Italy,  an  honor 
not  bestowed  upon  Verdi  until  middle 
life.  "Cavalleria"  was  hailed  with 
rapture  all  over  Italy,  and  soon  was 
equally  popular  in  all  music-loving 
countries.  Mascagni's  subsequent  ca- 
reer has  been  devoted  largely  to  oper- 
atic composition,  but  has  produced  no 
work  quite  rivalling  "Cavalleria"  in 
popular  esteem.  His  "Piccolo  Marat," 
first  given,  in  Italy,  in  1921,  remains 
to  be  more  thoroughly  known. 

The  story  of  "Cavalleria  Rusticana" 
is  so  simple  that  it  can  be  told  in  a  sen- 
tence. Turiddu,  a  young  Sicilian  peas- 
ant, returns  from  the  wars  to  find  his 
old  sweetheart  Lola  wedded  to  Alfio, 
and  he  makes  love  to  Santuzza;  but  in 
Alfio  s  absence  he  renews  relations  with 
Lola.  Santuzza  in  despair  informs 
Alfio  upon  his  return,  and  the  two  men 
fight  it  out  with  knives  till  Turiddu  is 
slain.  The  raw  facts  of  the  plot  are 
so  simple  as  to  savor  of  every-day  po- 
lice court  news,  but  the  charm  of  the 
Sicilian  setting,  the  interplay  of  human 
nature  as  the  various  characters  thread 
out  their  destiny,  the  passionate  inten- 
sity of  the  music,  are  such  as  to  lift  this 
tragedy  of  low  life  into  a  vivid  and 
heart-searching  drama.  In  contrast 


with  the  love  of  two  women  for  Tu- 
riddu is  the  love  of  a  third — his  mother. 
Through  all  the  misfortunes  which  his 
escapades  bring  him,  the  mother4ove 
is  untaiir&g,  and  Turiddu  s  mother  is  no 
less  sympathetic. with  the  wronged  and 
outraged  Santuzza.  This,  and  the  sim- 
ple religious  piety  pf,  the  peasant-folk 
at  Eastertime,  lift  the  tragedy  out  of 
the  commonplace. 

The  music  of  "Cavalleria  Rusticana" 
is  a  happy  blend  of  the  old  and  the  new. 
In  its  melodiousness  it  adheres  to  the 
older  tradition.  Tunes  abound,  so 
simple  in  character  that  any  person 
with  an  average  ear  for  music  can  read- 
ily grasp  them.  In  this  respect  the 
work  is  obviously  a  descendant  of  the 
old  Italian  school  of  opera;  but  the 
method  in  which  the  melodies  are  used 
is  modern.  There  are  no  set  arias,  no 
elaborately  arranged  ensembles  halting 
the  movement  of  the  plot  while  the 
singers  display  their  vocal  charms.  The 
melodies  occur  naturally  and  spontane- 
ously, and,  moreover,  they  are  arrayed 
in  all  the  panoply  of  modern  harmony 
and  orchestration.  There  is  none  of 
the  stiff  recitative  of  the  older  day. 
The  recitative,  on  the  contrary,  is  flex- 
ible and  natural,  giving  a  just  musical 
presentment  of  the  speaking  voice's 
inflections  with  an  accompaniment  for 
the  orchestra  which  faithfully  follows 
the  mood  of  the  moment.  Emotional 
crises  develop,  reach  their  climax  and 
pass  away;  or  again,  they  reach  a  point 
where  the  lyric  outburst  of  melody 
seems  natural,  and  indeed  inevitable. 
This  flowing  continuity  of  style  is  es- 
sentially modern,  being  one  of  the 
innovations  in  operatic  treatment  for 
which  we  are  indebted  to  the  genius  of 
Richard  Wagner.  Ultra-modern  com- 
posers have  carried  the  idea  forward  to 
such  a  degree  as  practically  to  elimi- 
nate melody  in  the  ordinary  sense  of 
the  word;  but  the  success  of  their  ef- 
forts is  still  in  doubt. 


52 


VICTROLA     BOOK     OF     THE      OPERA 


THE    OPERA 


OPERA  in  one  act.  Libretto 
adapted  from  the  book  of 
Verga  by  Targioni-Torzetti  and 
Menasci;  music  by  Mascagni.  First 
performed  at  Rome,  May  17,  1890; 
in  Germany,  at  Berlin,  October  21, 
1891;  London,  1891;  Paris,  January 
19,  1892.  First  United  States  produc- 
tion in  Philadelphia, September  9, 1891. 
Given  in  New  York  October  1,  1891. 

CHARACTERS 

and  Original  American  Cast 

SANTUZZA  (San-toot' zah),  a  vil- 
lage girl Soprano     (Kronold) 

LOLA  (Low' '-lah) ,  wife  of  Alfio 

Mezzo-Soprano  (Campbell) 

TURIDDU  (Too-ree'-doo),  a  young 

soldier Tenor         (Guille) 

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

Baritone  (Del  Puente) 

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

Turiddu  .  .  .  Contralto  (Teale) 

Chorus  of  Peasants  and  Villagers. 
Chorus  behind  the  Scenes. 

The  Scene  is  laid  in  a  Sicilian  Village. 
Time,  the  Present. 

(The  nameof  theopera  is  pronounced 
Kah-vahl-leh-ree'-ah  Roos-tih-kah'-nah . 
Its  English  translation  is  Rustic  Chiv- 
alry). 

SCENE — A  Square  in  a  Sicilian  Village. 
Attheright  in  the  Background  is  a  Church. 
At  the  left,  the  Inn  and  Dwelling  of  Mam- 
ma Lucia.  The  Time  is  Easter  Morning 
in  the  Present  Day. 

THE  opera  really  begins  with  the 
Orchestral  Prelude,  which  takes 
the  form  of  a  fantasia  on  the  principal 
airs  of  the  work,  welded  together  with 
splendid  musicianship.  During  the 
performance,  however,  the  voice  of 
Turiddu  is  heard  from  the  curtained- 


stage  singing  the  "Siciliana,"  one  of  the 
most  popular  airs  in  the  whole  work: 


It  is  a  love-song  pure  and  simple;  but 
in  its  long-drawn  cadences,  its  darkly 
colored  harmonies,  is  some  hint  of  the 
tragedy  which  is  the  consummation  of 
Turiddu  s  love  for  Lola.  1 1  is  a  serenade, 
and  the  composer  has  given  the  melody 
a  guitar-like  accompaniment  which  is 
unusually  charming,  but  of  course  the 
main  significance  lies  in  the  melody 
and  the  ardent  wooing  of  Turiddu: 

O  Lola,  fair  as  flow'rs  in  beauty  smiling, 

Love  from  thy  soul-lit  eyes 

Softly  is  glowing; 

He  who  would  kiss  thy  lips,  red  and 

beguiling, 

Blissful  and  favored  were  he 
Such  heaven  knowing! 

*      *      *      * 

It  is  Easter  Day,  a  festival  that 
means  as  much  to  the  Sicilians  as 
Christmas  to  us.  Moreover,  it  is 
springtime,  and  the  air  is  fragrant 
with  the  odor  of  orange  blossoms,  and 
the  lark  rises  singing  from  myrtles  in 
full  bloom.  The  warm  beauty  of  the 
day  is  eloquently  suggested  in  the 
opening  chorus,  "Gli  aranci  olezzano" 
(Blossoms  of  Oranges).  This  is  sung 
first  by  women,  and  then  by  men,  and 
during  its  melodious  progress  the  cur- 
tain slowly  rises,  showing  the  people 
of  the  little  village  crossing  the  square 
to  enter  the  church  opposite  the  inn 
where  Lucia,  mother  of  Turiddu,  plies 
her  trade. 

No  sooner  has  the  happy  crowd  en- 
tered the  church  than  Santuzza  appears 
and  calls  for  "Mamma  Lucia"  "What 
is  it?"  asks  the  old  woman,  coming 
from  the  house.  "Where  is  Turiddu?  ' 
questions  the  girl.  Something  in  her 
manner  warns  Lucia,  and  she  evades 


53 


the  repeated  question  with  "Do  not  ask 
me.  I  don't  know.  I  want  no  trouble." 
But  Santuzza  pleads,  asking  her  to  be 
merciful  as  the  Saviour  was  merciful  to 
the  Magdalen.  This  leads  to  the 
"Dite,  Mamma  Lucia"  (Tell  Me, 
Mother  Lucia). 

Lucia  replies  that  Turiddu  has  gone 
to  Francofonte  for  wine.  "No,"  de- 
clares Santuzza,  "someone  in  the  vil- 
lage saw  him  last  night."  The  older 
woman's  suspicions  are  quickly  aroused 
and  she  invites  the  girl  to  enter;  but 
this  the  unhappy  Santuzza  cannot  do. 
In  this  little  Sicilian  village  the  moral 
code  is  strict,  and  she  is  an  outcast, 
excommunicated  for  her  sins!  "What 
of  my  son?"  questions  the  mother;  but 
before  Santuzza  can  reply,  the  cracking 
of  whips  and  jingling  of  bells  announces 
the  arrival  of  Alfio,  the  carrier,  who 
presently  enters,  followed  by  the  crowd. 
He  sings  the  "II  cavallo  scalpita"  (The 
Sturdy  Steed),  a  vigorous  description 
of  a  carrier's  career.  The  lively  rhythm 
and  swift  changes  of  harmony  are  par- 
ticularly exhilarating,  and  this  number 
is  one  of  the  most  brilliant  in  the  opera. 


Alfio  has  every  reason  to  be  happy,  for 
as  a  public  carrier  he  possesses  much 
prestige,  and  he  thoroughly  enjoys  the 
life.  Moreover,  is  he  not  the  husband 
of  the  beautiful  Lola?  All  his  simple 
satisfaction  bubbles  over  in  this  num- 
ber, the  latter  part  of  which  is  given 
over  to  his  joy  at  returning  home  for 
Easter,  and  the  welcome  that  awaits 
him  from  his  adored  one.  He  has  no 
suspicion  that  a  few  hours  earlier 
another  man  has  been  likening  the  lips 
of  the  dusky  Lola  to  crimson  berries. 
The  chorus  joins  gaily  in  his  lively 
music,  and  afterwards  disperses,  some 
into  the  church,  and  the  rest  about 
their  business,  Alfio  among  them. 

The  gaiety  of  Alfio" s  song  gives  place 
to  the  Easter  music  which  now  fills  the 
air.  Two  records  present  the  "Regina 
Coeli"  (Queen  of  the  Heavens)  and  the 
"Ineggiamo  al  Signore"  (Let  Us  Sing 
Before  the  Lord). 

This  Easter  music  is  exceptionally 
rich  in  melody  and  harmony.  Its 
tranquil  beauty  and  sanctity  of  feeling 
deeply  emphasize  the  part  religion 
plays  in  the  lives  of  these  simple,  pas- 


PHOTO    BERT,    PARIS 

AMATO    AS    ALFIO 


SANTUZZA  PLEADING  WITH  TURIDDU — ACT  I 
(DESTJNN  AND*  CARUSO) 

54 


VICTROLA     BOOK     OF     THE      OPERA 


toral  people.  There  is  splendid  breadth 
and  dignity  in  its  familiar  tunes. 

With  the  departure  of  Alfio  and  his 
admirers,  Santuzza  and  Mamma  Lucia 
are  left  alone  again,  and  Santuzza  pours 
her  sad  story  into  the  kindly  ears  of  the 
sympathetic  Lucia.  Before  Turiddu 
went  away  to  serve  his  time  in  the 
army,  it  appears,  he  was  in  love  with 
Lola,  who  seemed  to  return  his  love. 
But  when  his  time  was  up,  and  he  re- 
turned to  the  village  he  found  Lola 
married  to  Alfio.  To  console  himself, 
Turiddu  made  violent  love  to  Santuzza, 
who  yielded  to  his  ardor  all  too  com- 
pletely. Now,  it  seems,  Turiddu  is 
again  paying  court  to  Lola,  who  re- 
ceives him  with  favor,  and  Santuzza 
finds  herself  doubly  disgraced  by  his 
desertion.  The  story  of  Santuzza  is 
set  forth  in  the  "Voi  la  sapete"  (Well 
Do  You  Know  Good  Mother). 

This  is  one  of  the  most  powerful,  and 
indeed  one  of  the  most  beautiful  num- 
bers in  the  opera,  the  melody  being 
familiar  to  everybody: 


l»  *  C 


Lucia  is  not  wholly  surprised,  but 
deeply  grieved.  She  looks  with  fore- 
boding upon  the  future,  and  she  does 
her  best  to  console  the  unhappy  girl, 
who  pleads  for  her  prayers,  in  the 
"Andante,  O  mamma"  (Implore  Your 
God  to  Save  Me). 

Lucia  tries  to  comfort  her,  remaining 
patient  even  when  the  frantic  Santuzza 
threatens  vengeance  against  her  son; 
then  even  Santuzza 's  mood  softens  as 
she  thinks  of  the  love  she  has  lost. 

Lucia  leaves  Santuzza  to  enter  the 
church,  and  a  moment  later  Turiddu 
himself  appears.  Then  follows  the 
duet,  "Tu  qui,  Santuzza"  (Thou  Here, 
Santuzza?),  in  which  the  two  quarrel 
violently. 

This  number  is  a  melodious  semi- 


recitative  which  presents  the  quarrel 
with  growing  intensity.  "Thou  here?" 
asks  Turiddu,  and  Santuzza  explains 
that  she  has  come  to  see  his  mother. 
She  then  confronts  him  with  the  fact 
that  he  did  not  go  to  Francofonte,  as  he 
was  supposed,  but  instead  to  Lola. 
Turiddu  accuses  her  of  spying  upon 
him,  and  is  soon  beside  himself  with 
anger.  Santuzza  insists  that  he  has 
been  seen  by  Alfio,  Lola's  husband 
himself,  but  Turiddu  refuses  to  listen, 
taunts  her  with  jealousy  and  ingrati- 
tude, bidding  her  to  leave  him. 

They  are  interrupted  by  the  sound 
of  a  woman's  voice,  singing  from  be- 
hind the  scene  as  she  approaches.  It 
is  the  unsuspecting  Lola,  on  her  way  to 
church,  carolling  out  the  lovely  "Fior 
di  giaggiolo"  (My  King  of  Roses). 

The  music  is  adapted  to  suit  the 
words,  which  express  her  love  for  Tu- 
riddu: 

My  king  of  roses, 

Radiant  angels  stand 

In  Heav'n  in  thousands; 

None  like  him  so  bright 

That  land  discloses, 

My  king  of  roses! 

She  enters — and  grasps  the  situation 
at  a  glance.  The  two  girls  converse 
with  thinly  veiled  irony;  the  embar- 
rassed Turiddu  contributes  but  little. 
Finally  Lola  proceeds  to  church,  invit- 
ing her  lover  to  follow.  Santuzza 
claims  him,  however,  and  they  continue 
their  former  quarrel.  This  is  carried 
on  in  one  of  the  loveliest  numbers  of  the 
entire  work,  the  "Ah,  No,  Turiddu, 
rimani"  (No,  Turiddu,  Remain!). 

The  melody  is  tender  and  pathetic, 
rising  to  a  great  climax  as  the  dis- 
traught girl  begs  Turiddu  to  return  to 
her.  He  refuses,  and  the  scene  that 
follows  is  passionate  and  intense.  The 
girl's  frenzied  agony  is  no  less  powerful 
than  Turiddu  s  violent  anger,  and  fi- 
nally, when  Santuzza  advances  threat- 
eningly upon  him,  Turiddu  seizes  her 
and  throws  her  down,  hastening  into 


55 


VICTROLA     BOOK     OF     THE      OPERA 


None  should  go 

But  those  who  have  not  sinned! 


church  in  pursuit  of  Lola.  "Accursed!" 
cries  the  wretched  girl,  "accursed  at 
Easter,  thou  false  one!"  and  yields  her- 
self up  to  despair. 

She  is  aroused  by  the  arrival  of  Alfio, 
and  another  great  scene  ensues,  which 
is  set  forth  in  three  records,  "Turiddu 
mi  tolse  1'onore"  (Turiddu  Forsakes 
Me),'  Com  are  Santa,  allor"  (Santuzza, 
Grateful  Am  I),  and  "Ad  essi  io  non 
perdono"  (TisThey  Who  Are  Shameful). 

In  these  the  duet  is  presented  with 
extraordinary  dramatic  force,  and 
interspersed  with  the  semi-recitatives 
are  melodic  passages  unsurpassed  in 
modern  dramatic  music.  Santuzza 
tells  all  she  knows.  At  first  Alfio  finds 
it  hard  to  believe  in  Lola ' s  guilt.  His 
anger  is  immediate  and  passionate— 
"If  thou  art  lying  I'll  have  thy  heart's 
blood" — but  in  the  end  he  is  convinced. 
Santuzza  repents  having  told  him,  and 
reproaches  herself;  but  Alfio,  who  is  at 
bottom  generous  by  nature,  tries  to 
calm  her.  He  breaks  out  again  in  sud- 
den fury  against  Turiddu  and  Lola — 

'Tis  they  who  are  shameful !  Revenge 
I'll  haveupon  them,  thisdayandhour." 

They  go  out,  leaving  the  stage  empty 


while  the  beautiful  "Intermezzo"  is 
played.  The  calm  serenity  of  this 
music,  and  the  peaceful  scene  upon  the 
stage,  are  in  sharp  contrast  with  the 
highly  charged  scenes  of  a  moment  ago, 
and  that  which  is  to  come.  It  provides 
a  moment  of  relief  for  which  the  audi- 
ence is  grateful,  and  serves  to  empha- 
size the  devout  religious  spirit  of  the 
Sicilian  peasants  despite  their  hot- 
blooded  conduct  in  human  affairs. 

This  exquisite  interlude,  with  its 
heavenly  melody  at  the  end,  is  doubt- 
less the  most  familiar  single  number  in 
the  entire  work,  and  is  complete  in  it- 
self. Not  only  is  the  melody  beautiful, 
but  the  harmony  is  rich,  and  the  orches- 
tral scoring,  with  its  fine  contrasts  of 
woodwind  and  strings,  is  a  beautiful 
piece  of  musical  tone-painting. 

PART  II 

A)  the  last  strains  of  the  Inter- 
mezzo die  away,  the  people  begin 
to  leave  the  church,  and  soon  a  merry 
crowd  is  assembled  outside  the  inn  of 
Mamma  Lucia.  They  sing  "A  casa,  a 
casa"  (Now  Homeward),  a  lively  chor- 
us which  prepares  the  way  for  the 


56 


VICTROLA     BOOK     OF     THE      OPERA 


Brindisi — "Vivail  vinospu  meggiante" 
(Drinking  Song). 

This  is  a  lively  number,  in  striking 
contrast  to  the  prevailing  tragic  tone  of 
Mascagni's  opera.  It  has  a  most  fasci- 
nating swing,  and  is  full  of  life  and 
color,  beginning: 


The  "Brindisi"  is  sung  by  Turiddu  as 
if  he  had  not  a  care  in  the  world, 
though  perhaps  his  gaiety  is  a  trifle 
hysterical,  for  the  end  is  already  at 
hand.  As  the  "Brindisi"  draws  to  a 
close,  Alfio  approaches  in  time  to  see 
Lola  drink  in  response  to  Turiddu  s 
toast.  Watched  with  tense  interest 
by  the  assembled  crowd,  Turiddu  offers 
Alfio  a  glass  of  wine.  "A  voi  tutti 
salute"  (Come  Here,  Good  Friends), 
sings  he. 

Alfio  scornfully  refuses,  to  the  horror 
of  Lola.  Turiddu,  still  in  a  mood  of 
bravado,  pours  the  wine  carelessly  on 
the  ground,  and  the  peasants,  realizing 
the  situation,  withdraw  leaving  the 
two  rivals  face  to  face.  A  challenge  is 
quickly  given  and  accepted,  after  the 
Sicilian  fashion,  Turiddu  biting  Alfio's 
ear,  and  the  men  arrange  to  meet  in  the 
garden. 

Now  follows  an  affecting  scene  in 
which  Turiddu  bids  farewell  to  his 
mother,  in  the  "Addio  alia  madre" 
(Turiddu's  Farewell)  and  the  "Mamma 
quel  vino  e  generoso"  (Too Much  Wine, 
My  Mother) — Turiddu's  Farewell,  con- 
tinued, and  finale  of  the  opera. 

Without  explaining  the  details,  Tu- 
riddu pretends  to  have  been  drinking, 
and  declares  the  wine-cup  to  have 
passed  too  freely  among  his  comrades. 
He  must  go  away,  he  says,  and  he 
would  bid  his  mother  farewell.  Lucia 
is  not  deceived;  his  distraught  manner, 
the  passionate  tenderness  of  his  fare- 
well, tell  her  more  than  words  could 


say,  anil  she  watches  him  horror-strick- 
en as  he  tears  himself  from  her  arms 
and  rushes  away,  first  bidding  her  take 
care  of  Santuzza. 

There  is  but  little  more  to  tell.  San- 
tuzza enters  and  throws  her  arms  about 
Lucia.  People  crowd  about  them,  and 
soon  a  woman  comes  running  with  the 
cry  "Neighbor  Turiddu  is  murdered!" 
Several  other  women  rush  in,  terrified. 
Santuzza  falls  swooning,  and  Lucia  is 
supported  by  other  women  in  a  fainting 
condition.  The  curtain  falls  rapidly  as 
the  crowd  gathers  round  the  unhappy 
pair,  and  all  is  over. 

NOTE — The  quotations  from  Cavalleria 

Rusticana  are  given  by  kind  permission 

ofG.  Schirmer.  (Copyright  /Syr.) 

THE   VICTOR   RECORDS 

(Sung  in  Italian  unless  noted) 

ACT  I 
SICILIANA 

(Thy  Lips  Like  Crimson  Berries)  ENRICO 

CARUSO,  Tenor  87072     10-in.,  31.25 

ENRICO  CARUSO,  Tenor 

Piano  ace.  81030     10-in.,     1.25 

GIOVANNI  MARTINELLI,  Tenor 

64544     10-in.,     1.25 
VOI  LO  SAPETE 

(Well  You  Know,  Good  Mother)  EMMA 

CALVE,  Soprano  88086     12-in.,     1.75 

MARGARETE  MATZENAUER,  Contralto 

88430     12-in.,     1.75 
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! 
BRINDISI 

(Drinking  .Song)  ENRICO  CARUSO, 

Piano  ace.  81062     10  in.,     1.25 

AVE  MARIA 

(Adapted    to    the    Intermezzo)    JOHN 
McCoRMACK,  Tenor  and  FRITZ 
KREISLER,  Violinist       87546     10-in.,     1.50 
ADDIO  ALLA  MADRE 

(Turiddu's    Farewell    to    His    Mother) 
ENRICO  CARUSO, Tenor  88458     12-in.,     1.75 


57 


VICTROLABOOKOFTHE    OPERA 


THE  COMPLETE  CAVALLERIA  RUSTICANA  (IN  ITALIAN) 

Every  part  of  Mascagni's  popular  opera  has  been  recorded  in  this  new  series.  On  account  of 
Parts  6,  10,  11,  14,  15  and  16  being  in  10-inch  size  it  has  not  been  possible  to  double  the  series  in 
regular  order,  and  the  records  should  be  played  just  the  way  they  are  numbered.  For  example, 
35686-A  should  be  followed  by  18549-A,  etc. 

I  No.     1.  Prelude  and  Siciliana  (Thy  Lips  Like  Crimson  Berries)  | 

Francesco  Tuminello,  Tenor,  and  La  Scala  Orch.  >35680     12-in.,  31.35 
No.     2.  Prelude,  Part  II  ................................  La  Scala  Orch.} 

I  No.     3.  Introduction  and  Chorus  of  Villagers  (Gli  aranci  olezzano) 
La  Scala  CA0r«j  [35681     12-in.,     1.35 
No.     4.  Chorus  of  Villagers,  Part  II  .....................  La  Scala  Chorus] 

/No.     5.  Dite,  Mamma  Lucia  ...................  G.  Ermolli  and  E.  Ravelli\  <?r/-Q/-     i->  •          i  ^r 

\No.     7.  Easter  Hymn,  Part  I  (Regina  Coeli)  ..........  The  Opera  Chorus)**  m<> 

I  No.     8.  Easter  Hymn,  Part  II  (Inneggiamo  al  Signore) 
Giorgina  Ermolli,  Soprano  and  Chorus  [35685     12-in.,     1.35 
No.     9.  Voi  lo  sapete  ........................  Giorgina  Ermolli,  Soprano  J 

JNo.     6.  Alfio's  Song  (II  cavallo  scalpita)  .........  Enrico  Perna,  Baritone)  -.nrin     i/-»  •  o- 

I  No.  10.  Andate,  o  mamma  ...................  Giorgina  Ermolli,  Soprano]™ 

No.  11.  Tu  qui,  Santuzza?  .......................  Ermolli  and  Tuminello)  •,  Qrro     m  •  cc 

}™  -In''       M 


No.  14.  Turiddu  mi  tolse  1'onore  ....................  Ermolli  and  Perna 

JNo.  12.  Fior  di  giaggiolo  ...............  G.  Ermolli,  Tuminello  and  Racel}i\ 

iNo.  13.  Ah,  No,  Turiddu,  rimani  ..................  Ermolli  and  TttmineUo}"  m'' 

JNo.   15.  Comare   Santa,   allor  .......................  Ermolli   and  Perna\  .  0rC7     in  . 

\No.  16.  Intermezzo  ................................  La  Scala   Orchestra}™  ~m"> 

No.  17.  A  casa,  a  casa  ..................  Tuminello,  RaveHi  and  Chorus\ir,;8o     17  • 

No.  18.  Britidisi—  Viva  il  vino  spumeggiante  .......  Tuminello  and  Chorus  /" 


{ 

/No.  19.  A  voi  tutti  salute  ..............  F.   Tuminello,  Perna  and  RaveHi]*;-,-™     1?  •          ,  ir 

\No.  20.  Mamma,  quel  vino  e  generoso  .............  Tuminello  and  Ravelli] 

MISCELLANEOUS   CAVALLERIA   RECORDS 

/Prelude  Vessella's  Italian  Band\«  P.*-     ,~  •          t  .,<• 

\Introduction  to  Act  I  J^esse//a's  Italian  Band} 

/Gems  from  "  Cavalleria  "  (In  English)  ....................  Victor  Opera  Co.),  ^  ,  -,     *  9  •          ,  ,  r 

\     Gems  from  "  Pagliacci"  (In  English)  ....................  Victor  Opera  Co./""  in>> 


JTuriddu,  mi  tolse  .............  *  .....................  Besalu  and 

IMamma,  quel  vino  ...............................  .  .  G.  Ciccolini,  Tenor 


{Tu  qui  Santuzza  (Thou  Here,  Santuzza)  ..............  Besalu  and  Cfrfff/fK/lce/vn     10  '          1  ?n 
No,  No,  Turiddu  (In  Italian)  .......................  Besalu  and  Ciccolini]^ 

/Prelude  ............................................  La  Scala  Orchestra}-,  <;  1  04     1  7  '          1  ^  ^ 

\Selection  ("Alfio's   Song,"  "Easter  Chorale,"  "Intermezzo").  Pryor's  Band]  '' 

/Intermezzo  ..........................................  Pryor's    Orchestra]  ^^  sin'  8<; 

\     Carmen  —  Toreador  Song  (In  Italian)  .........  .  .  Cigada,  Huguet  and  Chorus] 

/Intermezzo  ...................................  Victor    Concert    Orchestra)  •,  j-i^-i      ir\  •  or 

\     Tales  of  Hoffman  —  Barcarolle  ..................  Victor  Concert  Orchestra]  '' 

/Intermezzo  ..................................  Victor  Herbert's  Orche  stra\  .  r-,  Sf-     1fl  •          •,  ^  ^ 

\     Spring  Song   (Mendelssohn)  ..................  Victor  Herbert's  Orchestra^ 

/Intermezzo  ......................................  Pietro's  Accordion   Qf.\*  7Q±,      ,n  .  Qr 

\     Pagliacci—  Vesti  la  guibba    (Accordion)  .........................  Pietrofu  in>' 

/Intermezzo  ......................................  Vessella's  Italian  Band\,-7SQf-     in  •  Cr 

\    Minuet  (Boccherini)  ............................  Vessella's  Italian  Band]  "m>> 

58 


CHIMES  OF  NORMANDY 

(LES   CLOCHES   DE   CORNEVILLE) 

(French) 


COMIC  opera  in  three  acts.  Text 
by  Clairville  and  Gabet;  music 
by    Robert    Planquette.     First 
produced   at  the  Folics    Dramatiques, 
Paris,  April  19,  1877,  where  it  ran  for 
400   continuous    performances.     First 
New  York  production  at  the  Fifth  Ave- 
nue Theatre,  October  27,  1877. 

CHARACTERS 

HENRI,  the  Marquis  de  Val- 
leroi  (On-ree,  Mahr-Kee- 
duh  V ahl-luh-rwah) Baritone 

GRENICHEUX,  a  young  villager 

(Gren-  ee-  chuh} Tenor 

GASPARD,  a  miser  (Gahs  -pahr) ....  Bass 

SERPOLETTE,  the  good-for- 
nothing  (Sair-poh  -let)  . . .  Soprano 

GERMAINE,  the  lost  March- 
ioness (Zhair-mayn) 

Mezzo-Soprano 

SHERIFF Bass 

Time  and  Place  :    Normandy  :  Time  of 
Louis  XV 

(The  French  title  of  the  opera  is  "Les 

Cloches  de  Corneville,"  Lay   Klohsh 

duh  Korn'veef). 

HENRI,  Marquis  de  Valleroi,  is 
romantic  and  adventurous.  In 
his  absence  from  home,  singular  things 
have  happened.  Gaspard,  the  warden 
of  the  estate,  has  turned  miser,  and 
has  planned  that  Germaine,  his  sup- 
posed niece,  shall  wed  the  Sheriff  and 
ward  off  investigation.  Germaine,  how- 
ever, loves  Grenicheux,  who  saved  her, 


she  believes,  from  drowning.  Greni- 
cheux  seeks  her  hand, — also  the  sup- 
posed wealth  she  will  inherit;  and  he 
has  jilted  Serpolette,  a  girl  of  unknown 
parentage,  found  as  a  baby  in  the  fields 
by  Gaspard.  Villagers,  at  a  fair,  try  to 
tease  Serpolette,  but  fail.  She  claims 
she  is  a  nobleman's  daughter  and  cares 
nothing  for  Grenicheux.  Henri  returns, 
in  Mexican  costume,  and  is  not  recog- 
nized. 

Corneville  castle  is  "haunted." 
Chimes  ring  there  mysteriously. 
Henri  will  investigate.  Germaine  and 
Serpolette,  with  Grenicheux,  enter  his 
service,  and  he  reveals  his  rank.  They 
discover,  after  blood-curdling  experi- 
ences, that  Gaspard  is  using  the  castle 
as  a  treasure-house  and  ringing  the 
chimes  to  keep  away  the  curious-minded 
— and  the  superstitious.  Gaspard  is 
discovered  counting  his  money-bags, 
and  the  shock  drives  him  insane. 

Henri  further  makes  himself  known, 
and  gives  a  fete.  Serpolette  arrives  in 
fine  raiment,  announcing  she  is  the 
long-lost  Marchioness  de  Lucenay;  but 
Henri  has  doubts.  Grenicheux,  who  has 
been  masquerading  as  her  factotum, 
claims  the  hand  of  Germaine  in  return 
for  his  rescue.  But  it  transpires  that 
Henri  rescued  the  girl  himself,  and 
Grenicheux  is  joyously  kicked  out. 
Gaspard  becomes  suddenly  lucid,  and 
reveals  that  Germaine  is  the  true  Mar- 
chioness. Henri  and  Germaine  marry, 
and  Grenicheux  and  Serpolette.  The 
chimes  ring  out  for  a  double  wedding. 


DOUBLE-FACED  RECORDS 

("Selection  of  the  Principal  Airs Sousa's  Band\,c.*,  ,,  •       41  ,c 

\     Naila  Intermezzo— Pas  des  Fleurs  (Delibes) Pryor's  Band\^X  l*«i  M«» 

/Selection  of  the  Principal  Airs Pryor's  Band\.,*ac  lft  •             cc 

I     Poet  and  Peasant  Overture  (von  Suppf) Pryor's  Bandr  'm'»      '** 

/.Selection  of  the  Principal  Airs Victor  Concert  Orchestra\~r-oi  17-          i  •>' 

\     Erminie  Selection Victor  Orchestra]^™*  1^"in>'     ltS3 

59 


LE   CID 


MASSENET,  for  all  of  his  pop- 
ularity, was   a   modern.     He 
was    lavish    in    orchestral  ef- 
fects,   subtle    in    his    presentation    of 
character,  and  his  score,  though  melo- 
dious, afforded  few  "set  pieces."     He 
revelled    in    the   picturesque    and    the 
heroic — of  which  "Le  Cid,"  from  the 
life  of  the  great  Spanish  warrior,  is  a 
characteristic  example. 

THE  OPERA 

OPERA  in  four  acts.  Text  by 
A.  D'Ennery,  Louis  Gallet  and 
Edward  Blau,  based  upon  the  play 
of  the  same  name  by  Corneille,  glori- 
fying a  famous  Spanish  hero,  El 
Cid  (1040-1099).  Music  by  Jules 
Massenet.  First  production  at  the 
Opera,  Paris,  November  30,  1885,  with 
a  notable  cast  including  Jean  and 
Edouard  de  Reszke  and  Pol  Plangon. 
The  first  American  production  oc- 
curred at  the  New  Orleans  Opera. 
First  New  York  presentation  February 
12,  1907,  with  the  de  Reszkes,  Planc.on, 
Lassalle,  de  Vere  and  Litvinne. 

CHARACTERS 

KING  FERDINAND Baritone 

DON  URRAQUE,  his  son Baritone 

COUNT  GORMAS Bass 

CHIMENE,  his  daughter Soprano 

DON  RODRIGUE,  known  as  The 

Cid Tenor 

DON  DIEGO,  his  father Bass 

LEONORE,  maid  to  Chimene. .  .Soprano 
Courtiers,  Soldiers,  Townspeople 

Time  and  Place:  Seville,  Spain;  Twelfth 

Century 

(The  name  of  the  opera  is  pro- 
nounced Luh  Seed;  in  Spanish  it  is 
El  Theed,  with  the  th  as  in  "thread.") 

THE  CID,  (from  the  Arabic  el  seid, 
"The    Conqueror,")  has   returned 
from  victory  over  the  Moors,  and   the 


curtain  rises  to  show  him  receiving 
knighthood  from  King  Ferdinand,  at 
the  house  of  Count  Gormas,  whose 
daughter,  Chimene,  loves  the  warrior 
with  a  love  that  is  returned  in  full.  The 
King  and  his  family  approve,  for  the 
Kings  daughter  herself  loves  The  Cid; 
a  match,  however,  is  impossible  be- 
tween her  and  one  not  of  royal  blood. 

But  the  King  bestows  upon  Don 
Diego,  father  of  The  Cid,a  governorship 
expected  by  Count  Gormas.  The  Count, 
enraged,  insults  Don  Diego,  who,  too 
old  to  fight,  calls  upon  his  son  to  uphold 
his  honor — without  naming  his  adver- 
sary. 

The  Cid  accepts  the  task,  and  is  dis- 
mayed to  find  himself  set  against  the 
father  of  his  beloved.  By  accident 
more  than  design  he  kills  Count  Gormas. 
He  expires  in  the  arms  of  his  daughter, 
who  sets  aside  love  and  swears  ven- 
geance. The  King  refuses  her  en- 
treaties for  justice,  influenced,  of 


ORIGINAL    POSTER    BY    CLAIRIG 


60 


VICTROLA     BOOK     OF     THE      OPERA 


course,  by  his  daughter, who  loves  The 
Cid,  but  also  by  the  fact  that  the  Moors 
again  are  advancing.  Before  he  de- 
parts to  fight  them, The  Cid  gains  audi- 
ence with  Chimene,  who  finds  her  love 
as  strong  as  her  wish  for  retribution. 
After  a  dramatic  scene  they  part,  both 
torn  with  anguish. 

The  Cid' 3  encounters  turn  out  badly 
at  first,  and  Chimene  and  the  King  both 
hear  he  is  dead.  The  girl's  vengeance 
is  fulfilled,  but  her  love  is  racked  with 
despair.  A  second  report  turns  the 
news.  He  has  routed  the  enemy,  and 
is  alive.  He  returns,  to  find  the  girl 
still  implacable.  The  King,  shrewdly 
enough,  now  promises  her  he  will  pun- 


ish the  warrior.  He  has  no  intention 
of  complying,  but  with  Solomon-like 
wisdom  he  asks  her  to  pronounce,  her- 
self, the  death-sentence.  His  judg- 
ment is  correct;  Chimene  cannot  bring 
herself  to  this.  Finally,  when  The  Cid 
draws  his  own  dagger  and  threatens 
to  end  his  own  life  if  she  will  not  wed 
him,  Chimene  is  forced  to  acknowledge 
that  Love  is  triumphant,  The  Cid  a 
conqueror  in  love  as  in  war. 

VICTOR  RECORD 

6  SOUVERAIN,  6  JUGE,  6  PERE! 

(Almighty  Lord,  Oh  Judge,  Oh  Father) 
ENRICO  CARUSO,  Tenor  In  French 

88554     12-in.,  31.75 


ip^if^^  "pii  • 

i%« 


V  \\  *~~      •^S~A'~  {.   i 

WMik  -    — ^^ 


SCEKE    FROM    LE    CID 


61 


PHOTO  ENRIETTI   (MONTE  CARLO) 

THE  GALLEY  OF  CLEOPATRA  (MONTE  CARLO  OPERA) 


CLEOPATRA 


CLEOPATRA,  like  the  even  less- 
known  "Panurge,"  is  a  posthu- 
mous  work   of    Massenet's. 
Rumor  has  it  that  really  the  opera  was 
written  before  "Manon,"  but  that  Mas- 
senet was  not  satisfied  with  it.    What.- 
ever  the  truth,  it  was  not  given  until 
after  the  composer  had  passed  away. 

THE  OPERA 

OPERA  in  four  acts.  Text  by 
Louis  Payen;  music  by  Jules 
Massenet.  First  produced  at  Monte 
Carlo,  February  23,  1914,  with  Marie 
Kousnezoff,  Alfred  Maguenat  and  M. 
Roussiliere.  First  American  perfor- 
mance by  the  Chicago  Opera  Com- 
pany, January,  1916. 

CHARACTERS 

CLEOPATRA,  Egyptian  Queen 

Mezzo-Soprano 

MARK  ANTHONY,  Roman  Em- 
peror  Baritone 


OCTAVIA,    betrothed    to    Mark 

Anthony Soprano 

CHARMIAN,  Cleopatra's  maid.  .Soprano 
SPAKOS,  Egyptian  Freedman,  in 

love  with  Cleopatra Tenor 

ENNIUS  lr>            f^rc  r>     • 

SEVERUsJRoman  Officers Baritone 

AMNHES,  tavern  keeper  of  Alex- 
andria  Baritone 

ADAMOS A  dancer 

A  VOICE Baritone 

Greek   and   Egyptian  Slaves,   Roman 

Officers,  Gift-Bearers,  Jugglers,  Guards 

of  Mark  Anthony  and  Octavius. 

The  Scene:  Vicinity  of  Alexandria,  Asia 
Minor;  and  in  Rome 

MARK  ANTHONY,  encamped  in 
Asia  Minor,  is  in  the  first  act 
receiving  pledges  of  fidelity  from  de- 
feated enemies.  Spakos,  an  Egyptian 
freedman,  arrives  to  announce  Cleo- 
patra. Mark  Anthony  is  not  pleased, 
but  the  Queen's  beauty  impresses  him 


62 


VICTROLA     BOOK     OF     THE      OPERA 


and  he  falls  in  love.  Despite  orders 
recalling  him  to  Rome,  he  decides  for 
Egypt  with  her.  They  enter  the  royal 
barge,  to  the  chagrin  of  Spakos,  him- 
self in  love  with  the  Queen. 

Anthony  wearies  of  his  prize,  and  he 
returns  to  Rome  to  wed  his  former  be- 
trothed, Octavia.  An  officer  from  Egypt 
arrives  at  the  wedding  festivities,  in 
the  second  act,  with  the  intelligence 
that  Cleopatra  has  lightly  consoled  her- 
self with  Spakos.  Anthony  becomes 
jealous,  leaves  his  bride  and  hurries 
back  to  Egypt. 

His  action  is  hastened,  no  doubt,  by 
his  reading  over  some  letter-tablets 
Cleopatra  has  sent  him  in  the  past. 
These  awaken  the  emotions  told  ot 
in  the  "Air  de  Lettre — Tes  Messages 
des  Amour"  (Letter  Song — Thy  Mes- 
sages of  Love). 

The  next  scene  is  in  the  notorious 
quarter  of  Alexandria,  where  Cleopatra, 
disguised,  is  seeing  the  dissipations  of 
her  people.  Cleopatra  takes  one  of  her 
sudden  fancies  for  a  boy  named  Ada- 
mos,  head  of  a  company  of  dancers. 
Spakos,  in  a  rage,  endeavors  to  kill  him. 
The  mob  is  about  to  close  in  upon  the 
strangers  when  Cleopatra  makes  her- 
self known. 


In  the  midst  of  this,  Charmian  ar- 
rives, to  tell  the  Queen  that  Anthony 
awaits  her  at  the  palace.  Spakos  tries 
to  detain  her,  but  she  has  him  placed 
under  arrest,  hastening  back  to  wel- 
come her  old  lover. 

The  third  act  sees  another  fete,  in 
Cleopatra's  gardens.  Octavia  arrives, 
and  pleads  with  Anthony  to  return,  as 
the  Roman  army  is  marching  against 
Egypt.  Anthony,  his  infatuation  strong 
as  ever,  refuses,  going  out  at  the  head 
of  Egyptian  troops,  while  Octavia  sadly 
returns  to  Rome. 

The  last  act  sees  Cleopatra  awaiting 
the  victorious  return  of  Anthony. 
Spakos  informs  her  that  her  hero  be- 
lieves her  dead.  Cleopatra,  enraged, 
stabs  the  man.  Anthony,  his  army 
vanquished  and  himself  mortally 
wounded,  appears  in  time  to  die  in  the 
Queen's  arms.  Cleopatra  then,  over- 
come with  grief,  applies  to  her  breast 
a  poisonous  asp,  which  bites  her,  and 
she  dies. 

THE  VICTOR   RECORD 

AIR    DE    LETTRE— TES    MESSAGES 
D'AMOUR 

(Thy  Messages  of  Love) 
MARCEL  JOURNET,  Bass     In   French 
64587     10-in.,  31.25 


MME.    K.OUSKEZOFF    (.CLEOPATRA) 


MAGUENAT    AS    ANTHONY 


63 


ARRIVAL    OF    KING    AND    QUEEN 


LE    COO    D'OR 

(THE   GOLDEN   COCK) 


WITH  a  story  as  fantastic  as 
anything  out  of  the  Arabian 
Nights,  "Le  Coq  d'Or"  (The 
Golden  Cock)  was  in  the  first  instance 
written  as  an  opera.  Its  first  pro- 
duction in  Russia  was  a  failure.  It 
then  was  rewritten  as  an  "opera-panto- 
mime" for  the  Diaghileff  Russian  bal- 
let, the  text  being  sung  by  vocal  artists 
and  the  chorus,  and  the  action  being 
performed,  in  dumb-show,  by  the  bal- 
let. The  fate  of  the  opera  was  almost 
exactly  that  of  the  composer's  "Sche- 
herazade" suite,  originally  a  pure  con- 
cert work,  but  which  developed  into 
one  of  the  "classical"  ballets  of  modern 
music.  Ballet  or  opera,  it  is  imagina- 
tive and  original. 

THE  OPERA 

OPERA  pantomime   in  three  acts. 
Text  by  V.  Bielsky,  founded  on  a 
fairy  tale  by  Pushkin;    music  by 


Rimsky-Korsakoff.  First  performance 
September  24,  1909,  atZimin's  Private 
Opera  House,  Moscow;  at  Petrograd 
January,  1910.  The  revised  version 
was  produced  at  the  Paris  Opera  June 
9, 1914;  London,  June  25,  1914.  First 
American  performance  at  the  Metro- 
politan Opera  House,  March  6,  1918. 

CHARACTERS 

(With  the  Original  American  Cast) 
CHARACTERS  SINGERS  PANTOMIMISTS 

THE  Maria  Bar-    Rosina  Galli 

PRINCESS  rientos 

THE  KING      Adamo  Didur 


AMELIA  Sophie  Braslau 

THE         Rafaelo  Diaz 
ASTROLOGER 


Adolph 
Bohm 

Queenie 
Smith 

Giuseppe 
Bonfiglio 


64 


VICTROLA     BOOK    OF    THE     OPERA 


CHARACTERS 


THE  PRINCE 


SINGERS 


PANTO- 

MIMISTS 


Pietro  Audisio  Marshall 
Hall 

THE  Basil  Ruysdael    Ottokar 

GENERAL  Bartik 

A  KNIGHT        Vincenzo  Res-  Vincenzo 
chiglian  loucelli 

VOICE  OF  THE    Marie  Sun- 
GOLDEN  COCK       delius 

Boyars,  Court  Ladies  and  Nobles,  Sol- 
diers, Oriental   Dancers,   Giants,   and 
Dwarfs. 

(The    name    of    the  opera    is    pro- 
nounced Luh  Cokh  Dohr'). 

ACT  I 

SCENE — Palace  of  King  Dodon 

DODON  (which  is  Dodo),  an  aged 
king,  is  conferring  with  his  boy- 
ars  or  princes.  He  is  weary  of  rule  and 
warfare,  but  his  council  is  incapable  of 
advice.  The  Crown  Prince  Girdon 
suggests  that  troops  be  concentrated 
at  the  capital,  but  General  Polkan  ob- 
jects, and  there  is  a  quarrel.  The 
Astrologer  appears,  and  offers  to  Dodon 
a  Golden  Cockerel  which  will  always 
give  warning  when  danger  is  near.  The 
bird  is  put  to  bed  with  much  ceremony. 
The  King  is  doubtful,  though  he  ac- 
cepts the  gift,  saying  if  the  Cockerel 
proves  worthy,  he  will  give  the  Astrolo- 
ger anything  he  may  demand.  The 
bird  soon  warns  the  King  there  is  an 
invasion  at  his  borders.  The  blood- 
princes  go  off  to  repel  the  attack. 

ACT  II 

SCENE — A  Narrow  Gorge  in  a  Moun- 
tain Pass 

DODON  is  warned  by  the  Cock  to 
go  aid  his  sons.     He  finds  their 
bodies  and  sheds  a  few  tears  over  them, 
but  sorrow  is  forgotten  when  a  beauti- 
ful woman  appears  from  a  tent  on  a 


hillside,  singing,  in  the  opera,  the 
unique  "Hymn  to  the  Sun."  In  a 
strange  wailing  canticle,  tinselled 
through  with  extraordinary  chromatic 
scales  and  weird  modulations,  this 
beautiful  but  vain  creature  asks  if  in 
her  own  "dear  land"  the  roses  yet  grow 
in  splendor  and  the  "lilies  burn  in  fiery 
sheaves;"  if  in  the  evenings,  the  maid- 
ens come  with  soft  songs  to  the  foun- 
tains of  mystical  water. 

The  white-bearded  Dodon  falls  in 
love  with  the  Queen,  singing  to  her  in  a 
voice  like  a  bee  in  a  bottle,  and  dancing 
in  front  of  her  a  clumsy  and  fantastic 
dance.  Rheumy-eyed,  thick-ankled, 
yet  the  Queen  returns  his  love  and 
promises  to  marry  him. 

ACT  III 

SCENE  —  Outside  Dodon  's  Pal  ace 


people  await  the  King  and  his 
A  new  Queen,  who  arrive  in  fairy-tale 
splendor.  But  the  lady  is  bored  with 
her  doddering  old  lord  and  master. 
There  is  a  way  out.  Dodon  sees  the 
Astrologer  passing,  and  he  asks  him  to 
name  his  reward  for  the  gift  of  the 
Go/den  Cock.  The  Astrologer  demands 
the  Queen,  and  Dodon  strikes  him  dead 
on  the  spot.  A  storm  threatens,  and 
when  the  King  turns  to  his  Queen,  in 
helpless  terror,  she  scorns  him.  Sud- 
denly, among  thunder,  the  Golden 
Cock  is  heard  crowing.  He  flies  at 
Dodon,  pecks  him  on  the  skull,  and  the 
monarch,  in  his  turn,  falls  dead.  It 
has  grown  dark  during  the  storm,  but 
when  light  breaks,  a  moment  later,  the 
bird  and  the  Queen  have  gone,  and  over 
the  body  of  Dodon  the  folk  sing  a  weird 
lament. 

THE   VICTOR   RECORDS 

HYMNE  AU  SOLEIL 

(Hymn  to  the  Sun)  MABEL  GARRISON, 

Soprano  In  French       64790     10-in.,  21.25 
MISCHA  EtMAN.Violinist  74597     12-in.      1.75 


65 


t  ART  DO  THEATRE 


THE    RIDE    TO    HELL ACT    V 


LA  DAMNATION  DE  FAUST 


(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. 
In  New  York  under  Dr.  Leopold  Dam- 
rosch,  February  12,  1880.  It  was  given 
at  Monte  Carlo  as  an  opera  February 
18, 1893,  with  Jean  de  Reszke  as  Faust. 
Revived  there  in  1902,  with  Melba,  de 
Reszke  and  Renaud.  First  American 
performance  of  the.  operatic  version  in 
New  York,  1908. 

CHARACTERS 

MARGUERITE  (Mahr-guer-eet'}. Soprano 

FAUST  (Fowsf) Tenor 

MEPHISTOPHELES  (Mef-iss-tqf'- 

el-leez) Baritone  or  Bass 

BRANDER Bass 

Place:   A  Hungarian  Village 

(The  name  is  pronounced,  in  French, 
Lah  Dam-nass-see-ohn  duh  Fowsf;  its 
English  equivalent  is  "The  Damnation 
of  Faust.") 

FAUST  soliloquizes  upon  the  vanity 
of  life;  young  folk  are  heard  in  the 
distance,     then     Hungarian     soldiers 


tramping  past  to  the  "Rakoczy 
March".  He  is  about  to  take  poison 
when  he  hears  the  strains  of  Easter 
music.  Mephistopheles  joins  him,  and 
suggests  they  see  the  world  together. 

The  story,  in  the  main,  follows  the 
Gounod  "Faust."  They  go  to  a  beer 
cellar  in  Leipzig,  leaving  in  fire  and 
smoke;  then  to  a  forest,  where  Faust 
sleeps,  to  see  the  vision  of  Marguerite. 
The  next  scene  corresponds  to  the 
Gounod  garden  scene,  Mephistopheles 
distracting  the  maid's  attention  with  a 
serenade, 


5=E 


while  Faust  enters  the  room  of  the 
sleeping  Marguerite.  The  girl  wakes  in 
a  kind  of  trance.  Endeavoring  to  enter 
the  church,  she  is  withheld  by  the 
malevolent  power  of  Mephistopheles. 
She  returns  and  falls  into  the  arms  of 
Faust. 

The  last  part  contains  four  scenes: 
a  moonlit  room  where  Marguerite  sings 
her  lament;  a  rocky  pass  where  Meph- 


66 


VICTROLA     BOOK     OF     THE      OPERA 


istopheles  tells  Faust  she  is  about  to  be 
executed  for  murdering  her  mother, 
and  where  Faust  barters  away  his  soul 
to  save  hers;  a  "Ride  to  Hell"  on  the 
infernal  steeds  Vortex  and  Giaour, 
shown,  as  a  rule,  by  a  moving  pano- 
rama, and  a  vision  of  the  town  with 
angels  hovering  overhead  to  rescue  the 
soul  of  the  pardoned  girl. 

THE  VICTOR  RECORDS 

SERENADE  MEPHISTOPHELES 
POL  PLAN^ON,  Bass  In   French 

81034     10-in.,  $1.25 


EMILIO  DEGocoRZA,   Baritone     In  French 

88447     12-in.,     1.75 
MEPHISTOPHELES: 

Dear  Katherine,  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! 


RAK6CZY  HUNGARIAN  MARCH 
TOSCANINI  and  La  Scala  Orchestra 

74695     12-in., 


DOUBLE-FACED   RECORDS 

JMarche  Hongroise Orchestre  Symphonique\**.,^     . 7  . 


IMenuet  des  Follets  ............................  Orchestre  Sympkoniquel 


/Rakoczy  March  .....................................  Conway  's 

IRadetzky  March  ....................................  Conway  s  Band 


1.75 


1  -- 


1ft  • 
-in'' 


PHOTO    BERT 


DAMNATION    OF    FAUST  — FOURTH    SCENE  —  PARIS    OPERA 


67 


THE   DAUGHTER   OF   THE 
REGIMENT 


BY  the  year  1840,  Donizetti  had 
written  fifty-three  operas;  and 
during  that  year  he  added  five 
more  to  his  credit.  His  insanity  and 
his  death,  late  in  the  "fatal  thirties," 
are  attributed  to  overwork. 

Donizetti's  operas  set  no  new  stand- 
ards; they  are  for  the  most  part  typical 
of  what  the  average  music-lover  calls 
"Italian  Opera  of  the  old  school."  Yet 
his  gifts  were  personal;  even  when  he 
followed  the  stereotyped  rules  of  his 
day,  he  could  not  help  investing  his 
work  with  a  tender  lyric  charm  vouch- 
safed to  but  few. 

"The  Daughter  of  the  Regiment"  is  a 
brilliant  little  opera,  with  rollicking 
songs,  drums  and  military  fanfares,  a 
vivacious  heroine  and  a  comic  charac- 
ter— the  old  Sergeant  of  the  Twenty-first. 

THE  OPERA 

COMIC  opera  in  two  acts.  Words 
by  Bayard  and  St.  Georges. 
Music  by  Donizetti.  First  produced 
at  the  Opera  Comique,  Paris,  Febuary 
11,  1840;  Milan,  October  30,1840; 
Berlin,  1842,  at  the  Royal  Opera, 
and  during  the  next  sixty  years  it  had 
two  hundred  and  fifty  performances  on 
that  stage.  Produced  in  London,  in 
English,  at  the  Surrey  Theatre,  De- 
cember 21,  1847,  and  during  the  same 
year,  in  Italian, with  JennyLind.  The 
first  American  performance  of  which 
the  author  has  knowledge  was  that  at 
the  New  Orleans  Opera,  March  7,  1843. 
Jenny  Lind,  Sontag,  Lucca, Patti, Rich- 
ings,  Piccolomini,  Albani  and  Parepa 
Rosa  have  all  appeared  here  as  Marie. 
Given  by  the  Strakosch  Opera  Co.  in 
1871  with  Gary,  Capoul  and  Brignoli. 
Ma  re  tzek  produced  the  opera  just 
after  the  Civil  War  broke  out,  empha- 
sizing the  military  features,  with  Clara 


Louise  Kellogg  as  Marie.  Sung  in 
English  by  the  Boston  Ideal  Opera  Co. 
in  1888  with  Zelie  De  Lussan  as  Marie. 
Revived  in  1902-03  at  theMetropolitan 
Opera  House  for  Sembrich,  the  cast 
including  Charles  Gilibert  as  Su/pizio. 
Produced  by  Oscar  Hammerstein  in 
1909,  with  Tetrazzini,  McCormack  and 
Gilibert.  Revived  at  theMetropolitan 
Opera  House,  1917. 

CHARACTERS 

TONIO,  a  peasant  of  Tyrol Tenor 

SULPIZIO,  Sergeant  of  the  21st ....  Bass 
MARIE,  Vivandiere  of  the  2 1st,  Soprano 
MARCHIONESS  OF  BERKENFELD 

Mezzo-Soprano 

The  Scene  is  laid  in  the  Swiss  Tyrol 

(The  Italian  name  of  the  opera  is  "La 
Figlia  del  Reggimento,"  Lah  Feel1 -yah 
del  Red'-jee-men-toh;  the  French  is 
"La  Fille  du  Regiment,"  La  Fee'-yeh 
d'Rezh'-ee-mong'} . 

ATT  I  opens  in  a  Swiss  Alpine  vil- 
lage, where  trouble  has  long  been 
brewing. 

The  Marchioness  of  Berkenfe/d,  clan- 
destinely married  to  a  young  officer  of 
inferior  rank,  many  years  before,  has 
left  her  child,  Marie,  with  her  husband, 
who  has  since  been  slain  in  battle.  The 
child  has  been  discovered  and  reared  by 
SuJpilio,  the  sergeant,  and  brought  up 
as  a  vivandiere, — the  "Daughter  of  the 
Regiment."  When  the  curtain  lifts 
we  see  her  in  uniform,  a  lively  young 
lady  of  seventeen,  adored  by  numerous 
"fathers" — the  gallant  men  of  the  2 1st, 
Savoyards  under  Napoleon. 

Marie  wishes  to  marry  Tonio,  a 
young  Tyrolese  who  has  saved  her 
from  tumbling  down  a  precipice,  but 
who,  to  complicate  things,  is  in  danger 
of  being  shot  as  a  spy,  having  come  too 


68 


VICTROLA    BOOK    OF    THE    OPERA 


near  the  lines  for  a  glimpse  of  her.  The 
fact  that  he  has  saved  her  life,  however, 
saves  his  own;  Su/pizio  and  the  Regi- 
ment, duly  consulted,  give  their  con- 
sent to  the  wedding,  provided  Tonio 
joins  the  regiment — which  he  does. 

Everything  seems  lovely,  and  the 
"goose  to  be  hanging  high;"  but  Su/- 
pizio meets  the  Marchioness,  who 
claims  to  be  the  "aunt"  of  Marie.  This 
proud  lady  is  horrified  at  the  girl's  be- 
trothal to  a  mere  peasant,  having  big- 
ger plans  for  her.  She  carries  her  off, 
to  her  disgust,  the  regimental  anger, 
and  Tonio  s  despair. 

The  second  act  exhibits  the  Mar- 
chioness's salon. 

Marie  is  living  in  luxury,  but  she 
still  pines  for  her  old  comrades  and  her 
soldier-lover.  Sulpizio  is  with  her,  on 
sick-leave  after  a  wound.  The  Mar- 


chioness counts  on  marrying  the  girl  to 
a  rich  nobleman,  and  the  marriage  con- 
tractis  all  ready  to  be  signed.  Marie  is 
half  in  rebellion  and  half  in  despair, 
when  the  Regiment  comes  to  town,  and 
with  it  her  beloved  Tonio,  who  has 
risen  to  high  rank. 

It  is  now  the  turn  of  the  Marchioness 
to  be  gloomy;  as  a  last  resort  she  pro- 
claims the  truth — that  Marie  is  her 
daughter.  The  girl  recognizes  that 
disobeying  her  mother  is  a  serious 
matter;  and  she  consents  to  wed  the 
Count,  her  suitor.  Touched  by  such 
devotion,  the  Marchioness  relents,  and 
Marie  marries  Tonio. 

THE  VICTOR    RECORD 

PER  VIVER  VICING 

(  To  Be  Near  Her)  JOHN  McCoRMACK, 

Tenor  In  Italian  74221     12-in.,  $1.75 


DOUBLE-FACED    RECORD 

f  Selection Vessellas  Italian  Band 

\    Fra  Diavolo  Selection ...  ..Vessella's  Italian  Band 


J35191     12-in.,  J51.35 


DONIZETTI 


corv  T  rotEY 

TETRAZZINI  AS  MARIE 


COPY  T  FOLEY 
MCCORMACK  AS  TONIO 


69 


THE    SHADOW    DANCE 


DINORAH 


OPERA  in  three  acts.  Libretto 
by  Barbierand  Carre.  Music 
by  Giacomo  Meyerbeer.  First 
production  Paris,  Opera  Comique,  April 
4,  1859.  First  London  production, 
under  direction  of  Meyerbeer,  July  26, 
1859.  First  American  production, 
November  24,  1864,  with  Cordier, 
Brignoli  and  Amodio.  Sung  by  lima 
di  Murska  at  Booth's  Theatre  in  1867. 
Other  productions  occured  in  1879 
with  Mariman  and  Campanini;  and  in 
1882  with  Patti.  Revived  in  1892  for 
Marie  Van  Zandt;  by  Oscar  Hammer- 
stein  in  1907  for  Mme.  Tetrazzini; 
and  more  recently  by  the  Chicago  Opera 
Company  as  a  vehicle  for  the  art  of 
Mme.  Galli-Curci. 

CHARACTERS 

HOEL,  a  goatherd  (Oh-ell'} .  .  .  Baritone 
CORENTINO,  bag-piper  (Koh- 

ren-tee-no] Tenor 

DINORAH,  betrothed  to  Hoel 

(Dee-no' -rah) Soprano 

HUNTSMAN Bass 

Place:   Breton  Village  of  Ploermel 


ACT  I 

THE  homestead  of  Dinorah's  father 
has  been  destroyed  by  storm,  and 
the  girl's  lover  wishes  to  help  the 
stricken  household.  He  is  advised,  by 
the  village  soothsayer,  of  a  vast 
fortune  hidden  in  the  mountains.  This 
can  be  had  only  by  one  who  lives 
for  a  year  in  a  lonesome  glen,  and  even 
at  that  the  first  person  to  touch  it  will 
surely  die.  Being  but  a  credulous 
goat-herd,  Hoel  accents  the  story,  and 
he  takes  with  him  the  half-witted  bag- 
piper Corentino,  hoping  he  will  be  the 
first  to  touch  the  treasure.  Dinorah 
knows  nothing  of  her  lover's  intentions, 
and  becomes  insane  from  the  belief 
that  he  has  deserted  her.  As  the  cur- 
tain rises,  we  find  her  in  the  moun- 
tains, arrayed  in  her  bridal  dress, 
seeking  her  goat.  When  she  discovers 
the  animal  sleeping  she  sings  a  charm- 
ing, if  strange  lullaby,  "Si,  carina  cap- 
rettina"  (Yes,  My  Beloved  One). 

This   takes   place   near   the   hut   of 
CorentinOy  and  when  the  piper  returns 


70 


VICTROLA     BOOK     OF     THE      OPERA 


and  finds  Dinorah,  he  mistakes  her  for 
an  evil  fairy  who  is  said  to  so  bewitch 
those  who  have  been  lost  or  have  gone 
astray  in  the  mountains,  that  they 
dance  until  they  die.  Corentino  is 
scared  out  of  his  wits,  and  the  half 
insane  girl  forces  him  to  dance  until 
he  falls  exhausted,  when  she  disappears. 
Hoel  then  enters,  telling  the  bagpiper 
how  the  wizard  has  instructed  him  to 
seek  for  a  white  goat  which  will  lead 
him  to  the  treasure.  The  bell  of 
Dinorah's  goat  is  heard  and  he  goes 
off  in  pursuit,  dragging  with  him  the 
terrified  Cowntino. 

ACT  II 

THE  moon  shines  upon  an  open 
clearing  in  the  woods.  In  its  clear 
light  is  seen  Dinorah.  The  moon 
throws  a  strong  shadow  upon  the 
ground.  Seeing  her  own  form  thus  fan- 
tastically outlined,  the  girl  regards  it 
as  a  friend.  She  sings  and  dances 
with  her  shadow  as  with  a  living  part- 
ner. Then  is  heard  the  world-famous 
"Ombra  leggiera"  (Shadow  Song). 

This  delightful  waltz-like  coloratura 
aria  is  justly  popular.  The  flute  follows 
the  voice  through  the  difficult  runs  and 
vocal  ornaments  in  a  manner  that  clear- 
ly suggests  the  dancing  shadow.  The 
florid  cadenza  is  especially  effective. 

The  scene  changes.  And  a  violent 
storm  arises,  in.  the  midst  of  which 
Hoel  still  seeks  the  treasure;  but  Co- 
rentino,  having  heard  from  Dinorah 
that  he  who  first  touches  it  must  die, 
refuses  to  take  the  risk,  suggesting  that 
the  demented  maid  of  the  mountains 
may  do  so  in  his  place.  As  Hoel  has 
no  objection  they  go  in  search  of  her. 


Then  a  dam  bursts  high  in  the  moun- 
tains and  the  flood  carries  away  a 
bridge  on  which  Dinorah  is  crossing  a 
ravine.  Hoe/,  rushing  to  her  rescue, 
finds  she  is  none  other  than  his  own 
sweetheart. 

ACT  III 

AJL  is  quiet  and  peaceful  after  the 
storm;  herders  and  huntsmen  are 
gathered  together.  Hoe!  brings  t;he  still 
senseless  Dinorah,  and  lays  her  among 
them.  Believing  her  dead,  he  bitterly 
reproaches  himself.  But  she  revives; 
and  with  her  recovery,  reason  returns; 
Hoe'l,  thinking  she  is  treasure  enough, 
gives  up  his  futile  hunt  for  a  mythical 
fortune.  All  ends  happily  as  the  re- 
united lovers  go  home,  and  the  curtain 
descends  upon  the  preparations  for  the 
wedding. 

THE   VICTOR   RECORDS 

(Sung'in  Italian) 
ACT  II 

OMBRA  LEGGIERA 

(Shadow    Song)       LUISA    TETRAZZINI, 
Soprano  88298     12-in.,  31.75 


AMELITA  GALLI-CURCI,  Soprano 

74532     12-in., 


1.75 


Light  flitting  shadow,  companion  gay 

Go  not  away! 

Play  here  beside  me,  dark  fears  betide  me 
When  thou  dost  go  far  from  me! 

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

Know'st  thou  not  that  Hoel  loves  me? 
That  as  his  bride  he  claims  me! 
Love  well  hath  known 
Our  two  hearts  to  unite! 


DOUBLE-FACED  RECORD 

fOmbra  leggiera  (Shadow  Song) Olive  Kline,  Soprano^ -5047     J2  • 

\     Lucia— Mad  Scene Olive  Kline,  Soprano} 


n 


FROM  A  PAINTING 


SCENE  FROM  DON  CARLOS 


OPERA  in    four   acts.     Libretto 
by  Mery  and  Du  Locle;  music 
by  Verdi.    First  produced  at 
Paris,  March  11,  1867;  in  London,  at 
Her  Majesty's  Theatre,  June  4,  1867. 
Although  it  was  revised  and  improved 
by  Verdi  in  1883,  it  is  seldom  given 
nowadays.    Revived  at  La  Scala, 
"Milan,  in  1912  and  recently  at  Monte 
Carlo  for  Ruffo. 

CHARACTERS 

(Original  Paris  Cast) 

PHILIP  II Obin,  Bass 

DON  CARLOS  (Kahr'-los)  Morere,Tenor 
MARQUIS  DE  POSA.  .  .  .  Faure,  Baritone 

GRAND  INQUISITOR Belval,  Bass 

ELIZABETH    DE    VALOIS    (duh- 

Val-wah) Sass,  Soprano 

PRINCESS  EBOLI.  .Gueymard,  Soprano 


DON  CARLOS,  son  of  Philip  //, 
King  of  Spain,  is  in  love  with 
Elizabeth  de  Valois,  daughter  of  Henry 
II  of  France.  His  affection  is  deep  and 
sincere,  and  it  is  returned  in  equal 
measure.  For  reasons  of  state,  how- 
ever, Elizabeth  is  wedded  not  to  Don 
Carlos  but  to  Philip  II,  and  the  young 
prince  therefore  finds  himself  in  love 
with  his  own  stepmother.  He  confides 
in  Rodrigo,  Marquis  de  Posa,  who 
entreats  him  to  leave  the  Spanish 
court.  The  two  pledge  friendship  in 
the  beautiful  "Dio  che  nell*  alma  in- 
fondere"  (Infuse  Friendship  Into  Our 
Souls  O  Lord!).  Carlos  therefore  begs 
the  Queen  to  obtain  Philip 's  permission 
to  join  the  Flemings  in  the  struggle 
against  the  Spaniards.  But  as  the 
King  is  secretly  in  favor  with  the 
Spanish  tyrants  the  request  only 


72 


VICTROLA     BOOK     OF     THE      OPERA 


angers  him  and  further  estranges 
father  and  son. 

Don  Carlos  has  a  dangerous  admirer 
in  Princess  Eboli,  who  learns  that  the 
Queen  has  by  no  means  ceased  to  love 
Don  Carlos  though  married  to  his 
father.  Princess  Eboli  allows  jealousy 
to  get  the  better  of  her  and  she  informs 
King  Philip  of  the  condition  of  affairs. 
This  maddens  the  King  still  further, 
and,  on  the  advice  of  the  Grand 
Inquisitor,  Don  Carlos  is  thrown  into 
prison.  Rodrigo  visits  the  Prince 
there,  and  is  shot  by  the  Kings  friends, 
who  suspect  him  of  aiding  the  Flemings. 
He  bids  farewell  to  earth  in  a  beautiful 
aria,  "O  Carlo,  Ascolta"  (O  Carlos, 
Hear  Me),  repeating  a  theme  of  the 
friendship  duet.  And  even  before  this, 
filled  with  the  idea  of  sacrificing  his 
own  liberty  for  that  of  Don  Carlos,  he 
has  a  noble  aria,  the  "Per  me  giunto 
e  il  di  supremo"  (The  Supreme  Day). 
Carlos  is  freed,  and  goes  to  the  Mon- 
astery of  St.  Just  to  keep  tryst  with 


h.  The  King  surprises  them 
there,  and  his  anger  once  more  aroused, 
he  hands  over  Don  Carlos  to  the  Offi- 
cers of  the  Inquisition,  who  bear  him 
away  to  death  as  the  curtain  falls. 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 

ACT  I 
DIG  CHE  NELL'  ALMA  INFONDERE 

(Infuse  Friendship  Into  Our  Souls,  Oh 
Lord)  ENRICO  CARUSO,  Tenor  and 
ANTONIO  SCOTTI,  Baritone 

89064     12-in.,  #2.00 

GIOVANNI  MARTINELLI,  Tenor  and 
GIUSEPPE  DE  LUCA,  Baritone 

89160     12-in.,    2.00 

PER  ME  GIUNTO  E  IL  DI  SUPREMO 

(The  Day  Supreme)  TITTA  RUFFO,  Bari- 
tone 92038     12-in.,     1.75 
GIUSEPPE  DE  LUCA,  Baritone 

74697     12-in.,     1.75 

ACT  III 
O  CARLO,  ASCOLTA 

(O  Carlos,  Listen  to  Mv  Plea)  GIUSEPPE 
DE  LUCA,  Baritone  64957  10-in.,  1.25 


BASSANI,  MILAN 


DON  CARLOS  AT  LA  SCALA,  MILAN ACT  II,  SCENE  II 


73 


DON    GIOVANNI 


(DON  JUAN) 

(Spanish) 


MOZART  wrote  "Don  Gio- 
vanni," perhaps  the  greatest 
of  his  works,  on  a  stone  table 
in  a  pleasant  room  at  Koschirz,  near 
Prague.  For  once  he  was  happy.  It 
was  in  September,  1787;  from  his  win- 
dow in  the  house  of  his  friend  Duschek 
(Dussek),  he  could  look  out  upon  the 
vine-crowned  hills  and  their  clusters  of 
purple  fruit.  He  had  rooms  in  Prague, 
where  his  wife  stayed,  but  he  loved  the 
house  of  his  friend,  where  he  could 
compose  or  play  skittles  as  he  willed. 
He  played  much  skittles — but  by  the 
end  of  October  the  opera  was  complete! 
It  was  produced  in  Prague  on  October 
29th.  The  night  before,  the  overture 
was  still  unwritten;  but  Mozart  worked 
all  night,  kept  awake  by  his  wife  with 
stories  and  with  punch.  He  had  to 
rest  a  bit,  but  by  seven  in  the  morning, 
when  the  music  copyists  came,  the 


work  was  done.  It  is  no  pot-pourri  of 
the  chief  airs,  but  a  masterly  work, 
charged  with  the  atmosphere  of  the 
drama — a  perfect  introduction.  When 
the  opera  was  produced  that  night, 
Mozart  was  welcomed  with  a  fanfare 
of  trumpets,  and  the  kindly  Bohemian 
audience  greeted  every  number  with 
rapture.  Well  they  might!  for  never 
has  melody  more  fresh  and  spontane- 
ous, more  copious  in  quantity,  more 
delicately  moulded  in  style,  greeted 
human  ears. 

Familiarize  yourself  with  these  magi- 
cal melodies!  So  sweet  and  simple  on 
the  surface,  they  possess  deeper  qualities 
than  can  be  fathomed  at  first  hearing. 
There  is  perhaps  no  emotion  of  which 
humanityiscapable, which  does  notfind 
expression  in  Mozart's  music.  With 
his  uncanny  artist's  intuition,  he  pene- 
trated the  verv  souls  of  his  characters. 


TH  E    OPERA 


OPERA  in  two  acts.  Libretto  by 
Lorenzo  da  Ponte.  Music  by 
Wolfgang  Amadeus  Mozart.  First 
produced  at  Prague,  October  29, 
1787;  at  Vienna,  May  7,  1788;  at  Ber- 
lin, 1791;  Paris,  1811.  First  London 
production,  April  12,  1817;  an  English 
adaptation,  called  "The  Libertine," 
was  given  in  Philadelphia,  December 
26,  1818,  with  Mr.  and  Mrs.  Henry 
Wallach  and  Joseph  Jefferson  (grand- 
father of  the  favorite  exponent  of  Rip 
Van  Winkle);  produced  in  New  York 
May  29,  1826.  Some  notable  revivals 
occurred  in  1889  at  Metropolitan 
Opera  House,  with  Reichmann,  Ka- 
lisch,  Behrens  and  Fischer;  in  1898 
with  Sembrich,  Nordica,  Eames  and 
Plancon;  in  1900  with  Sembrich,  Nord- 


ica and  de  Res^ke;  and  at  the  Manhat- 
tan Opera  in  1909  with  Russ,  Donalda, 
Bonci  and  Renaud. 

CHARACTERS 

DON  GIOVANNI  (Joh-vahn'-nee),  a 
licentious  young  nobleman 

Baritone 

DON  OTTAVIO  (Ot-tah'-vee-oh),  be- 
trothed to  Donna  Anna ....  Tenor 

LEPORELLO    (Lep-oh-rel' -loK) ,   ser- 
vant of  Don  Giovanni Bass 

DON  PEDRO  (Pay-droK)^  the  Com- 
mandant  Bass 

DONNA  ANNA,  his  daughter .  .  .  Soprano 

MASETTO  (Mas-set1 -toK)^  a  peasant 

1     Bass 


74 


VICTROLA     BOOK     OF     THE      OPERA 


ZERLINA  (Ts  air-lee' -nah),  betroth- 
ed to  Masetto Soprano 

DONNA  ELVIRA  (El-vee' '-rah} ,  a 

lady  of  Burgos Soprano 

Peasants,  Musicians,  Dancers,  Demons 

Scene  and  Period:   Seville ',  in  the  Middle 
of  the  Seventeenth  Century 

(The  opera  is  also  known  as  "Don 
Juan,"  Don  Wahri). 

ACT  I 

SCENE — The  Court  of 'the  Commandant's 

Palace  at  Seville.     Night.     Donna 

Annals  Window  is  partly  open 

THE  stage  seems  wholly  dark,  until 
we  discern,  among  fantastic  moon- 
light shadows,  the  figure  of  Leporello. 
He  is  awaiting  his  master,  who  is  with- 
in, making  love  to  Donna  Anna.  A 
scream  is  heard,  and  Don  Giovanni 
rushes  into  the  courtyard,  followed  by 
the  lady.  Her  father  appears,  with 
lamp  and  sword.  Don  Giovanni  par- 
ries with  coolness  each  trembling  pass 
of  the  aged  swordsman.  He  strikes 
the  lamp  from  his  hand,  then  runs  him 
through.  Then  he  and  Leporello  es- 
cape. Donna  Anna  is  joined  by  Don 
Ottavio.  Search  is  hopeless.  Over  the 
dead  body  of  her  father,  Donna  Anna 
then  swears  vengeance. 

The  scene  shifts  to  a  desolate  spot,  by 
amountain  road,  with  an  inn.  The  fugi- 
tives conceal  themselves  as  a  carriage 
approaches.  A  lady  is  seen  within,  and 
Don  Giovanni  scents  adventure.  To  his 
dismay,  however,  he  recognizes  Donna 
Elvira,  whom  he  has  wronged.  Leaving 
Leporello  to  explain,  he  makes  off. 

Leporello  s  consolation  to  the  lady  is 
to  read  over  the  list  of  his  master's 
former  victims — in  the  famous  "Nella 
bionda"  (The  Fair  One),  often  known 
as  the  "Catalogue  Song."  It  reveals, 
for  all  its  musical  beauty,  the  character 
of  Leporello  as  an  oily  braggart,  a  cow- 
ard, a  lackey  by  nature  as  well  as 


occupation.  His  music  differs  greatly 
from  the  suave  and  courtly  airs  of  his 
master.  Good-natured  comedy  ap- 
pears, none  the  less. 

Again  the  scene  changes — to  the 
grounds  of  Don  Giovanni  s  own  estate. 
A  wedding  is  in  progress,  and  peasants 
are  enjoying  the  festivities.  Don  Gio- 
vanni is  disposed  to  join  in  the  fun  and 
make  love  to  the  bride,  Zerlina.  Mas- 
etto, her  betrothed,  interferes,  but  the 
Don  touches  his  sword  significantly, 
and  the  poor  wretch  hopelessly  fol- 
lows the  crowd  to  refreshments 
under  Leporello. 

Zerlina  is  flattered  by  the  Don,  who 
suggests  she  is  too  beautiful  to  wed 
the  bumpkinly  Masetto.  The  duet 
which  follows,  reveals  admirably  the 
simple  character  of  the  girl  and  the 
evil  finesse  of  the  Don.  It  is  known 
as  "La  ci  darem  la  mano"  (Thy  Little 
Hand,  Love,)  and  it  nearly  proves  the 
ruin  of  Zerlina.  But  Donna  Elvira 
appears,  smarting  under  Leporello  s 
insults,  and  she  leads  away  the  girl. 
Then  Donna  Anna  and  Don  Ottavio 
appear,  for  the  extraordinary  purpose 
of  begging  aid  from  Don  Giovanni  in 
the  search  for  the  Commandant1  s 
murderer!  The  Don  promises  aid, 
and  excuses  himself  to  look  after  his 
guests.  Donna  Anna  confides  to  her 
betrothed  that  she  recognizes  his  voice. 
When  the  two  depart,  Don  Giovanni 
returns  with  Leporello,  whom  he  com- 
mends for  having  escorted  Donna 
Elvira  to  the  palace  gates,  declaring 
to  the  guests  that  she  was  ill  when  she 
endeavored  to  "make  a  scene." 

Once  more  the  visible  scene  shifts, 
to  Don  Giovanni's  garden  where 
Zerlina  is  striving  to  make  peace  with 
Masetto  in  the  lovely  air,  "Batti, 
batti"  (Scold  Me,  Dear  Masetto), 
an  air  that  is  full  of  natural  grace  and 
sweetness,  hence  a  true  revelation  of 
the  character  of  Zerlina,  who  really 
loves  her  great,  hulking  lover. 


75 


The  Don,  however,  has  not  made 
mischief  enough.  With  another  shift 
of  the  scene,  he  lures  her  away  from 
the  dance,  and  from  Masetto.  We  are 
unaware  of  this,  however,  until  the 
screams  of  Zerlina,  for  help  behind  the 
scenes,  electrify  everyone.  Donna 
Anna,)  Donna  Elvira  and  Don  Ottavio 
leading,  all  rush  in.  Don  Giovanni  is 
cornered.  He  listens  defiantly,  then 
with  drawn  sword,  fights  a  way  through 
and  away. 

ACT  II 

SCENE — A  Square   in   Seville.     Donna 
Elvira's  Residence.    Moonlight 

THE  Don  is  no  better.  This  time 
he  is  enamored  of  Donna  Elvira's 
maid.  He  comes  to  serenade  her,  but 
for  safety's  sake  has  changed  costumes 
with  Leporello.  He  finds  not  the  maid 
at  the  casement,  but  Elvira,  whom  he 
proceeds  to  woo  in  the  old  fashion. 
Unable  to  resist  the  Dons  blandish- 
ments, the  lady  descends^  when  she  is 
deftly  passed  over  to  Leporello,  dressed 
as  the  Don — who  makes  a  terrible  out- 
cry. The  two  run  away,  leaving  him 
free  to  serenade  the  maid — in  one  of 


the  most  remarkable  of  melodies,  most 
perfect  in  form  and  lovely  in  spirit. 

He  is  interrupted  by  Masetto  with 
armed  villagers.  Masetto  boasts  of  the 
drubbing  he  will  give  Don  Giovanni. 
Asking  to  see  the  weapon,  the  Don 
beats  Masetto  and  gets  away.  Lepo- 
rello is  captured  and  brought  before 
Donna  Anna,  Ottavio  and  Zerlina.  The 
wrong  man,  he  is  permitted  to  go  free. 
Don  Ottavio  then  sings,  to  comfort  his 
beloved,  the  "II  Mio  Tesoro"  (Fly 
With  Me)  one  of  the  loveliest  airs  in 
all  music — a  masterpiece,  too,  of  voice- 
writing,  with  its  smooth  long-drawn 
phrases  and  deft  embellishments. 

There  is  an  end  of  all  easy  things. 
Don  Giovanni  is  next  rejoined  by  Le- 
porello in  a  square  in  Seville.  The 
moon  shines  upon  a  newly-erected 
statue  of  Don  Pedro.  Leporello  shud- 
ders, but  Don  Giovanni  speaks  to  it — 
inviting  it  to  a  banquet  the  following 
night.  The  statue  is  seen  to  nod  reply. 

The  scene  changes  to  the  banquet 
hall,  where,  among  festivities,  Zerlina 
once  again  appears  to  beg  the  Don  to 
repent.  After  she  has  left,  screams  are 
heard.  Leporello  is  sent  to  investigate, 


DON  GIOVANNI:     Depart!  or  my  sword  shall  teach  thee  obedience. 

76 


VICTROLA     BOOK     OF     THE      OPERA 


and  returns,  white  with  dread,  to  an- 
nounce the  statue.  The  guests  flee,  but 
the  Don  offers  his  hand  to  the  strange 
visitor.  He  is  once  again  bidden  to 


repent.  For  the  last  time  he  refuses. 
The  statue  sinks,  flames  arise,  and 
Don  Giovanni  is  carried  off  by  demons 
to  his  eternal  punishment. 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  otherwise  noted) 


ACT  I 
NELLA  BIONDA 

(The  Fair  One)  MARCEL  JOURNET,  Bass 

74191     12-in.,  31.75 
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, 
And  it  please  ye,  peruse  it  with  me. 
In  Italia, — six  hundred  and  forty; 
Then  in  Germany, — ten  score  and  twenty; 
As  for  France, — double  fifty  seem  plenty; 
While  in  old  Spain  here, — we  count  thousands 

three! 

Some  you  see  are  country  damsels, 
Waiting-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! 
First  the  fair  one's  unthinking  blindness 
He  would  dazzle  with  honied  speeches; 
Toward  the  dark-ey'd  all  pure  kindness, 
With  the  blue-ey'd  he  beseeches; 
Winter,  he  prefers  the  fatter, 
Summer,  thin  girls  suit  him  better. 

LA  CI  DAREM  LA  MANO 

(Thy  Little  Hand,  Love!)  GERALDINE 
FARRAR,  Soprano  and  ANTONIO  Scorn, 
Baritone  89015  12-in.,  2.00 

GRAZIELLA  PARETO,  Soprano  and  TITTA 
Rurro,  Baritone  92505  12-in.,  2.00 

MABEL  GARRISON,  Soprano  and  REINALD 
\\'ERRENRATH,  Baritone 

87569     10-in.,     1.50 
BATTI,  BATTI,  O  BEL  MASETTO 

(Scold  Me,  Dear  Masetto)  MARCELLA 
SEMBRICH,  Soprano  88026  12-in.,  1.75 

Chide  me,  dear  Masetto, 

Chide  Zerlina  at  your  will; 
Like  the  patient  lamb  I'll  suffer. 

Meek  and  mute  and  loving  still. 


Rend  those  locks  you  prais'd  so  highly, 

From  thine  arms  Zerlina  cast, 
These  fond  eyes  in  rage  extinguish, 

Fondly  still  they'll  look  their  last. 
Ah!  I  see,  love,  you're  relenting, 

Par"don,  kneeling,  I  implore! 
Night  and  day,  to  thee  devoted, 

Here  I  vow  to  err  no  more. 

ACT  II 
SERENATA— DEH  VIENI  ALLA  FINESTRA 

(Open    Thy    Window)    TITTA    RUFFO, 

Baritone  87112     10-in.,     1.25 

ANTONIO  SCOTTI,  Baritone 

88194     12-in.,     1.75 
EMILIO  DE  GOGORZA,  Baritone 

88447     12-in.,     1.75 
DON  GIOVANNI: 
Ope,  ope  thy  casement,  dearest, 

Thvself  one  moment  show; 
Oh,  if  my  pray'r  thou  hearest, 

Wave  but  that  arm  of  snow. 
Canst  thou  my  ceaseless  sighing 

With  cold  indif'rence  greet? 
Ah!  wouldst  thou  see  me  dying 

Despairing,  at  thy  feet? 
Thy  lip  outvies  Hymettian-honied  bowers, 
Virtue  worthy  an  angel  thy  heart  doth  cherish; 
Thy  sigh  were  balm  amid  a  heav'n  of  flowers; 

Oh,  for  one  kiss,  one  word,  the  soul  would 
perish! 

IL  MIO  TESORO 

(To  My  Beloved)  JOHN   McCoRMACK, 
Tenor  74484     12-in.,     1.75 

OTTAVIO: 

Fly  then,  my  love,  entreating, 

To  calm  her  anxious  fears; 

Oh,  still  her  heart's  wild  beating, 

And  wipe  away  her  tears. 
Tell  her  I'll  vengeance  take 
On  him  who  slew  her  sire; 
This  arm  his  grave  shall  make, 
Or  I'll  by  his  expire. 


77 


DONNE  CURIOSE THE  CLUB,      ACT  I 


LE   DONNE  CURIOSE 


MUSICAL  comedy  in  three  acts; 
libretto  by  Sugana;  music  by 
Wolf-Ferrari.    Produced    in 
Munich,  November  27,   1903,  as  Die 
Neugierigen  Frauen.    First  production 
in  America  at  the  Metropolitan,  Janu- 
ary 3,  1912,  with  Farrar,  Jadlowker, 
Scotti  and  Lambert  Murphy. 

CHARACTERS 

OTTAVIO,  a  rich  Venetian  (Ot-tah'- 

vee-oh) Bass 

BEATRICE,  his  wife  (Eay-ah-tree'- 

chefi) Soprano 

ROSAURA,  his  daughter  (Ro-zow- 

rah} Soprano 

FLORINDO,  betrothed  to  Rosaura 

(Floh-rin '-doK) Tenor 

PANTALONE  a  Venetian  merchant 

(Pahn-tah-loh'-neh) Baritone 

COLOMBINA,  Rosaura 's  maid 

(Koh-lom-bee' -nah} Soprano 

ELEANORA Soprano 

Servants,  Gondoliers,  Men  and  Women 
of  the  Populace 


Time  and  Place:  Venice;  the  Middle  of 
the  Eighteenth  Century 

(The  name  of  the  opera  is  pro- 
nounced Leh  Don'-neh  Koo-ree-oh'-seh}. 

E:  DONNE  CURIOSE  (Inquisi- 
tive Women)  is  pure  comedy. 
Beatrice,  Rosaura,  Eleanora  and  Colom- 
bina  plot  entrance  to  the  Friendship 
clubhouse,  of  which  their  husbands 
and  lovers  are  members.  No  women 
are  admitted.  Each  has  her  own  theory 
as  to  what  goes  on  there.  The  beauty 
of  the  climax  is  that  nothing  does  go 
on,  except  what  is  right  and  proper. 
The  women,  by  bribing  servants  and 
wheedling  a  key  from  one  of  the 
clubmen,  get  into  the  house  to  find 
the  men  harmlessly  at  dinner.  Every- 
thing ends  with  a  dance. 

There  is  a  charming  air,  in  Act  II, 
"II  Cor  nel  contento"  (My  Heart, 
How  It  Leaps  in  Rejoicing),  a  love-duet 
between  Rosaura  and  Florindo,  her 
fiance,  sung  after  she  has  induced 
him  to  give  up  his  key. 


78 


DON    PASQUALE 


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  production  in  Paris,  in 
French,  1864;  London,  June  30,  1843. 
First  New  York  production  March  9, 
1846,  in  English,  and  in  1849  in  Italian. 
Revived  at  the  New  Theatre,  New 
York,  December  23,  1909,  with  di 
Pasquali,  Bonci,  Scotti  and  Pini-Corsi; 
at  the  Metropolitan  in  1913  with  Sem- 
brich,  Scotti  and  Rossi. 

CHARACTERS 

DON  PASQUALE,  an  old  bachelor 

(Don  Pas-quati-leh) Bass 

DR.  MALATESTA,  his  friend,  a  physi- 
cian (Mah-lah-tes'-taK) . . .  Baritone 

ERNESTO,  nephew  of  Don  Pasquale 
(Ayr-nes' -toh) Tenor 

NORINA,  beloved  of  Ernesto 

(Noh-ree'-naK) Soprano 

A  NOTARY Baritone 

Chorus  of  Valets  and  Chambermaids, 

Majordomo,  Dressmaker  and 

Hairdresser 

Scene  and  Period:  Rome;  the  Beginning 
of  the  Nineteenth  Century 

ACT  I 

SCENE  I — A  Room  in  Don  Pasquale' s 
House 

rTAHERE  is  a  jolly  overture,  and 
X  the  opera  begins  without  further 
ado.  Don  Pasquale,  advanced  in  years, 
is  angry  with  his  nephew  Ernesto,  a  bit 
of  a  scapegrace  who  has  dared  to  fall 
in  love  with  Norina,  an  unknown  but 

Erobably    scandalous    young    Roman 
idy,  and  to    refuse  a   wealthy    and 
respectable  mate  solemnly  picked  out 


for  him.  Don  Pasquale  decides  to 
disinherit  the  youth,  and  get  married 
himself.  The  only  trouble  is,  to  find 
a  bride.  For  this  purpose,  he  has  called 
in  his  old  friend  Dr.  Malatesta,  who 
comes  in  to  "report  progress" — in  the 
scene,  "Son  nov'ore"  ('Tis  Nine 
o'clock).  The  Doctor  proposes  Soph- 
ronia,  his  own  sister. 

Now  at  that,  the  Doctor  is  no  fool. 
He  has  no  sister,  there  is  no  Sophronia; 
but  a  practical  joke,  he  thinks,  will 
cure  the  Don's  folly  and  help  Ernesto 
to  his  Norina.  The  old  Don  pipes  of 
the  wedded  bliss  to  be:  "Un  fece 
insolite"  (A  Fire  All  Unfelt). 

The  friends  are  interrupted  by 
Ernesto,  who  is  urged  to  give  up 
Norina.  He  of  course  refuses,  and  is 
told  of  the  Dons  intention.  Knowing 
that,  penniless,  he  cannot  ask  Norina 
to  marry  him,  he  gives  up  to  despair, 
in  the  scene,  "Sogno  soa've  e  caste" 
(Fond  Dream  of  Love).  Before  leav- 
ing he  implores  his  uncle  to  ask  Doctor 
Malatesta 's  advice;  he  is  dumbfounded 
when  he  is  told  that  the  Doctor  origi- 
nally suggested  marriage,  and  pre- 
sented his  own  sister  as  a  proper  bride. 
Ernesto,  thinking  himself  betrayed  by 
his  best  friend,  writes  a  farewell  note 
to  Norina. 

SCENE  II — A  Room  in  Norina  s  House 

NOW  Norina  is  no  fool  either;  what 
is  more,  she  trusts  the  Doctor. 
We  find  her  reading  a  novel,  from 
which  she  quotes  a  passage,  "Qual 
Garde"  (Glances  So  Soft).  It  sets  her 
thinking  upon  her  own  gifts:  "So 
anch'io  la  virtu  magica"  (Thy  Virtues 
Know).  In  this  sprightly  number  she 
declares  she  too  knows  the  value  of  a 
glance  and  a  smile.  Then  she  receives 
Ernesto  s  letter.  What  can  it  mean? 
The  solution  arrives  in  the  person  of 
Malatesta,  who  comes  to  tell  her  she 
must  undergo  a  mock-marriage  with 


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VICTROLA    BOOK    OF   THE    OPERA 


the  Don,  then  make  things  hot  for 
him  so  he  will  yearn  for  the  pristine  peace 
of  his  bachelor  days — even  at  the  cost 
of  Ernesto's  marriage  with  herself. 
Norina  proves  herself  a  girl  of  spirit. 
She  at  once  begins  to  rehearse;  "  Pronta 
io  son"  (My  Part  I'll  Play!)  she  sings. 
The  details  are  worked  out  in  the  half- 
giddy  duet  which  ends  the  act,  "Vado 
Corro"  (Haste  We!). 

ACT  II 

SCENE — A  Richly  Furnished  Hall; 
Don  Pasquale' s 

THE  bridegroom,  youthfully  ar- 
rayed, is  admiring  himself  and 
awaiting  the  arrival  of  brother  and 
sister.  They  arrive,  the  bride  heavily- 
veiled  and  shy  as  a  mouse — which 
interests  the  elderly  swain.  The  Don 
is  in  love — and  his  judgment  somewhat 
obfuscated.  He  signs  over  half  his 
property  to  Sophronia  and  makes 
her  absolute  mistress  of  the  house. 
Ernesto  appears,  and  things  look  bad 
for  a  moment,  till  the  Doctor  drags 
him  aside  and  whispers  an  explanation. 
He  then  signs  the  marriage-contract 
as  a  witness. 

Once  a  wife,  Norina  "shows  her  dis- 
position." She  refuses  to  kiss  the 
bridegroom.  Ernesto  roars  with  laugh- 
ter. The  Don  orders  him  out,  and 
Norina  flies  at  the  Don  like  a  wildcat. 
She  tells  him  he  is  too  old  and  fat  and 
feeble  for  a  young  wife.  As  this  is 
perfectly  true,  it  sears  like  fire.  She 
declares  she  must  have  a  cavalier,  and 
chooses  Ernesto.  The  Don  is  enraged, 
and  Norina,  who  is  quite  capable, 
threatens  to  beat  him.  She  orders  in 
the  servants,  acclaims  herself  mistress 
of  the  house,  engages  fresh  servants, 
two  carriages,  new  furniture,  and  plans 
to  spend  much  money.  The  Don,  in 
querulous  rage,  declares,  "Son  Tra- 
dito!"  (I  am  Ruined!).  Ernesto  and 
Norina,  behind  his  back,  are  capering 
with  joy. 


ACT  III 

SCENE  I — As  in  Act  I 

*  I  ^HERE  is  a  "rag  on  every  bush." 
J_  Floor  and  furniture  are  piled  with 
dresses  and  bandboxes,  hats,  furs  and 
lingerie,  and  Don  Pasquale  is  half- 
demented — for  he  is  facing  the  bills. 
Norina  enters,  dressed  to  go  out.  The 
poor  old  crock  makes  a  last  bid  for 
authority,  "Signorina  in  tanta  fretta" 
(Why  This  Haste?)  and  he  is  told  in 
so  many  words  to  hold  his  tongue.  The 
Don  flushes,  and  has  his  ears  boxed. 
The  lady,  flounces  out,  intentionally 
dropping  a  note  which  asks  an  ap- 
pointment in  the  garden  "between 
nine  and  ten."  Don  Pasquale  reads  it, 
baa's  like  a  sheep,  and  totters  out  after 
Malatesta,  who  appears,  in  his  absence, 
with  Ernesto,  whom  he  instructs  to  go 
into  the  garden  at  nine-thirty.  The 
Don  returns.  "Brother-in-law,"  ex- 
claims he,  "You  see  in  me  a  dead  man 
walkingupright."  Malatesta  isall 
sympathy,  and  proposes  they  watch 
for  the  guilty  pair.  The  Don  gloats 
over  his  coming  triumph:  "Aspetta, 
aspetta,  cara  esposina"  (Wait,  Wait, 
Dear  Little  Wife!). 

SCENE  II — The  Garden 

THE  scene  is  a  lovely  one,  and 
Ernesto  is  moved  to  song,  in  the 
lovely,  strange  and  languorous  air, 
"Com  e'  gentil"  (Soft  Beams  the 
Light)  a  wandering  strain,  with  long 
sustained  notes  and  a  seductive 
rhythm,  with  frequent  pauses  that 
never  disturb  it.  Norina  joins  her 
lover,  and  they  renew  their  vows  in  an 
equally  lovely  duet.  But  they  see  the 
Don  and  the  Doctor,  with  dark  lanterns 
that  betray  their  every  movement. 
The  Don  cannot  restrain  himself,  and 
he  runs  forth,  to  find  Norina  alone, 
Ernesto  having  vanished.  He  threatens 
divorce,  which  Malatesta  discounten- 
ances, for  fear  of  publicity.  He  asks 


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VICTROLA    BOOK    OF   THE    OPERA 


the  privilege  to  settle  the  affair,  and 
suggests  that  the  bride  be  allowed  to 
share  the  house  with  Ernesto's  bride, 
a  certain  Norina.  " Sophronia"  pro- 
tests furiously,  when  he  suggests  that 
she  wed  Ernesto  herself.  The  Don 
brightens  a  bit — he  will  agree  to  any- 
thing to  get  rid  of  his  lady-love. 
Ernesto  appears,  and  the  affair  is 
settled.  Tt  is  then  confessed  to  the 
Don,  who  at  first  is  hurt,  but  who  soon 
relents — as  he  is  a  good  old  fellow  at 
heart,  and  can  enjoy  a  good  joke,  even 
against  himself;  especially  as  there  is 
nothing  else  to  be  done. 


THE  VICTOR  RECORDS 

(Sung  in  Italian) 

ACT  I 
CAVATINA— QUEL  GUARDO 

(Glances  So  Soft)  AMELITA  GALLI-CURCI, 

Soprano  74599     12-in.,  J51.75 

VADO  CORRO 

(Haste  We)  MARCEI.LA  SEMBRICH,  So- 
prano and  ANTONIO  SCOTTI,  Baritone 
89002     12-in., 
ACT  III 
SERENATA— COM'  E  GENTIL 

(Soft  Beams  the  Light)  ENRICO  CARUSO, 
Tenor-  85048     12  in., 

GIOVANNI  MARTINEI.LI, Tenor  and  Met- 
ropolitan Opera  Chorus 

64700     10-in., 


2.00 


1.75 


1.25 


DOUBLE-FACED  RECORDS 


[Son  nov'  ore  (Tis  Nine  O'clock)  1 

A.  Pini-Corsi,  Baritone  and  Ernesto  Badini,  Ban'tone\68273     12-in.,  $1 ,35 
iSignorina  in  tanta  fretta E.  Corsi  and  A.  Pini-Corsi} 

IUn  fbco  insolito  (A  Fire  Unfelt  Before) 
A.  Pini-Corsi,  Baritone y  and  Ernesto  Badini,  Baritone  \62 104     10-in.,       .85 
Vado,  corro  (Haste  We) E.  Corsi  and  E.  Badini\ 


COPY*T  MISHK1N 

BORI  AS  NORINA — ACT   II 


81 


WHITE,  N.  Y. 


DULCAMARA  EXPOUNDING  THE  ELIXIR ACT  I 

(CARUSO  AND  DE  LUCA) 


(L'ELISIR   D'AMORE) 

(Italian) 


THE  ancient  belief  in  love-philtres 
and  charms  has  supplied  the 
theme  for  many  a  sparkling 
comedy.  The  present  one,  with  its 
vivacity  and  tingle,  incited  Donizetti 
to  bring  forth  many  of  his  gayest  and 
lightest  melodies.  Indeed,  the  opera 
has  all  the  essentials  of  a  first-class 
play  in  the  lighter  vein,  the  story 
telling  of  Adina,  a  lively  but  sensible 
village  beauty  and  heiress,  with  whom 
Nemorino,  a  poor  but  honest  peasant, 
is  seized  with  a  love  which  triumphs 
alike  over  the  too-gallant  Sergeant 
Be/core,  and  that  insinuating  and 
plausible  quack,  the  travelling  Doctor 
Dulcamara. 

THE  OPERA 

OPERA  in  two  acts.  Text  by 
Romani.  Music  by  Gaetano  Doni- 
zetti. First  produced  in  Milan,  May 
12,  1832;  Barcelona,  1833;  Paris,  1839; 
Berlin,  1844.  First  London  production 
December  10,  1836.  First  American 


production  at  the  New  Orleans  Opera 
March  30,  1842.  Given  in  Boston  in 
English  by  the  Seguins  shortly  after- 
ward. The  Boston  Ideal  Opera  Com- 
pany presented  an  English  version  in 
1887,  with  the  title  of  "Adina." 
Revived  in  1904  at  the  Metropolitan 
with  Sembrich,  Caruso,  Scotti  and 
Rossi;  at  the  Manhattan  Opera  in 
1909,  with  Binkert,  Bonci,  Gilibert  and 
Trentini;  and  in  1916  at  the  Metro- 
politan Opera,  with  Hempel,  Caruso 
and  de  Luca. 

CHARACTERS 

ADINA,  a  wealthy  and  independent 

young  woman  (Ah-dee'-nah) 

Soprano 
NEMORINO,  a  young  peasant,  in  love 

with  Adina  (Nem-o-ree'-noh) 

Tenor 
BELCORE,  sergeant  of  the  village 

garrison  \Bell-ko' -ray) Bass 

DOCTOR  DULCAMARA,  a  quack  doctor 

(Dool-kah-mati-rafi) Buffo 


82 


VICTROLA     BOOK     OF     THE     O-PERA 


A  Landlord,  a  Notary,  Peasants, 
Soldiers,  Villagers 

Scene  and  Period:  A  Little  Italian 
Village;  the  Nineteenth  Century 

(The  Italian  name  of  the  opera  is 
pronounced  Lay-lee-seer'  Dam-oh' -reh) . 

ACT  I 

SCENE — The  Homesteadoj Adina  sFarm 

IT  is  a  glorious  summer  day.  Sur- 
rounded by  her  friends,  Adina  sits 
reading  a  romance.  From  a  distance 
the  love-sick  Nemorino  gazes  in  a 
rapture  that  finds  expression  only  in 
song — the  aria,  "Quant'e  bella"  (Oh, 
How  Lovely!). 

A  burst  of  laughter  from  Adina 
startles  everyone.  She  reads  the  legend 
of  Tristan  and  Isolde,  in  which  the 
knight  wins  the  lady's  affections  by 
means  of  a  wonderful  elixir. 

Nemori no,  "  sighing  like  furnace," 
can  find  no  mirth  in  such  a  tale,  and 
he  longs,  bumpkin-like,  for  some  of  the 
draught.  He  is  disturbed  by  the  sound 
of  martial  music.  The  dashing  Ser- 
geant Be/core  appears  with  a  bouquet 
for  Adina,  which  he  presents  with  an 
audacity  that  scares  Nemorino.  The 
lady,  however,  is  not  so  easily  won. 
Finding  courage,  Nemorino  contrives, 
when  the  party  breaks  up,  to  obtain  a 
word  with  his  beloved.  Adina,  how- 
ever, cares  little  for  the  doleful  counte- 
nance of  her  lover;  she  tells  him  that 
while  she  respects  him,  she  cannot 
marry  him.  No  one  can  blame  the 
girl;  Nemorino  is  a  worthy  young  fel- 
low, but  poor,  and  dull.  If  only  his 
lover's  sighs  were  leavened  with  some 
of  the  Sergeant's  gayety!  Adina  tells 
him  to  go  visit  his  rich  uncle,  who  is 
ill  at  a  nearby  village. 

Her  delight  in  dismissing  him  is 
interrupted  by  a  terrible  rumpus.  The 
great  Doctor  Dulcamara  rides  in,  in  his 
splendid  carriage,  with  a  whole  trunk- 
ful  of  nostrums.  These  will  cure  every- 


thing, from  apoplexy  to  rickets — ac- 
cording to  the  Doctor. 

Nemorino  listens  open-eared,  and  he 
gazes  open-eyed — and  open-mouthed. 
He  wonders  if  such  a  master-physician 
may  not  have  in  his  possession  the  elixir 
that  won  Isolde  for  Tristan.  He  ques- 
tions the  Doctor,  who  is  puzzled,  but 
quick-witted  like  all  of  his  clan.  He 
declares  he  possesses  it,  and  assures 
Nemorino  it  tastes  just  like  wine. 
Figuring  that  in  a  few  hours  he  will 
have  left  the  village,  the  Doctor  warns 
Nemorino  not  to  expect  results  until 
the  next  day.  His  back  is  no  sooner 
turned  than  Nemorino  vigorously  ap- 
plies himself  to  the  bottle. 

Nemorino  feels  exalted.  Adina, 
coming  in,  finds  him  singing  and  danc- 
ing. She  is  disposed  to  humor  him, 
but  he  disregards  her;  he  will  teach  her 
a  lesson!  Nemorino 's  dignity  is  gone; 
he  is  uproarious  in  a  new  and  by  no 
means  dull  fashion.  In  plain  language, 
Nemorino  is  "tight." 

Adina  is  yet  more  mystified.  She 
coquets  with  the  Sergeant;  Nemorino 
laughs,  and  the  indignant  girl  engages 
herself  to  marry  Belcore  within  three 
days.  Nemorino  finds  this  a  grand 
suggestion,  and  he  whoops  with  laugh- 
ter. The  time  is  reduced  to  twenty- 
four  hours.  Then  the  Sergeant  re- 
ceives orders  for  departure  on  the 
morrow.  Nemorino  has  a  sudden  chill; 
he  sobers  quickly,  and  pleads  with 
Adina,  but  in  vain. 

ACT  II 

SCENE — The  Farmhouse  Interior 

'"T^HERE  is  a  great  wedding-day 
A  feast.  Dulcamara,  scenting  a  free 
meal,  has  remained  over,  and  he  is 
sharing  honors  with  the  Sergeant.  He 
sings  a  duet — the  latest  barcarolle 
from  Venice — with  the.  bride-elect. 
The  notary  arrives,  and  the  party  re- 
pairs to  an  inner  room  to  sign  the 
marriage  contract.  Dulcamara  re- 


83 


VICTROLA     BOOK     OF     THE      OPERA 


mains  loyal  to  the  table.  To  him 
comes  Nemorino,  whose  uncle  is  dying, 
and  whose  sweetheart  is  marrying  an- 
other. And  the  Elixir  did  not  work! 
Dulcamara  prescribes  another  bottle, 
but  Nemorino  has  not  the  price.  The 
Doctor  places  it  in  his  pocket  and  walks 
off,  declaring  he  will  be  at  the  inn  for 
an  hour.  Be/core  succeeds  him.  Nemo- 
rino desperately  confides  to  Be/core 
he  has  no  money.  A  thought  strikes 
Be/core,  and  he  urges  him  to  enlist  as 
a  soldier,  when  he  will  receive  twenty 
crowns.  This  colloquy  takes  the  form 
of  a  wonderfully  melodious  duet, 
"Venti  Scudi"  (Twenty  Crowns),  in 


WHITE 

NEMORINO: 

"Night  and  day,  in  every  object, 
I  do  see  and  hear  but  thee,  love!" 
(CARUSO  AND  HEMPEL — ACT  i) 

which  the  tempter  achieves  an  excellent 
stroke  of  business;  he  gets  Nemorino,  as 
he  believes,  permanently  out  of  his  way. 


Nemorino  makes  sure  of  the  Elixir, 
and  the  Sergeant  of  an  excellent  re- 
cruit. Meanwhile  Adina  develops  a 
lachrymose  fit,  becoming  astonishingly 
tearful,  even  for  a  happy  bride — the 
more  so  when  she  sees  Nemorino , 
freshly  heartened  by  the  second  bottle, 
approaching  among  sixteen  girls.  Adina 
being  only  human,  capitulates.  Nemo- 
rino^ seeing  her  tears,  is  convinced  the 
Elixir  has  worked.  He  sings  the  lovely 
romance,  "Una  Furtiva  Lagrima" 
(Down  Her  Cheek  a  Pearly  Tear). 

It  now  transpires  that  Adina  has 
left  the  marriage-feast,  cancelling  her 
marriage  with  Be/core,  from  whom  she 
has  brought  back  Nemorino 's  discharge. 
She  does  not  understand,  however,  the 
real  reason  why  the  tipsy  but  somehow 
loyal  Nemorino  has  become  so  sud- 
denly popular  with  the  girls.  It  trans- 
spires  that  his  uncle  has  left  him  his 
fortune.  Be/core,  declaring  there  are 
"other  women  in  the  world,"  is  dis- 
missed. The  contract  is  made  out  for 
Nemorino.  The  Elixir  is  justified,  and 
Dulcamara  sells  many  bottles. 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 

ACT  II 
VENTI  SCUDI 

(Twenty  Crowns)  ENRICO  CARUSO, 
Tenor  and  GIUSEPPE  DE  LUCA, 
Baritone  89089  12-in.,  £2.00 

UNA  FURTIVA  LAGRIMA 

(A  Furtive  Tear)  ENRICO  CARUSO,  Tenor 

88339  12-in.,     1.75 
JOHN  McCoRMACK,  Tenor  74219  12-in.,     1.75 

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! 


84 


PHOTO  BYRON 


SCENE  FROM  ORIGINAL  PRODUCTION  OF  ERMINIE 

ERMINIE 


THE  story  of  this  favorite  comic 
opera  comes  from  the  old  melo- 
drama, "Robert  Macai  re." 
Though  Jakobowski  has  produced 
other  comic  operas — "Paolo,"  "The 
Three  Beggars,"  "Dick,"  "Mynheer 
Jan,"  "A  Venetian  Singer, "none  has 
rivaled  it  in  favor.  The  music  is  light 
and  dainty,  the  most  popular  single 
number  being  the  ever-delightful 
"Lullaby." 

THE  OPERA 

COMIC  opera  in  two  acts.  Text 
by  Claxson  Bellamy  and  Harry 
Paulton;  music  by  Edward  Jakobow- 
ski. First  production  at  the  Comedy 
Theatre,  London,  November  9,  1885. 
First  American  production  at  the 
Casino,  New  York,  March  10,  1886, 
where  it  had  the  unprecedented  run  of 
more  than  twelve  hundred  perform- 
ances at  that  house  alone.  The 
operetta  has  had  a  number  of  success- 
ful revivals  in  recent  years,  the  names 
of  the  late  Francis  Wilson  and  of  De 
Wolf  Hopper  being  most  frequently 
associated  with  the  comedy  roles. 


CHARACTERS 

(Original  American  Cast) 
CADEAUX    (Cah-doh'},  a  thief 

Francis  Wilson 
RAVANNES  (Rah-vahn'},  a  thief 

W.  S.  Daboll 
MARQUIS  DE  POMVERT  (dtih 

Pahm-vair) Carl  Irving 

ERMINIE,  his  daughter  (Ayrf- 

ma-nee) Pauline  Hall 

JAVOTTE  (Zha-vot'} Marie  Jansen 

EUGENE  MARCEL,  the  Marquis' 

secretary Harry  Pepper 

CHEVALIER  DE  BRABAZON,  Mar- 
quis' guest  (Rrah-bah-zawri) 

Max  Freeman 
CERISE   MARCEL,  Eugene's 

sister Marion  Manola 

PRINCESS  DE  GRAMPONEUR 

(Grahm-poh-nuhr)  Jennie  Weathersby 
VICOMTE  DE  BRISSAC  (Bree'- 

sak) C.  L.  Weeks 

Sergeant,  Soldiers,  Peasants,  Acrobats, 
Clowns,  Lords,  Ladies,  etc. 

Time  and  Place -.France;  the  Last  Century 


85 


VICTROLA     BOOKOF     THE      OPERA 


ERMINIE,  daughter  of  the  Marquis 
de  Pomvert,  is  affianced  to  Ernest 
de  Brissac,  a  young  nobleman  she  has 
never  seen.  But  she  loves  Eugene 
Marcel,  the  Marquis'  secretary.  She 
and  her  father  have  come  to  the  inn 
to  meet  de  Brissac, — who  has  been 
robbed  and  bound  to  a  tree  by  two 
rascals,  Ravannes  and  Cadeaux.  These 
two  arrive  at  the  inn,  where  Ravannes, 
learning  the  circumstances,  decides  to 
pass  himself  off  as  de  Brissac.  He  ex- 
plains his  tattered  appearance  as  the 
result  of  highway  robbery,  and  is  taken 
to  the  castle.  The  true  de  Brissac  ar- 
rives, and  is  arrested  as  the  man  who 
has  robbed  Ravannes. 

Ravannes  cannot  quite  live  up  to  the 
role,  and  the  suspicions  of  the  Marquis 
arise.  He  confides  them  to  Erminie, 
who  tells  him  of  her  love  for  Marcel. 
Deeply  touched,  he  informs  her,  never- 
theless, that  although,  for  her  mother's 


sake,  he  would  like  her  to  be  happy, 
neither  he  nor  she  can  go  back  on  the 
promise  of  betrothal.  She  outwardly 
agrees,  but  her  true  feelings  are  charm- 
ingly expressed  in  the  "Lullaby." 
Ravannes  gains  her  confidence,  and 
she  unwittingly  aids  him  in  his  plan 
to  rob  the  house  by  confessing  that  she 
is  about  to  elope  with  Marcel.  The 
plans  of  both  are  discovered,  and 
Ravannes  is  arrested.  De  Brissac  ar- 
rives only  to  explain  that  he  is  not  the 
man  Erminie  was  to  marry,  but  a 
younger  brother,  and  himself  betrothed 
to  Cerise,  Marcel's  sister.  The  elder 
de  Brissac,  the  fiance  of  Erminie,  is 
dead.  There  being  no  further  obstacle, 
Erminie  and  Marcel  are  duly  betrothed. 

THE  VICTOR   RECORD 
LULLABY 

MABEL    GARRISON,   Soprano  with  Mixed 
Chorus  74481     12-in.,  31.75 


DOUBLE-FACED  RECORDS 

{Lullaby  .........................  ...............  Elsie    Baker,  Contralto  1  ,73^ 
Message   of  the    Violet  ..........................  Olive   Kline,   Soprano}11 

Selection  ............................  .  .......  Victor  Concert  Orchestra 

"Soldiers'  Chorus"  —  "Downy    Jail-Birds    of  a   Feather"  —  "  Dream 


m  • 
'in'' 


Song" — "Darkest  the  Hour" — "What  the  Dicky  Birds  Say" — "Lul- 
laby"— Finale 
Chimes  of  Normandy  Selection Victor  Concert  Orchestra, 

Gems  from  "Erminie" . Victor  Light  Opera  Co. 

Opening  Chorus,  "A  Soldier's  Life" — "When  Love  is  Young  All  the 
World  is  Gay" — "Join  in  the  Pleasure"— "What   the    Dicky    Birds 
Say" — "Lullaby "--"Deign  Pray  to  Cheer  Each  Heart" — "Marriage 
is  a  Holy  Union" — "Away  to  the  Chateau" 
Gems  from  "Florodora" Victor  Light  Opera  Co. 


^35583     12-in.,     1.35 


35451     12-in.,     1.35 


86 


THE  TOMB  OF  CHARLEMAGNE ACT  IV 


ERNANI 


THOUGH  an  early   work, 
"Ernani"    is   one   of   the   most 
melodious  of  all  Verdi's  operas. 
When  first  produced,  it  was  hailed  by 
many    as   an    important    contribution 
to  the  art  of  the  time.     London  and 
Paris  were  less  enthusiastic. 

Its  actual  production  was  not  un- 
eventful. In  Venice  the  police  com- 
plained of  the  conspiracy  scene  in  the 
third  act,  as  likely  to  incite  volatile 
Italians  to  rebellion.  An  elderly  noble- 
man complained  of  the  hunting-horn 
used  in  the  closing  scene,  as  a  desecra- 
tion of  music  and  its  temple,  the  opera- 
house!  A  more  valid  objection  came 
from  Victor  Hugo,  who  resented  the 
fashion  in  which  the  librettist  had 
treated  his  book,  and  the  melodra- 
matic atmosphere  that  had  been  thrown 
about  a  finely  conceived  written  tra- 
gedy. Nevertheless  the  work  marked 


an  advance  in  Verdi's  long  climb  to 
the  towering  heights  of  "Aida,"  "Fal- 
staff"  and  "Otello."  And  Hugo  must 
be  excused  if  he  failed  to  find,  in  occa- 
sionally bombastic  passages,  the  striv- 
ings of*  a  mind  as  tempestuous,  and  as 
ceaseless,  in  its  efforts  at  genuine  self- 
expression,  as  his  own. 

THE  OPERA 

OPERA  in  four  acts.  Libretto 
adapted  by  Maria  Piave;  from 
Victor  Hugo's  drama  "  Hernani  "; 
music  by  Giuseppe  Verdi.  First 
performance  in  Venice,  March  9,  1844. 
First  London  production  at  Her  Ma- 
jesty's Theatre,  March  8,  1845.  At 
its  Paris  premiere,  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  //  Proscritto.  First 


87 


VICTROLA     BOOK     OF     THE      OPERA 


New  York  production,  1846,  at  the 
Astor  Place;  in  Boston,  1856.  Pro- 
duced at  the  French  Opera,  New 
Orleans,  April  13,  1858. 

CHARACTERS 

DON  CARLOS,  King  of  Castile.  Baritone 
DON  RUY  GOMEZ  DE  SILVA,  a 
Grandee  of  Spain  (Day  Seel'- 

vati) Bass 

ERNANI,  a  bandit  chief Tenor 

DON  RICCARDO,  an  esquire  of  the 

King Tenor 

IAGO,  an  esquire  of  Don  Silva 

.     (Ee-ah'-goh) Bass 

ELVIRA,  betrothed  to  Don  Silva 

(El-vee' -rah} Soprano 

GIOVANNA,  in  attendance  upon  her 

(Jeoh-vah'-nati) .  .  .  Mezzo-Soprano 
Chorus  of  Mountaineers  and  Bandits, 
Followers  of  Don  Silva,  Ladies  of 
Elvira,  Followers  of  the  King, 
Spanish  and  German  No- 
bles and  Ladies,  Elec- 
tors and  Pages 

Scene  and  Period:  Aragon;  about  1519 
(The    name    of  the  .opera    is    pro- 
nounced Ayr-nah'-nee). 

ACT  I 

SCENE  I — The   Mountains   of  Aragon 

ON  the  summit  of  a  rocky  mountain 
stands  a  solitary  figure — gazing 
down  a  valley,  with  an  expression  of 
sadness,  toward  a  Moorish  castle, 
faintly  visible  in  the  blue  mountain- 
shadows.  He  is  Don  Juan  of  Aragon, 
Duke  and  Count  of  Segorbe  and  Car- 
dona;  but  to  the  district  around  him 
he  is  better  known  as  Ernani,  a  chief 
of  brigands.  His  father  has  been 
murdered,  in  cold  blood,  by  Don  Carlos, 
King  of  Castile,  and  he  himself  has 
been  driven  from  the  land  of  his  an- 
cestors to  become  nothing  more  than 
leader  of  a  band  of  assassins  who  recog- 
nize no  law  but  his  will.  One  thing 
remains  out  of  the  past — his  love  for 


Elvira,  who  is  to  be  married  to  Don 
Silva,  her  guardian,  whose  castle,  in 
the  valley,  is  disappearing  in  the  night- 
shadows. 

While  Ernani  stands  pondering,  his 
followers  at  the  foot  of  the  rock,  make 
merry  about  the  camp-fire,  and  their 
songs  are  heard  as  the  curtain  rises: 
"Beviam,  Beviam"  (Comrades,  Let's 
Drink  and  Play).  Their  chief  joins 
them.  They  note  his  melancholy  ap- 
pearance, and  they  listen  in  silence  as 
he  tells  them  how  his  love  is  to  marry 
the  elderly  Don  Silva.  The  story  is 
recounted  in  the  aria,  "Come  rugiada 
alcespite"  (The  Sweetest  Flow'r).  It 
is  one  of  great  tenderness  and  beauty, 
conceived  in  Verdi's  earlier  style.  It 
has  all  the  vocal  flourish,  the  sustained 
pause-note,  the  clearly  defined  melody 
which  characterize  the  Italian  opera 
of  his  time;  but  its  pathos  and  expres- 
siveness are  worthy  of  the  composer 
at  his  best.  The  bandits  pledge  their 
service — to  help  prevent  the  wedding, 
and  a  plan  is  quickly  formed. 

SCENE  II — Elvira's  Apartment  in  the 
Castle 

ELVIRA  loves  Ernani,  and  with 
equal  love.  She  sits  alone  in  her 
chamber,  awaiting  sacrifice.  Grief- 
stricken,  almost  hysterical,  she  calls 
to  her  lover  for  aid — though  he  is  far 
beyond  hearing.  "Ernani,  Inviolami" 
(Ernani,  Fly  With  Me),  is  a  coloratura 
number,  rich  in  vocal  display,  but  be- 
neath its  surface,  a  true  under-current, 
run  the  authentic  accents  of  despair. 
Young  girls,  bearing  bridal  gifts, 
enter  to  congratulate  Elvira.  She 
thanks  them,  but  the  tears  are  hard  to 
withhold.  Finally  she  gets  rid  of 
them — when  she  is  amazed  to  discover 
a  man  in  the  room.  It  proves  to  be 
Don  Carlos,  King  of  Castile,  not  only 
the  murderer  of  Ernani 's  father,  but  a 
secret  admirer  of  her  own.  She  pleads 
with  him  to  leave. 


VICTROLA     BOOK     OF     THE      OPERA 


His  reply  is  a  declaration  of  love — 
the  "Da  quel  di  che  t'ho  veduta" 
(From  the  Day  When  First  Thy 
Beauty);  and  the  King  is  a  fiery  lover. 
Elvira  is  terrified — the  more  when  he 
threatens  force.  The  girl  draws  a 
dagger,  and  threatens  to  slay  her  as- 
sailant, then  herself.  The  King  is 
about  to  summon  his  guard,  when  a 
secret  panel  opens  in  the  wall,  and 
Ernani  appears.  The  men  quarrel, 
Elvira  trying  to  protect  her  lover.  The 
sounds  of  strife  attract  Don 
Silva,  who  rushes  in,  aston- 
ished to  find  two  men  fighting 
over  his  bride  on  her  wedding- 
eve.  The  aria  "Infelice  e  tu 
credevi"  (Unhappy  One!) 
follows. 

Heaping  reproaches  on  El- 
vira, he  summons  aid,  and 
calls  for  his  armor  and  sword. 
Then,  at  the  entry  of  one  of 
the  King's  squires,  he  recog- 
nizes, for  the  first,  just  who 
is  fighting.  He  cannot  rebel 
against  his  own  sovereign — at 
least  not  openly.  He  swal- 
lows down  his  rage,  and  bends 
his  knee  before  Don  Carlos, 
saying,  "Duty  to  my  King 
cancels  all  offences."  The 
King  accepts  this  homage  in 
the  quartet,  "Verdi  come  il 
buon  vegliardo"  (Well  I  Know  My 
Trusty  Vassal),  which  follows,  bringing 
the  act  to  an  end.  The  King  is  im- 
pressed with  Don  Silva  s  easy  compli- 
ance, but  a  retainer  warns  him  that 
underneath  this,  the  old  courtier 
nourishes  a  fiery  and  vengeful  heart. 
Ernani  is  allowed  to  go,  at  a  word 
from  the  King,  Elvira  urging  him  to  fly. 
Don  Silva,  with  smooth  diplomacy, 
expresses  delight  to  entertain  his  royal 
visitor.  What  the  King  thinks,  for 
the  present  is  not  told.  But  circum- 
stance, working  against  Kings  as 
against  commoners  is  not  idle. 


ACT  II 

SCENE — A  Hall  in  Silva  s  Castle 

IT  is   the  'wedding-morn.      Knights, 
pages  and  ladies-in-attendance  sing 
praises  of  the  noble  Silva  and  his  bride. 
All  is  smooth,  serene;  Elvira  has  been 
told  that  Ernani  is  dead. 

To  Silva,  who  is  dressed  .  like  a 
Grandee  of  Spain,  enters  lago,  an  at- 
tendant, announcing  a  holy  man  who 
craves  hospitality.  As  to  give  this 
confers  a  blessing  upon  the 
giver,  he  is  welcomed.  Sud- 
denly, throwing  off  his  cloak, 
he  reveals  himself  as  Ernani. 
He  has  been  hard-pressed, 
and  defeated,  by  the  King. 
And  in  desperation  he  has 
sought  sanctuary  with  his 
/r  enemy,  Don  Silva.  Under  the 
old  chivalry,  this  is  sacred, 
and  the  guest  must  be  pro- 
tected, even  at  the  cost  of  life. 
But  on  learning  that  Don 
Silva  is  at  last  to  wed  Elvira, 
he  begs  his  host  to  deprive 
him  of  the  life  he  has  ceased 
to  value. 

Don  Silva,  however,  is 
punctiliously  conscious  of  his 
duties  as  host.  He  refuses 
AS  ERNANI  to  harm  a  mar»  he  has  volun- 
tarily given  sanctuary;  the 
outward  forms  and  ceremonies  of  life, 
to  the  old  courtier,  mean  life  itself. 
Suddenly  word  is  brought  that  the  King 
and  his  retainers  are  without.  Orders 
are  given  to  admit  him,  and  Ernani 
is  concealed  in  a  secret  passage.  The 
King  enters,  demanding  the  outlaw, 
but  Don  Silva  refuses,  point  blank,  to 
surrender  his  guest.  The  soldiers  search 
the  castle,  but  vainly.  The  King  is 
about  to  torture  Don  Silva  when  Elvira 
begs  for  mercy.  The  King  paints  for 
her  a  bright  future  as  his  queen,  and 
finally  grants  her  request,  but  insists  on 
taking  her  with  him  as  a  hostage. 


89 


VICTROLA     BOOK     OF     THE      OPERA 


ELVIRA  S  APARTMENT ACT   I 


Scarcely  have  the  King  and  his  fol- 
lowers gone  with  Elvira,  than  Silvas 
hatred  against  the  King  bursts  forth. 
Then  he  remembers  Ernani,  the  cause 
of  his  loss;  and  releasing  the  bandit, 
he  takes  two  swords  from  the  armory 
and  challenges  him  to  combat:  "A  te 
scegli,  seguini"  (Choose  Thy  Sword, 
and  Follow!).  Ernani  refuses  to  fight; 
he  is  taunted  with  fear,  but  both  know 
better.  He  has  voluntarily  yielded 
his  life  to  the  man  who  has  saved  him 
from  the  King  at  the  risk  of  torture. 
He  asks,  however,  a  last  talk  with 
Elvira,  and  is  told  she  has  gone  with 
the  King  as  hostage.  The  men  com- 
bine against  their  mutual  foe;  but  re- 
membering his  life  is  now  SHva's, 
Ernani  gives  him  a  hunting-horn,  and 
swears,  by  the  memory  of  his  dead 
father,  that  when  the  horn  is  blown, 
he  shall  return  to  yield  up  his  life, 


whenever  it  may  be  claimed  of  him. 
Silva  accepts,  and  they  swear  ven- 
geance upon  the  King,  Don  Carlos. 

ACT  III 

SCENE — A  Vault  in  the  Catacombs  of 
Aix-la-Chapelle 

TWO  figures  enter,  by  torchlight, 
among  the  tombs  of  kings,  one  of 
which  bears  the  legend/'Charlemagne." 
To  the  tomb  of  his  ancestor,  Don 
Carlos,  the  King,  has  come  to  overhear 
a  conspiracy  against  his  life.  He  has 
changed  since  the  preceding  events,  is 
depressed  and  melancholy,  and  he 
pledges  himself  to  better  deeds  should 
the  Electors,  now  in  session,  proclaim 
him  Emperor :"O  de  verd'  anni  miei" 
(Oh  Bright  and  Fleeting  Shadows),  a 
beautiful,  grave  sustained  cantilena, 
tells  all.  A  sound  is  heard,  and  the 
conspirators  assemble.  Ernani  is 


90 


VICTROLA     BOOK     OF     THE      OPERA 


chosen  to  assassinate  the  King.  Don 
Silva  begs  this  honor,  offering  for  it 
to  return  the  hunting-horn.  Ernani, 
thinking  of  his  father,  refuses  and  is 
hailed  with  honor:  "O  sommo  Carlo" 
(O  Noble  Carlos).  This  great  ensemble 
is  interrupted  by  the  booming  of  can- 
non which  announce  that  Carlos  has 
been  elected  Emperor.  At  the  same 
time  the  King  appears  from  the  tomb 
of  Charlemagne.  For  a  moment  the 
conspirators  believe  it  is  the  ghost  of 
the  great  monarch;  but  they  are  un- 
deceived and  surrounded,  and  the 
King  condemns  them  to  death.  Elvira 
once  more  pleads  for  mercy,  and  once 
more  is  successful.  As  an  act  of  grace, 
the  newly-elected  Emperor  pardons 
all,  and  even  restores  Ernani  to  his 
former  rank  and  unites  him  with 
Elvira. 

All  glorify  the  new  sovereign;  but 
Don  Silva  now  secretly  desires  ven- 
geance against  both  Ernani  and  the 
Emperor,  Don  Carlos. 

ACT  IV 

SCENE — Terrace  of  a  Palace  in 
Aragon 

THE  tragedy  is  swiftly  consum- 
mated. Another  wedding  scene 
appears — this  time  the  wedding  of 
Elvira  and  Ernani.  Masquers,  pages, 
ladies,  greet  the  happy  pair.  The 
lovers,  in  bridal  attire,  emerge  from 
the  ball-room  on  their  way  to  their 
own  apartments.  "Ferma,  crudel 
estinguere"  (Stay  Thee,  My  Lord!). 


Suddenly  a  blast  from  a  horn  is  heard. 
Ernani 's  blood  freezes.  Elvira  asks, 
"What  is  it?"  A  second  time,  and  a 
third,  the  fatal  call  rings  out.  Don 
Silva  has  come  to  claim  his  debt.  He 
offers  Ernani  the  choice  between  a 
dagger  and  a  cup  of  poisoned  wine. 
Ernani,  bound  by  his  oath,  takes  the 
dagger,  and  before  his  bride,  stabs 
himself.  Elvira  falls  across  his  body, 
as  the  curtain  descends  upon  Don 
Silva' s  revenge. 

THE   VICTOR   RECORDS 

(Sung  in  Italian) 

ACT  I 
COME  RUGIADA  AL  CESPITE 

(The  Sweetest  Flow'r)  GIOVANNI  MAR- 
TINELLI,  Tenor  64514     10-in.,  #1.25 


ERNANI INVOLAMI 

(Ernani,  Fly  with  Me)  FRIEDA  HEMPEL, 
Soprano  88383     12-in., 

Ernani,  fly  with  me; 
Prevent  this  hated  marriage! 
With  thee,  e'en  the  barren  desert 
Would  seem  an  Eden  of  enchantment! 
One  nightless,  unending  day! 
One  Eden  of  enchantment! 

ACT  III 
O  DE'  VERD'  ANNI  MI  El 

(Oh  Bright   and   Fleeting  Shadows) 
GIUSEPPE  DE  LUCA,  Baritone 

74506     12-in., 

O  SOMMO  CARLO 

(Oh,  Noble  Carlos)  MATTIA  BATTISTINI, 

Baritone;    EMILIA    CORSI,    Soprano; 

LUIOI  COLAZZA,  Tenor;  ARISTODEMO 

SILLICH,  Bass  and  La  Scala  Chorus 

89135     12-in., 


1.75 


1.75 


2.00 


DOUBLE-FACED  RECORDS 

{Ernani   involami Maria  Grisi,  Soprano] 
Masked  Ba!l—O  Fig/to  a" Inghilterra 


63173  10-in.,  £0.85 
ffuguet,  Salvador,  Cigada,  Sillich  and  Chorus) 

fCome  rugiada  al  cespite  (The  Sweetest  Flow'r) Luigi  Colazza,  7Vwor\02627  10-in         85 

\O  tu  che T'alma  adora Martin ez-Patti,  Tenor  and  Chorus t 


91 


PHOTO  REMBRANDT 


THE   DUEL    SCENE 


EUGEN    ONEGIN 


PUSHKIN'S  poem,  written  in 
1833,  is  familiar  to  most  Rus- 
sians. The  libretto,  in  three  acts, 
follows  it  closely,  the  text  being  by 
Tschaikowsky  and  Shilowsky.  The 
music  is  by  Peter  Iljitch  Tschaikowsky. 
The  opera  never  has  reached  perhaps, 
in  the  United  States  at  least,  the  atten- 
tion merited  by  its  fine  style  and  its 
dramatic  moments.  Scenes  from  it  were 
given  in  New  York,  1914.  Walter  Dam- 
rosch  later  gave  it  in  concert  form. 

THE  OPERA 

OPERA  in  three  acts.  First  pro- 
duced at  St.  Petersburg,  1879, 
following  a  performance  by  the  stu- 
dents of  the  Moscow  Conservatory  in 
March,  1879.  First  Berlin  performance, 
1888;  in  Hamburg,  1892.  First  London 


production  in  1892;  revived  at  Covent 
Garden  in  1906  with  Emmy  Destinn 
as  Tatiana.  Produced, New  York,  1920. 

CHARACTERS 

MADAM  LERIN,  a  landed  proprietress 
TATIANA  )  ,  , 

OLGA        }  her  daughters 
FILIPEVNA,  a  waiting-woman 
EUGEN  ONEGIN,  a  Russian  gallant 
LENSKI,  his  friend 
PRINCE  GREMIN,  a  captain 
TRIQUET,  a  Frenchman 

Scene  and  Period:     The  Action  takes 
place  upon  a  Landed  Estate  and  in  St. 
Petersburg;  Second  Decade  of  the  Nine- 
teenth Century 

(The  French  pronunciation  is  ap- 
proximately Oo-zhain  Oh-nay-gheen; 
Russian,  Yev-ghay'-nee  Ohn-yay-gheen). 


92 


VICTROLA      BOOK     OF     THE      OPERA 


ACT  I 

AT  Mme.  Lerin's  shabby  country- 
JT\.  house  near  Petrograd,  this  lady 
and  her  daughters,  Tatiana  and  Olga, 
with  a  servant,  are  making  preserves. 
Mme.  Lerin  tells  of  an  old  romance — 
an  officer  who  sang  divinely  but  who 
married  another.  Olgas  fiance,  Len- 
ski, enters,  bringing  with  him  a  friend, 
Eugen  Onegin.  Tatiana  and  Onegin 
wander  off,  while  Lenski  pours  a  love- 
song  into  the  ears  of  Olga.  Onegin  is 
bored  by  simple  Tatiana,  who,  by  con- 
trast, is  delighted. 

That  night  Tatiana  writes  to  Onegin 
confessing  her  love,  and  asking  a  meet- 
ing. She  cannot  sleep.  In  the  morn- 
ing she  gives  the  note  to  Filipevna  to 
deliver.  In  the  second  scene  she  waits 
at  the  trysting  place.  Onegin  appears, 
but  is  cold.  He  explains  he  is  flattered 
but  has  no  taste  for  domestic  life.  The 
girl's  dream  is  shattered,  as  was  her 
mother's. 

ACT  II 

MME.    LERIN  gives   a   batf— for 
plain,    bucolic    neighbors,    who 
bore  Onegin. 

Exasperated  with  Lenski,  he  flirts 
with  Olga.  Meantime  a  ridiculous 
foreigner,  Triquet,  flirts  with  Tatiana, 
and  insists  on  reciting  her  his  poems. 
She  is  compelled  to  listen  while  Onegin 
dances  with  her  reckless  sister.  She 
can  contain  herself,  but  Lenski  cannot. 
He  picks  a  quarrel  with  Onegin,  and  a 
duel  is  set.  The  following  morning, 
near  the  village  mill,  awaiting,  he 
sings  the  strange,  melancholy,  but 


beautiful  "Echo  lointain  de  ma  jeun- 
esse"  (A  Distant  Echo  of  My  Youth), 
with  its  marvelously  unfolding  harmo- 
nies and  acute  climax.  Lenski  dreams 
of  his  early  days,  his  love  for  Olga. 
The  duel  is  fought  in  the  snow  and 
Lenski  falls.  Onegin  realizes  the  folly 
of  his  acts.  For  jealousy  he  has  killed 
his  friend. 

ACT  III 

FOR  six  years  Onegin  has  travelled, 
tired  of  life.  Returning,  he  attends 
a  reception  at  the  home  of  his  cousin, 
Prince  Gremin.  In  the  princess  he 
recognizes  Tatiana,  transformed  into  a 
lovely  and  sophisticated  woman  of  the 
world.  He  is  captivated,  while  Tati- 
ana is  strangely  moved.  Later  he  dis- 
covers her  alone,  weeping  over  the  let- 
ter she  had  sent  him.  He  declares  his 
new-found  passion.  It  is  her  moment 
for  revenge,  but  she  loves  him — with 
the  lifelong  affection  of  a  simple- 
minded  woman.  For  a  moment  she 
sinks  into  his  arms;  but  her  sanity  re- 
turns, and  she  tears  herself  loose,  bids 
him  a  swift  good-bye  and  darts  from 
the  room.  Onegin,  cheated  either  by 
himself  or  by  Life  (and  who  can  say 
which?),  cries  out  in  his  despair.  The 
curtain  falls. 

THE  VICTOR  RECORDS 
AIR  DE  LENSKI 

("Echo    lointain    de    ma   jeunesse!"- 
Faint   Echo  of  My  Youth)    ENRICO 
CARUSO,  Tenor     In  French 

88582     12-in.,  31.75 
GIOVANNI    MARTINELLI,   Tenor,  In 
Italian  74712     12-in.,     1.75 


93 


FORD  CUDGELLING  FALSTAFF,  WHO  IS  DISGUISED  AS  THE  OLD  WOMAN  OF  BRENTFORD — ACT  IV 

FALSTAFF 


THAT  Verdi  nearly  in  his  eight- 
ieth year  should  have  written  one 
of  the  greatest  of  all  operas  in  the 
comic  vein   is  a  matter  of  continual 
marvel.     This  has  been  more  fully  dis- 
cussed,   however,   in    the    account   of 
"Otello." 

COMIC  opera  in  three  acts.  Text 
by  Boi'to,  taken  from  Shake- 
speare's Merry  Wives  of  Windsor. 
Music  by  Verdi.  First  production, 
Milan,  March,  1893.  Berlin  produc- 
tion June  1,  1893;  Vienna,  1893; 
Buenos  Aires,  1893 ;  Paris,  1894.  First 
London  production  May  19,  1894. 
First  North  American  production  at 
the  Metropolitan,  New  York,  February 
4,  1895,  with  Eames,  Maurel,  Scalchi, 
de  Lussan  and  Campanari.  Revived 
in  1909  with  Scotti,  Destinn,  Alda, 
Gay,  Ranzenberg  and  Campanari. 

CHARACTERS 

(Original  Metropolitan  Cast) 

SIR  JOHN  FALSTAFF  Baritone.  .Maurel 
FENTON,  a  young  gentleman 

Tenor.  .Russitano 
FORD,  a  wealthy   burgher 

Baritone    Campanari 
DR.  CAIUS,  a  physician  Tenor. . .  Vanni 


BARDOLPH    J   followers  {  Tenor 

PISTOL  I  ofFalstaffj  T>       xr 

\  ( BassNicolmi 

MRS.  ALICE  FORD  .  Soprano ....  Eames 
NANETTE,  her  daughter 

Soprano. . . .de  Lussan 
MRS.  QUICKLY.  ..Contralto. .  .  .Scalchi 
MRS.  MEG  PAGE 

Mezzo-Soprano . .  .de  Vigne 

ACT  I 

THE  opera,  under  the  loving  hands 
of  Boi'to  and  Verdi,  holds  close  to 
the  Shakespearian  model.  The  work 
opens  at  the  Garter  Inn,  where  Fa/- 
staff, a  potbellied,  vainglorious,  choleric 
old  rogue,  is  with  his  friends  Bardolph, 
Pistol  and  the  innkeeper.  Dr.  Caius 
arrives  and  quarrels  with  him,  but  is 
thrown  out.  Falstaff  then  writes  his 
extraordinary  love-letters,  one  to  Mis- 
tress Page  and  the  other  to  Mistress 
Ford. 

In  Ford's  garden,  the  two  women 
compare  the  letters,  finding  them  both 
alike,  so  with  the  help  of  Mistress 
Quickly,  they  plan  a  revenge  in  which 
the  men,  Ford,  Fenton,  and  Dr.  Caius 
give  aid,  together  with  Bardolph  and 
Pistol,who  have  a  bone  to  pick  with  Fal- 
staff. Fenton  is  there  because  he  loves 


VICTROLA     BOOK     OF     THE      OPERA 


Nanette,  the  daughter  of  Mistress  Ford 
though  Nanette's  father  plans  to  marry 
her  to  Dr.  Caius.  Mistress  Quickly  is 
sent  to  invite  Fa/staff  to  an  interview 
with  Mistress  Ford,  and  the  men  ar- 
range to  have  Bardolph  and  Pistol 
introduce  that  lady's  husband  to  Fal- 
staff  under  an  assumed  name. 

ACT  II 

MISTRESS  QUICKLY  delivers 
her  message  and  Ford, introduced 
as  Signer  Fortuna,  offers  money  to  the 
fatknight  tointercedeforhimwith  Mis- 
tress Ford.  Ford  swallows  his  jealousy 
while  the  braggart  knight  is  arraying 


himself  for  the  adventure.  Fa/staff  is 
quite  ready  to  "intercede"  for  Signer 
Fortuna. 

Fa/staff  arrives  at  Ford's  house.  He 
sings  here  the  boastful  "Quand'  ero 
paggio"  (When  I  Was  Page).  But 
Mistress  Quickly  arrives  and  he  is 
compelled  to  hide  himself  behind  a 
screen.  As  soon  as  she  has  departed, 
the  men  arrive,  and  Fa/staff  this  time 
has  to  hide  in  a  large  clothes-basket, 
thoughtfully  provided  by  the  artful 
women.  The  men,  however,  hear  a 
sound  suspiciously  like  a  kiss,  and 
pulling  down  the  screen,  discover  Fen- 


ton  and  Nanette  in  an  unrehearsed  love 
affair  of  their  own.  Ford  is  now  fully 
enraged,  and  Fenton  is  driven  out  in 
disgrace.  Wrhen  the  men  again  re- 
sume the  search,  the  "merry  wives" 
order  the  clothes-basket  to  be  thrown 
out  into  a  ditch,  where  the  escaping 
knight  affords  the  crowd  some  gaiety. 

ACT  III 

ONCE  back  at  the  inn,  Falstaff 
receives  yet  another  invitation 
through  Mistress  Quickly,  the  new  ad- 
venture planned  by  the  men.  He  is 
to  meet  a  "lady"  at  Herne's  Oak,  a 
haunted  spot  in  the  Windsor  forest. 
On  condition  that  he  keeps  the  ap- 
pointment disguised  as  Nanette,  Dr. 
Caius  is  offered  the  hand  of  that  lady 
in  marriage  by  Ford.  The  women, 
however,  are  determined  to  block  this 
bit  of  enterprise,  and  arrange  that 
Fenton,  arrayed  as  a  monk,  shall  upset 
the  plans  of  Dr.  Caius.  Falstaff  is 
superstitious  and  only  with  terror 
does  he  keep  tryst  at  the  haunted 
place.  He  and  Mistress  Ford  are  terri- 
fied by  the  declaration  that  the  Wild 
Huntsman  is  approaching.  The  knight 
is  then  captured  and  given  a  sound 
lambasting  by  the  men,  disguised  as 
elves  and  fairies.  Dr.  Caius,  believing 
the  Fairy  Queen  to  be  Nanette,  dis- 
covers that  he  has  been  flirting  with 
the  disguised  Bardolph.  Ford  realizes 
that  he  can  no  longer  interfere  with 
the  will  of  destiny  and  gives  his  sanc- 
tion to  the  marriage  of  Nanette  with 
the  faithful  Fenton.  All  ends  happily 
— except  for  the  luckless  Falstaff. 

THE  VICTOR  RECORDS 

ACT  I 
L'ONORE!  LADRI! 

(Your  Honor!  Ruffians!)  TITTA  RUFFO, 
Baritone  In  Italian      88637     12-in.,  #1.75 

ACT  II 
QUAND'  ERO  PAGGIO 

(When  I  Was  Page)  ANTONIO  Scorn, 
Baritone  In  Italian        88194     12-in..  1.75 


95 


THE    GARDEN    SCENE — FAUST,  MARGUERITE    AND    MEPHISTOPHELES 

96 


FAUST 


DOCTOR  FAUSTUS,  the  origi- 
nal of  the  dominant  figure  in 
Goethe's  tragedy,  was  alegend- 
ary  character,  a  metaphysician  whose 
pseudo-logic  brought  him  a  large  fol- 
lowing among  the  mystical  half-wits  of 
late  medieval  Germany.  He  was  a 
rogue,  and  a  shrewd  one,  who  taught 
philosophy  with  his  tongue  in  his 
cheek,  and  who,  when  his  casuistry  ap- 
proached exposure,  kept  the  silence 
which  was  golden — from  which  his 
followers  inferred  that  "he  could  an' 
he  would." 

The  age  was  ripe  for  such  a  creature. 
The  Reformation  had  broken  down 
some  of  the  old  foundations  of  belief 
without  fully  establishing  new  ones. 
Artists  were  busy  delving  into  pagan 
legends  of  Greece  and  Rome  to  create 
the  Renaissance.  Many  kept  faith 
with  medieval  Rome;  others  took  their 
creed  from  Luther.  Between  these 
extremes  were  hosts  of  people  filled 
with  spiritual  doubt  and  dismay, 
crying  out  for  a  new  prophet  to  lead 
them  out  of  the  metaphysical  wilder- 
ness. Such  times  are  propitious  for 
the  upspringing  of  false  prophets; 
Doctor  Faustus  was  an  unquestioned 
success,  for  people  respected  his  alleged 
power  over  diabolical  agencies.  It 
has  been  said  that  there  are  always 
those  who  would  rather  worship  the 
Devil  in  secret  than  God  in  the  open. 
It  is  positive  that  Doctor  Faustus  had 
among  these  a  large  and  believing 
clientele. 

Many  legends  collected  about  Doc- 
tor Faustus.  To  most  of  us,  today, 
these  would  only  bring  hilarity;  but  to 
Goethe,  with  his  great  and  powerful 
human  sympathies,  they  were  a  source 
of  rich  and  splendid  imagery.  Poet 
and  seer,  he  beheld  in  them  the  evi- 
dences of  human  aspiration — the 
ceaseless  yearning,  in  the  hearts  of 
mankind,  for  some  justification  of  life, 


some  balance  between  right  and  wrong 
to  which  it  might  look  for  assurance 
of  its  own  divinity,  and  its  hope  of 
salvation  and  happiness.  The  spirit- 
ual history  of  nine-tenths  of  human- 
kind has  in  the  past  been  a  record  of 
hope  and  of  appeal  to  false  gods  and 
false  prophets.  And  so,  by  a  singular 
yet  natural  perversion,  the  lying 
Faustus,  the  charlatan  and  poseur,  the 
impudent,  brazen  quack,  at  the  hands 
of  a  man  of  genius  became  an  instru- 
ment of  inspiration  and  truth. 

Now  Goethe's  tragedy  poem,  "Faus- 
tus," was  built  upon  so  vast  a  scale 
that  it  could  not  be  condensed  into  a 
single  opera.  Gounod  took,  therefore, 
from  it  one  single  episode — that  of 
Faust  and  Gretchen  (Marguerite  in 
the  opera),  which  had  previously  been, 
because  of  its  dramatic  possibilities, 
the  theme  of  many  plays.  From  this 
Barbiere  and  Carre  formed  their  libretto, 
to  which  Gounod  wrote  the  greatest 
music  he  was  destined  to  compose — 
producing,  on  the  whole,  the  noblest 
opera  that  has  yet  come  out  of  France. 

Many  have  marvelled  that  Gounod, 
having  written  "Faust,"  should  have 
brought  forth  no  other  opera  nearly  so 
fine.  But  he  was  peculiarly  suited  by 
training  and  temperament  to  write  a 
work  in  which  human  passion  and 
religious  sentiment  were  in  conflict — 
the  same  elements  of  war  being  at 
work  within  his  own  intelligence.  He 
was  the  son  of  a  father  who  was  a 
painter,  and  a  mother  who  was  a 
musician.  His  father  died,  shortly 
after  his  birth,  in  1818,  and  upon  his 
mother  devolved  the  task  of  bringing 
him  up.  She  taught  him  music,  but 
was  determined  he  should  not  be  a 
professional  musician  unless  nature 
proved  too  strong.  And  nature  did. 

In  spite  of  his  desire,  she  quietly 
but  firmly  refused  to  permit  him  to  go 
to  the  Conservatory  until  he  had  first 


97 


VICTROLA     BOOK     OF     THE      OPERA 


graduated  at  the  Lycee  St.  Louis  as  a 
"Bachelier-es-lettres,"  the  first  step 
toward  becoming  a  lawyer.  But  in 
1836  he  entered  the  Conservatory,  and 
three  years  later  won  the  Prix-de- 
Rome,  which  entitled  him  to  further 
study  in  Italy  and  marked  him  out  as 
a  musician  with  a  future.  In  Rome 
he  became  engrossed  in  the  religious 
music  of  Palestrina,  and  on  returning 
to  Paris  he  was  appointed  organist  at 
one  of  the  leading  churches.  His 
interest  in  religion  widened  and  deep- 
ened to  such  a  degree  that  he  seriously 
thought  of  entering  the  priesthood. 
By  natural  right,  therefore,  he  was  a 
combination  of  priest  and  artist — a 
combination  whose  artistic  validity 
was  testified  to  by  many  a  Gothic 
architect,  many  an  illuminator,  many 
a  Renaissance  painter.  He  divided 
his  time  between  operatic  and  church 
music.  Until  "Faust"  was  produced, 
perhaps  Gounod's  sacred  music  was 
his  best,  though  his  operas  revealed  a 
power  of  sensuous  melody  rather 
startling,  at  times,  in  a  man  of 


his  ecclesiastical  predilections!  In 
"Faust,"  however,  he  found  the  per- 
fect vehicle  for  his  possibly  complex 
nature,  and  today  it  remains  his  mas- 
terpiece. It  may,  almost,  like  "Tann- 
hauser,"  be  taken  to  typify  the  struggle 
between  the  powers  of  good  and  evil 
in  the  human  soul  itself. 

THE  PLOT 

FAUST,  the  aged  philosopher, 
longs  for  his  lost  youth.  To 
regain  it,  he  sells  his  immortal  soul 
to  Mephistopheles,  an  emissary  of  the 
Evil  One— or  as  many  may  insist, 
the  Evil  One  in  person.  Mephistopheles 
reveals  him  a  vision  of  Marguerite,  a 
lovely  maiden,  and  the  pair  go  in 
search  of  her.  We  next  find  them  at 
a  village  festival,  Faust  appearing  as 
a  young  man.  Valentine,  brother  of 
Marguerite,  enters  on  his  way  to  the 
wars.  He  leaves  his  sister  in  charge 
of  Siebel,  a  youth  who  is  timidly  in 
love  with  her.  Mephistopheles  con- 
trives a  meeting  between  Faust  and 
Marguerite;  later  he  throws  enchant- 


COPY'T  BURR  M'INTOSH 
CARUSO  AS  FAUST 


FARRAR  AS  MARGUERITE 
98 


COPY  T   DUPONT 

JOURNET  AS    MEPHISTO 


VICTROLA      BOOK     OF     THE      OPERA 


ment  over  Marguerite's  dwelling, 
allowing  Faust  and  Marguerite  to 
meet  while  he  sets  up  a  flirtation  with 
Martha,  her  chaperon.  After  the 
lapse  of  time,  Marguerite  is  again  seen, 
deserted  by  Faust,  who  has  left  her 
with  child.  Valentine  returns,  and  is 
killed  by  Faust,  cursing  his  sister  as  he 
dies.  Marguerite,  deserted  by  her 
friends,  seeks  consolation  in  the  cathe- 
dral, but  the  voices  of  demons  drive 
her  to  madness,  and  she  kills  her  child. 
She  is  sent  to  prison,  where  Faust 
visits  her  with  Mephistopheles.  At 
sight  of  the  demon,  who  now  covets 
her  soul  as  well  as  Faust's,  she  takes 
refuge  in  prayer.  As  the  curtain  de- 
scends, a  chorus  of  angels  attends  her, 
chanting  her  salvation  through  re- 
pentance. Mephistopheles  drags  Faust 
to  the  underworld  to  fulfil  his  compact. 

THE  OPERA 

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  Berlin, 
at  the  Royal  Opera,  January,  1863; 
in  London,  June  11,  1863;  'in  New 
York,  November  25,  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 
Nordica  (debut)  as  Marguerite;  in  1892 
with  Eames,  the  de  Reszkes  and  La- 
salle;  and  in  1913  with  Caruso  and 
Farrar.  Revived  at  the  Metropolitan 
in  1917,  with  Farrar,  Martinelli  and 
Rothier. 

CHARACTERS 

FAUST  (Fowst) Tenor 

MEPHISTOPHELES  (Mef-iss-tof 

el-leez) Bass 

VALENTINE  (Val-en-teeri) Baritone 

BRANDER,  or  WAGNER Baritone 

SIEBEL  (See'-bel} ....  Mezzo-Soprano 
MARGUERITE  (Mahr-guer-eet'} Soprano 

MARTHA Contralto 

Students,  Soldiers,  Villagers, 

Sorcerers,  Spirits 
The  Action  takes  place  in  Germany 


COPY  T  DUPONT 

MELBA  AS  MARGUERITE 
CHURCH   SCENE 


PLANCON  AS  MEPHISTOPHELES 


99 


PATTI  AS  MARGUERITE,  1875 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  1 

The  Compact 

*  I AHE  "scene  is  an  apartment  in  a 
X  medieval  German  house.  By  the 
expiring  light  of  a  single  lamp  can  be 
seen  glimpses  of  a  student's  parapher- 
nalia—a skeleton,  a  retort,  a  shelf  of 
parchment  rolls,  a  number  of  equally 
curious  objects.  The  dying  flame  is  a 
symbol  of  the  despair  in  the  heart  of 
Faust,  who  sits  dreaming  of  human 
futility — as  typified  in  his  own  lifetime 
of  study.  He  is  shaken  with  despair. 
"Another  day,"  cries  he,  "and  yet 
another  day.  O  Death,  come  in  thy 
pity  and  bid  the  strife  be  over."  He 
raises  to  his  lips  a  goblet  of  poison. 
His  hand  is  stayed  when  he  hears, 
from  without,  a  song  borne  by  the 
evening  wind.  Outside  a  happy  band 
of  farm  toilers  is  making  merry.  The 
tune  is  fresh  and  springlike,  "La  Vaga 
pupilla"  (Rise,  Slumbering  Maiden), 
and  with  its  drone-bass  and  pastoral 
rhythm,  it  is  in  marked  contrast  to 
the  gloomy  and  reflective  polyphony 
of  Faust's  own  music.  The  sage 
hastens  to  the  window,  and,  filled 
with  envy  and  despair  at  the  sight 
of  human  happiness,  he  curses  all 
things  and  calls  upon  the  powers  of 
darkness. 

In  a  flash  Mephistopheles  appears. 
He  is  clad  in  courtly  raiment,  though 
it  is  of  a  brilliant  crimson  color  through- 
out. His  manner  is  cynical,  debonair, 
blandly  ingratiating.  Two  numbers 
(presented  on  a  single  record)  develop 
the  scene:  "Mais  ce  Dieu,  que  peut-il 
pour  moi"  (But  This  God,  What  Will 
He  Do  For  Me?)  and  "A  moi  les  plais- 
irs"  (The  Pleasures  of  Youth). 

The  first  of  these  illustrates,  clearly 
and  richly,  Gounod's  mastery  of  vocal 
dialogue.  That  which  follows,  in  which 
Faust  declares  his  wish  for  returning 
youth  and  the  caresses  of  woman,  is 
the  very  essence  of  youthful  fire  and 
joyous  abandon.  It  is  repeated,  at 


the  end  of  the  scene,  Mephistopheles 
echoing  phrase  after  phrase. 

In  return  for  the  boon  of  youth  and 
its  delights,  Mephistopheles  asks  for  the 
soul  of  Faust.  The  philosopher  hesi- 
tates, but  he  is  convinced  when  the 
demon  vouchsafes  to  him  a  vision  of 
the  beautiful  Marguerite.  A  gap  is 
seen  to  open  in  the  wall  of  the  room, 
and  the  maiden  is  disclosed,  sitting  at 
her  spinning-wheel.  Faust,  entranced, 
can  only  speak  in  wonder.  "O  mer- 
veille"  (O  Heavenly  Vision),  declares 
he,  and  in  his  declaration  is  heard 
the  first  promise  of  the  famous"Garden 
Scene" music.  It  is  heard  in  the  orches- 
tra, the  tenor  singing  in  recitative — 
telling  how,  for  such  loveliness,  he  is 
willing  to  pawn  his  immortal  soul. 
Men  have  declared  such  things,  with 
no  Mephistopheles  at  hand. 

It  is  enough!  The  parchment  is 
signed  in  letters  of  fire.  Faust  drains 
the  magic  potion  offered  him,  as  the 
vision  disappears;  then,  with  a  new 
spring  in  his  step,  he  goes  off,  singing 
again  the  "A  moi  les  plaisirs,"  the  hand 
of  Mephistopheles,  his  new  comrade,  on 
one  shoulder. 

ACT  II 
The  Fair 

IN  the  public  square  of  a  German 
town,  a  crowd  of  soldiers,  students, 
peasants,  old  men,  young  women  and 
matrons,  has  gathered  to  celebrate. 
All  are  drinking,  talking,  flirting,  , 
quarrelling.  The  music  reveals  every 
type  of  individual  there  and  every 
contrasting  mood.  This  is  the  so- 
called  "Kermesse  Scene."  Each  group 
contributes  its  distinctive  melody — 
the  rough-and-ready  tune  of  the  sol- 
diers being  in  marked  relief  against  the 
laughing  and  chattering  of  the  women, 
the  delicate  accents  of  the  girls,  the 
colorless  counter-tenor  of  the  old  men, 
and  the  ribaldries,  it  must  be  confessed, 
of  the  students.  At  the  close,  the  dif- 
ferent groups  are  combined  into  a  six- 


100 


VICTROLA     BOOK.     OF     THE      OPERA 


PAINTED  BY  KRELING 

FAUST,  AGED  PHILOSOPHER,  WEARIES  OF   LIFE 

part  chorus  of  cheerfully  melodious 
polyphony. 

Among  the  soldiers,  one  is  reserved 
for  an  unusual  fate.  This  is  Valentine^ 
brother  of  Marguerite. 

When  the  day  is  over,  the  soldiers 
must  depart.  And  Valentine^  con- 
scious of  what  may  happen  during  his 
absence,  bids  farewell  to  his  sister  in  a 
melody  broad,  noble,  and  of  singular 
beauty.  This  is  the  "Dio  Possente" 
(Even  Bravest  Heart),  which  has  been 
the  favorite  operatic  air  of  more  than 
one  fine  baritone.  Valentine  speaks 
of  his  fears  frankly  enough,  and  he 
contemplates  with  affection  an  amulet 
Marguerite  has  given  him  as  a  protec- 
tion against  ill-fortune.  This  number 
was  not  originally  in  the  score  of  the 
opera,  but  was  written  for  the  baritone 
Charles  Santley  in  the  English  pro- 


KRELING 

MARGUERITE   LONGS   FOR  FAUST*  S  RETURN 

duction  of  1864.  It  was  first  heard  in 
the  United  States  three  years  later, 
when  Santley  sang  it  in  Philadelphia 
with  the  Caroline  Ritchings  company. 
The  bustle  of  the  fair  scene  returns. 
Wagner  is  singing  a  somewhat  coarse 
ditty  concerning  a  rat.  Mephistoph- 
eles  pushes  through  the  crowd,  and 
with  an  abrupt  "Pardon!"  volunteers 
a  better  song.  Then  follows  the  fan- 
tastic "Le  Veau  d'Or"  (The  Calf  of 
Gold).  It  opens  with  a  whistling, 
fiendish  accompaniment  in  the  orches- 
tra, with  odd  descending  chromatics  in 
the  bass  and  shrill  semi-quavers  in  the 
treble,  and  it  alternates  between  sinis- 
ter gaiety  and  the  mock-solemn, 
stamping  chords  of  a  diabolical  hymn 
to  Mammon.  It  ends  with  a  weird 
dance  in  which  Mephistopheles  himself 
leads. 


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The  crowd  is  vastly  entertained. 
The  stranger  finds  himself  in  the  mid- 
dle of  an  admiring  circle,  as  he  tells 
fortunes,  reads  palms,  and  performs 
bewildering  feats  of  magic.  Among 
others,  he  catches  Siebel,  and  amuses 
the  crowd  by  telling  him  that  whatever 
flower  he  touches,  will  wither  in  his 
grasp.  The  simple-hearted  youth  is 
seriously  disturbed,  and  he  draws 
aside.  Mephistopheles  volunteers  a 
toast.  Wine  is  brought,  and  he  tastes 
it  with  a  grimace. 

He  offers  to  give  them  better,  and 
striding  over  to  the  "Barrel  of  Bac- 
chus" set  above  the  inn-door  as  a  sign, 
he  strikes  it  with  his  sword.  A  magi- 
cal wine  gushes  forth.  Each  in  turn 
is  invited  to  drink,  and  whatever  wine 
is  best  to  his  taste,  runs  into  his  goblet. 
The  stranger  is  carefully  watched  by 
some,  however,  including  Valentine^ 
whom  he  insults  by  drinking  a  toast, 
by  name,  to  Marguerite.  Valentine  is 
amazed  and  hurt,  but  it  is  the  desire  of 
Mephistopheles  to  kill  him  and  get  him 
out  of  the  way  for  Faust.  Swords  are 
out  in  a  moment,  but  Valentine  s  is 
broken  in  his  hand  by  the  sinister 
touch  of  his  enemy's.  With  medieval 
instinct,  he  turns  the  broken  blade 
hilt  uppermost,  the  hilt  and  guard 
forming  a  Cross.  The  demon  quails 
to  behold  this  sacred  symbol,  but,  as 
the  others  advance,  he  draws  with  the 
point  of  his  own  weapon  in  the  ground, 
a  magic  circle  which  none  may  pass. 
Behind  this  he  shrinks  away.  The 
music  here  is  a  noble  chant,  with 
broad,  sustained  harmonies,  magnif- 
icent in  strength  and  simplicity.  Meph- 
istopheles disappears,  leaving  Faust 
to  pursue  his  own  fortunes,  for  the 
time,  in  the  crowd.  The  popular  and 
ever-beautiful  waltz  now  begins. 

This  waltz  is  most  interesting.  Its 
flowing  beauty,  the  variety  and  con- 
trast of  its  themes,  have  made  it  a 
favorite  among  waltzes.  Dramati- 


cally, its  freshness  and  gaiety  are  in 
fine  and  relieving  contrast  to  the  tense 
mysticism  and  the  dramatic  suspense 
of  the  preceding  scene.  In  the  midst 
of  it  Marguerite  appears,  and  Faust 
approaches  her  with  a  respectful 
greeting.  To  the  wisdom  and  the 
craft  of  age,  he  now  has  added  the 
freshness  and  the  charm  of  youth;  and 
the  two  are  irresistible.  He  begs  if  he 
may  not  see  her  safely  home  after  the 
Kermesse. 

She  declines,  modestly,  but  her 
heart  has  been  sorely  fluttered.  He 
will  not  be  forgotten — even  though  she 
dares  not  hint  it.  Everything  remains 
in  her  mind  as  she  leaves  the  scene — to 
the  diminishing  strains  of  the  waltz. 
She  walks  off  like  a  soul  in  a  dream — 
as,  indeed,  she  is. 

ACT  III 

The  Garden  Scene 

VALENTINE  has  gone,  and  Siebel, 
in  fulfilment  of  his  charge,  is  in 
Marguerite  s  garden.  He  adores  her  with 
all  the  sincere  and  tender  reverence  of 
a  first  affection.  He  is  upset,  however, 
by  the  prediction  of  Mephistopheles. 
To  test  it  he  gathers  a  nosegay  of 
flowers;  but  they  wither  away,  one  by 
one,  at  his  touch.  In  this  scene  he 
sings  the  delightfully  sweet  and  melo- 
dious "Le  parlate  d'amor"  (In  the 
Language  of  Love),  the  famous  "Flow- 
er Song."  It  is  particularly  touching 
— especially  the  passage  describing 
how  the  flowers  fade  before  his  eyes. 

Xodufc.  Ba*L 


The  happy  thought  occurs  to  Siebel 
to  dip  them  in  holy  water.  He  does, 
and  the  spell  is  broken.  He  triumph- 
antly places  them  before  the  door  of 
Marguerite^  and  runs  off. 

But  the  youth  has  been  watched. 
Faust  and  the  grinning  Mephistoph. 


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PAUL  BOYER  &  BERT 


SETTING  FOR  GARDEN  SCENE  AT  PARIS  OPERA 


eles  step  from  behind  the  bushes.  Faust 
is  dreamy,  quiet,  distraught,  for  by 
this  time  he  loves  Marguerite.  His 
demoniac  companion,  however,  is  in 
high  glee — he  is  making  mischief  and 
disaster  and  tragedy  in  the  world. 

Faust's  own  worship  extends,  lover- 
like,  even  to  the  dwelling  which  houses 
his  beloved.  He  sings  to  it  the  beauti- 
ful apostrophe,  "Salut  demeure"  (All 
Hail,  Thou  Dwelling),  a  melody  of 
exquisite  tenderness,  a  violin  obbligato 
wreathed  about  it  like  a  living  vine. 

The  melody  is  one  of  the  loveliest  in 
music,  and  one  which  is  not  easy  to 
sing,  for  all  of  its  slow  and  tender 
utterance.  But  while  Faust  is  lost  in 
his  love-dream,  the  practical  Mephis- 
topheles  has  placed  near  the  bouquet 
of  Siebel  a  casket  of  jewels.  His 
worldly  wisdom  knows  the  heart  of 
woman  as  it  knows  that  of  man.  Flowers 
against  gems?  Even  Faust  might 


have  told  him  that!  The  two  hurriedly 
conceal  themselves  as  the  girl  enters 
the  garden. 

Marguerite  will  never  again  appear 
as  she  appears  now — lovely,  fresh, 
virginal,  at  the  mysterious  threshold  of 
womanhood,  the  bloom  of  body  and 
mind  as  yet  untouched.  Her  dreams 
are  as  innocent  as  those  of  childhood; 
but  they  center  upon  the  handsome 
gallant — whose  memories  filter  through 
her  consciousness  like  strains  of  audible 
song.  A  lovely  strain  from  the  orches- 
tra, in  clarinets  and  violins,  is  heard  at 
her  entrance.  She  seats  herself  at  her 
spinning-wheel,  her  song  keeping  per- 
fect rhythm  with  its  droning,  monoto- 
nous clack.  This  is  the  song  of  "Le 
Roi  de  Thule"  (The  King  of  Thule). 
It  is  older  than  Gounod,  being  tradi- 
tional; and  it  is  surrounded  with  odd, 
quaint,  yet  natural-sounding  archaic 
harmonies. 


103 


She  cannot  spin — the  song  breaks 
off  in  the  middle — becomes  vague, 
dreamy,  until  she  remembers.  There 
is  another  attempt,  but  she  gives  it  up. 
The  day  itself  is  languid,  dreamy, 
adapting  itself  to  her  mood.  Half- 
dazed,  she  returns  toward  the  house. 
The  brilliant-hued  nosegay  catches  her 
eye.  Siebel's,  of  course — but  look — 
a  casket!  Who  could  have  left  this? 
.  .  .  perhaps  the  stranger 

The  girl's  hand  goes  to  her  heart — 
but  it  returns  to  the  casket  and  the  lid 
is  thrown  back. 

To  resist  the  jewels  would  be  to  re- 
make life.  She  begins  to  deck  herself 
with  them,  at  first  diffidently,  but 
confidence  grows,  and  with  it  the  sense 
of  her  own  beauty  and  power.  She 
now  sings  the  remarkably  brilliant 
"Air  des  bijoux"  (Jewel  Song) — one  of 
the  few  instances  in  which  a  coloratura 
song,  making  the  most  exacting  de- 
mands upon  the  voice,  is  dramatically 
appropriate.  The  swift  flying  scales, 
the  dazzling  Ji  or  iture,  have  none  of  the 
mechanical  stiffness  so  often  found  in 
songs  of  this  type,  but  seem  indeed  the 
exultant  outpourings  of  a  full  heart — 
the  heart  of  a  young  girl  which,  once 
awakened,  speaks  to  the  full  its  confi- 
dence in  happiness  yet  to  be.  Margue- 
rite, alone  in  her  garden  (as  she  be- 
lieves), is  at  last  drawn  from  her  re- 
serve; and  she  carols  away  like  a  lark 
in  the  springtime. 

But  patter-tongued,  foolish  old 
Martha,  most  susceptible  of  souls, 
appears  upon  the  scene.  She  is  in 
raptures  over  the  necklace  and  the 
other  treasures.  But  in  the  midst  of 
them,  the  red  cavalier  enters — with  the 
news  that  Martha's  absent  husband  is 
dead.  He  behaves  so  graciously  that 
she  ceases  to  lament,  and  strange  hopes 
spring  up  in  her  own  foolish  old  heart. 
Faust,  meanwhile,  has  busied  himself 
with  Marguerite,  inducing  her  to  take 
his  arm,  as  the  four  promenade  the 


garden.  An  odd  but  beautiful  quartet 
here  develops — mostly  wrought  of  solo 
passages,  but  joining  here  and  there 
into  peals  of  ringing,  delicious  harmony. 
This  is  known  as  "Eh  Quoi  toujours 
seule?"  (But  Why  So  Lonely?).  Then 
follows  an  equally  beautiful  dialogue 
between  the  lovers.  Marguerite  con- 
fides to  Faust  her  loneliness,  and  in  an 
exquisite  passage  she  speaks  of  her 
little  dead  sister.  He  is  all  tenderness, 
all  sympathy,  and  her  trust  in  him  in- 
creases. Meanwhile  Mephistophe/es 
has  lost  Martha  in  another  part  of  the 
garden. 

He  looks  on  with  satisfaction.  His 
work  is  thriving.  But  it  dawns  on 
Marguerite  that  the  hour  is  late.  She 
flees,  and  Faust  follows  her.  Martha 
crosses  the  scene,  failing  to  see  her 
demon-suitor,  whom  she  now  dreams 
of  marrying.  She  trots  off  into  the 
evening  shadows;  and,  left  alone, 
Mephistophe/es  proceeds  to  the  next 
step.  With  arms  extended,  he  sings 
the  beautiful  and  solemn  "Invocation" 
(Oh  Night,  Draw  Thy  Curtain),  calling 
upon  the  night  to  cast  over  the  scene 
its  own  magic,  so  that  the  lovers,  be- 
neath its  witchery,  shall  be  drawn  into 
one  another's  arms.  For  once  his 
satirical  manner  is  lost;  he  is  in  deadly 
earnest.  The  music,  broadly  harmonic, 
passing  through  rich  dignified  alterna- 
tions of  major  and  minor,  is  weird  and 
wonderful.  As  the  blue  darkness  of 
the  night  subdues  the  last  orange  of 
the  setting  sun,  the  lovers  again  appear 
arm  in  arm,  and  Mephistophe/es  retires. 

Then -the  enchantment  of  the  night 
begins  to  work  upon  the  souls  of  the 
lovers.  Marguerite  gently  bids  fare- 
well to  Faust,  in  the  gentle  and  lovely 
"Tardi  si  fa"  (The  Hour  Is  Late),  but 
he  pleads  with  her.  Then  succeeds 
the  soft  loveliness  of  the  "Dammi 
Ancor"  (Let  Me  Gaze),  which  has 
rarely  if  ever  been  excelled  in  music. 
Saving,  perhaps,  the  "Eternelle" 


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VICTROLA      BOOK     OF     THE      OPERA 


which  follows,  no  music  has  more  per- 
fectly expressed  the  sensuous  beauty 
of  human  love  in  all  its  depth  and 
sincerity.  Then  comes  the  confession 
of  love,  the  avowal  which,  to  any  lovers 
seems  the  moment  for  which  the  whole 
of  life  has  been  waiting.  Surely  no 
lovers'  litany  was  ever  sung  to  music 
richer  in  emotion  or  more  loftily  con- 
ceived! Soft  chords  in  the  wood-wind, 
mellow  tones  of  horns  and  strings 
blend  softly  with  the  voices  of  the 
lovers  as  the  night,  in  very  truth, 
draws  its  cloak  about  them. 

Yet  somewhere  deep  in  the  heart  of 
the  girl,  is  a  sanity  which  protests 
against  this  ecstatic  madness.  She 
breaks  away  from  her  lover,  running  to 
the  house.  But  on  the  threshold  she 
pauses  to  waft  him  a  kiss. 


Faust  has  a  promise  to  meet  on  the 
morrow,  and  already  he  longs  for  the 
morning  to  come.  The  woes  and 
the  pains  of  age  are  forgotten — even 
the  wisdom  of  his  years.  He  loves  as 
youth  loves  —  blindly,  instinctively, 
without  guile.  His  heart  is  full  as  he 
turns  away.  He  worships  Marguerite^ 
and  he  has  no  thought  but  for  her  hap- 
piness. 

"Wait!"  cries  Mephistopheles. 
"Thou  dreamer,  wait  and  hear  what 
she  tells  to  the  stars!"  "Elle  ouvre  sa 
fenetre!"  (She  Opens  the  Window). 

Marguerite  indeed  opens  the  case- 
ment, and  in  a  stream  of  song  she 
pours  out  to  the  night  the  full  floods  of 
her  rapture— the  rapture  of  a  heart 
that  indeed  is  full  to  overflowing.  The 
melody,  'borne  upward  by  flute  and 


FAUST:     ELLE  OUVRE 


FENETRE 


MEPHISTOPHELES: 
You  shall  stay  and  hear 
That  which  she  telleth  the  stars! 
See!     She  opens  the  window! 

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VICTROLA     BOOK     OF     THE      OPERA 


clarinet,  climbs  slowly  but  surely  to  its 
ultimate  heights  of  ecstatic  expression. 
She  stands  there,  a  figure  of  beauty. 
Her  tremulous  cry  to  the  deaf  ears  of 
the  night  is  heard  by  her  lover;  and 
Mephistopheles,  who  has  held  him  back, 
releases  him.  Crying  out  her  name, 
he  rushes  to  the  open  window  and 
clasps  her  in  his  arms,  where  she  sinks 
fainting.  The  curtain  descends  to 
music  of  undying  loveliness— broken 
only  by  a  sardonic  "Ha!  Ha!  Ha!"  by 
the  fiend  in  the  garden. 

ACT  IV 

The  Desertion 

THE  lovely  echoes  of  the  last  scene — 
the  unearthly  beauty  of  its  music — 
will  linger  long  in  memory  after  its  first 
hearing.  It  is  so  admirably  adapted 
to  the  song-tone  of  the  violin,  that  a 
fantasie  has  been  built  from  its  melo- 
dies, and  played  on  a  single  record; 
with  all  the  genius  of  Mischa  Elman, 
it  is  one  of  the  loveliest  imaginable 
bits  of  violin-playing. 

The  drama  proceeds.  Love  and 
happiness,  for  Marguerite,  are  at  an 
end — at  least  this  side  the  grave. 

The  story  is  an  old  one.  A  year  and 
a  half  has  passed,  and  Marguerite  has 
been  deserted  by  Faust  and  shunned  by 
her  neighbors.  Siebel  alone  remains 
faithful.  As  she  sits  again  by  the 
spinning-wheel,  he  comes  to  her  with 
consolation  as  she  broods  over  her 
sorrows.  Woman-like,  she  must  brood 
over  them,  though  not  Faust,  but  really 
Mephistopheles,  is  to  blame,  and  she, 
herself,  except  under  the  cruel  human 
law,  is  innocent  of  wrong.  Siebel  talks 
against  Faust,  but  Marguerite,  of  the 
guileless  heart,  will  not  hear  it  and  the 
youth's  own  hopes  die. 

The  scene  changes  abruptly,  and  we 
stand  in  front  of  the  cathedral,  the 
house  of  Marguerite  on  one  side.  Sud- 
denly there  is  heard  the  sound  of  mar- 
tial music — the  troops  are  coming 


home  victorious;  the  air  itself  seems 
filled  with  the  sense  of  great  things. 
Valentine  appears  among  them,  safe 
and  sound,  as  they  are  greeted  by  their 
wives  and  sweethearts.  Their  wel- 
come is  voiced  by  the  familiar  "Depo- 
niam  il  brando,"  known  throughout 
the  world,  in  original  form  and  in  cari- 
cature, as  the  "Soldiers'  Chorus." 
Valentine  enters  his  sister's  house,  and 
the  stage  is  emptied  as  the  others  drift 
away. 

Faust  and  the  demon  appear.  Meph- 
istopheles  is  for  entering,  but  Faust  is 
torn  with  grief  and  contrition.  How 
much  it  means  to  his  tempter  is  shown 
when,  throwing  back  his  cloak,  he 
stations  himself  beneath  the  window, 
and  sings  a  villainous  and  mocking 
serenade  (Catarina,  While  You  Play  at 
Sleeping  !). 

This  infernal  and  insulting  chant,  in 
a  sinister,  snarling  minor  mode,  is  a 
striking  example  of  the  sardonic  mood 
in  music.  But  least  impressive  is  a 
hideous  mocking  laugh  at  the  end, 
beginning  of  highG,andjumping 
by  successive  octaves  to  low  G, 
where  it  gives  way  to  noteless  and 
horrible  cachinnation. 


JJVJ 


Hal  b.1  to!  b»l 


>'  ha!  tu>  h.'  hi! 


Valentine  rushes  out,  sword  in  hand. 
It  is  not  told  what  has  transpired  in  the 
house,  but  he  realizes  that  an  insult  has 
been  offered  his  sister.  Faust  for  the 
first  time  learns  his  identity  as  Mar- 
guerite''s  own  brother.  Valentine 
rushes  at  Mephistopheles  and  shatters 
with  his  sword  the  mandolin  which 
accompanied  the  song.  "Que  voulez- 
vous,  messieurs?"  (What  Is  Your  \Vill 
With  Me?)  he  asks. 

The  scene  is  full  of  brilliant,  almost 
savage  energy.  Character,  as  always 
under  circumstance,  appears.  Valen- 
tine is  indignant,  Faust  weakly  per- 
plexed, Mephistopheles  scornful.  The 


106 


PAINTED  BV   KKH.lNr, 


VALENTINE  (dying): 

Thy  fine  betrayer's  sword 
Hath  sent  thy  brother  home! 

107 


VICTROLA     BOOK.     OF     THE      OPERA 


trio  leads  up  to  a  fine  climax,  when  the 
swords  cross.  Valentine  has  no  chance 
against  two  adversaries,  one  of  them  a 
master  of  black  magic.  He  is  mor- 
tally wounded,  and  a  crowd  gathers. 

The  "Morte  di  Valentino"  (Death 
of  Valentine)  is  the  next  step  in  the 
tragedy.  Valentine  lies  in  agony,  and 
the  crowd,  Marguerite  among  them, 
cry  out  with  pity.  But  pity  has  been 
denied  him — the  stern  law  of  the  sol- 
dier is  above  the  tenderer  emotions. 
With  his  last  breath  he  curses  the 
innocent  Marguerite  as  the  cause  of  his 
death.  The  pleas  of  those  around  him, 
and  Marguerite's  own  prayers,  will  not 
stay  his  tongue  nor  its  utterances.  His 
last  syllable  completes  the  curse. 

(This  and  other  scenes  from  "Faust" 
are  vividly  pictured  in  the  paintings  of 
Kreling  which  are  reproduced  through- 
out the  present  text.  They  appear 


through  the  courtesy  of  Mme.  Sofia 
Romani,  who  lent  for  the  purpose  her 
collection,  perhaps  the  only  one  in 
America). 

The  scene  shifts  again  to  the  cathe- 
dral, where  Marguerite^  deserted  and 
scorned  in  truth  by  her  friends,  has  fled 
for  consolation.  But  as  she  kneels,  she 
hears  only  the  voice  of  Mephistopheles 
and  his  mocking  chorus  of  demons. 
On  Victor  Records  this  is  distributed 
over  three  separate  discs:  "Scene  de 
1'Eglise" (Church  Scene)  Parts  I  and  II, 
and  "Rammenta  i  lieti"  (Dost  Thou 
Remember?). 

The  girl,  upon  her  knees,  fearful  to 
look  up,  can  find  no  hope.  Through 
the  scene,  we  hear  the  chanting  of  the 
choir  and  the  rolling  chords  of  the 
cathedral  organ,  as  terrible  to  the  girl's 
tortured  consciousness  as  the  sound  of 
thunder  to  a  timorous,  ignorant  soul. 


MARGUERITE  AT  THE  SHRINE 


MARGUERITE  AND  THE  TEMPTER 


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VICTROLA     BOOK     OF     THE      OPERA 


Far  from  bringing  hope  to  seal  her 
repentance,  the  sounds  that  assail  her 
are  menacing,  gloomy,  sad,  foreboding, 
as  though  Heaven  itself  added  to  the 
Tempter's  mockery  the  condemnation 
of  a  judgment  above  all  humanmeasure 
of  good  or  ill,  eager  only  to  punish  and 
not  to  forgive. 

There  is  a  little  relief  for  the  hearer, 
at  the  end  of  the  act,  where  the  "Ballet 
Music"  follows.  This  depicts,  in  music, 
the  "Walpurgis  Night,"  whereon  the 
witches  of  earth  and  the  demons  of  the 
underworld  hold  revelry  on  the  moun- 
tain of  the  Brocken,in  the  Thuringian 
Hartz.  Faust ,  led  thither  by  Mephis- 
topheles,  for  a  moment  sees  the  spectre 
of  Marguerite.  Through  considera- 
tions of  length,  this  scene  is  rarely 
given  in  the  actual  presentations  of  the 
opera.  There  is  however,  a  Victor 
Record  of  some  of  its  music,  the  waltz 
known  as  "Les  Nubiennes"  (The  Nu- 
bians), danced  by  African  witches. 


ACT  V 

The  Prison 

1VT  ARGUERITE  has  killed  her  child. 
*•**•  She  is  in  prison,  lying  pale  and  hag- 
gard on  the  straw  pallet  of  her  dimly-lit 
cell.  Faust  and  his  infernal  master, 
defying  bolts  and  bars,  have  found  a 
way  within.  Mephistopheles  has  warned 
Faust  that  if  the  girl  is  to  be  saved,  it 
must  be  done  quickly,  as  the  gallows 
awaits  her.  The  bad  heart  of  Faust  is 
melted  with  compassion.  He  calls 
upon  her  name.  Hearing  his  voice, 
she  responds,  semi-delirious.  The 
music  is  here  deeply  affecting.  "Mon 
coeur  ets  penetra  d'epouvante!"  cries 
Faust,  (My  Heart  Is  Torn  With  Grief 
and  Repentance!). 


Marguerite  sings  dreamily  of  the 
Fair  where  she  and  her  lover  first  met; 
the  echoes  of  the  "Kermesse  Scene" 


MARGUERITE  (awaking): 

Twas  not  the  cry  of  the  demons; 
Tis  his  own  voice  I  hear. 

109 


VICTROLA     BOOK     OF     THE      OPERA 


music  return,  phrase  by  phrase,  with 
heartrending  effect.  Number  by  num- 
ber,  the  scene  develops;  first  the 
"Attends!  Voici  la  rue"  (This  is  the 
Fair),  which  develops  the  waltz  music, 
with  its  echoes  of  a  happier  time.  It 
sounds  strange,  ghostly,  as  though  it 
had  filtered  into  the  domain  of  con- 
sciousness from  another  world  or 
another  condition  of  being.  She  re- 
peats the  first  words  Faust  had  ad- 
dressed to  her.  Faust  urges  her  to 
come  away  with  him;  but  the  broken 
mind  cannot  return  to  realities.  Then 
the  brutal  "Alerte"  of  Mephistopheles 
opens  the  final  superb  trio,  "Alerte!  ou 
vous  etes  perdus!"  (Then  Leave  Her!). 

The  interruption  of  Mephistopheles 
for  a  moment  brings  Marguerite  back 
to  the  world  of  reality.  But  even  as 
she  cries  out  in  her  horror,  Mephis- 
topheles hears  in  the  courtyard  the 
hoofs  of  the  horses  that  are  to  bear 
him  and  Faust  to  the  nether  regions. 

The  tramping  and  the  neighing  of 
horses  is  suggested  in  the  accompani- 
ment, and  the  song  of  the  "Calf  of 
Gold"  is  heard  in  the  pulsing  of  deep 
bass  instruments.  Marguerite  finds  the 
strength  for  prayer.  Then  there  comes 
into  being,  like  a  star  born  suddenly 
into  sight  in  a  dark  sky,  the  wonderful 
"Anges  Pures"  (Holy  Angels),  one  of 
the  most  inspired  of  all  operatic 
climaxes.  The  voice  of  Marguerite 
breaks  into  a  wonderful,  broad,  noble, 
melodic  phrase,  a  veritably  seraphic 
hymn,  which  mounts,  step  by  step,  into 
higher  and  higher  keys  as  to  the  soul 
of  the  girl  is  unfolded,  step  by  step, 
the  clear  vision  of  Heaven  and  the 
eternal  salvation  that  lies  there  alone. 
Faust  and  Mephistopheles  urge  her 
away  with  them,  but  she  now  is  be- 
yond earthly  power,  and  beyond 
earthly  hearing.  She  gazes  upwards, 
as  through  the  stony  ceiling  of  her 
cell,  in  ecstasy.  The  music  surges  and 
swells  around  her,  heavenly  voices 


chant.  The  heavens  open  and  a  com- 
pany of  angels  gather  her  up  in  their 
arms  and  bear  her  away.  Mephis- 
topheles, with  an  imprecation,  seizes 
Faust  and  bears  him  off  into  the  fiery 
abyss. 

THE   VICTOR   RECORDS 

(Sung  in  French  unless  otherwise  noted) 

ACT  I 
O  MERVEILLE 

(Heavenly    Vision)     ENRICO     CARUSO, 
Tenor  and  MARCEL  JOURNET,  Bass 

89039     12-in.,  32.00 

ACT  II 
DIG  POSSENTE 

(Even   the  Bravest  Heart)   EMILIO   DE 
GOGORZA,  Baritone    In  Italian 

88174     12-in.,     1.75 
ANTONIO  SCOTTI,  Baritone 

In  Italian  88203     12-in.,     1.75 

TITTA  RUFFO,  Baritone    In  Italian 

92043     12-in.,     1.75 
GIUSEPPE  DE  LUCA,  Baritone  In  Italian 

74633     12-in.,     1.75 
Even  bravest  heart  may  swell, 
In  the  moment  of  farewell, 
Loving  smile  of  sister  kind, 
Quiet  home  I  leave  behind; 
Oft  shall  I  think  of  you, 
Whene'er  the  wine-cup  passes  'round, 
When  alone  my  watch  I  keep 
And  my  comrades  lie  asleep 
Upon  the  tented  battleground. 
But  when  danger  to  glory  shall  call  me, 
I  still  will  be  first  in  the  fray, 
As  blithe  as  a  knight  in  his  bridal  array, 
Careless  what  fate  may  befall  me, 
When  glory  shall  call  me. 

Oft  shall  I  sadly  think  of  you 
When  far  away,  far  away. 

VEAU  D'OR 

(Calf  of  Gold)  MARCEL  JOURNET,  Bass 

64036     10-in.,     1.25 
MEPHISTOPHELES: 

Calf  of  Gold!  aye  in  all  the  world 
Incense  at  your  fane  they  offer 
To  your  mightiness  they  proffer, 
From  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! 


110 


VICTROLA     BOOK     OF     THE      OPERA 


Galf  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 

Round  about  the  pedestal, 

Satan,  he  conducts  the  ball! 

SCENES  DES  EPEES 

(Scene  of  the  Swords)  PASQUALE  AMATO, 
Baritone,  MARCEL  JOURNET,  Bass  and 
Opera  Chorus  89055  12-in.,  2.00 

Waltz       ERIK.A  MORINI,  Violin 

64979     10-in.,     1.25 

ACT  III 
LE  PARLATE  D'AMOR 

(Flower  Song)  (Siebel's  Air)  LOUISE 
HOMER,  Contralto  In  Italian 

87075     10-in.,    1.25 
Each  flower  that  you  touch, 
Every  beauty  you  dote  on 
Shall  rot  and  shall  wither! 

SALUT,  DEMEURE 

(All  Hail,  Thou  Dwelling  Lowly)  ENRICO 

CARUSO,  Tenor  88003     12-in.,     1.75 

GIOVANNI  MARTINELLI,  Tenor 

74573     12-in.,     1.75 
JOHN  McCoRMACK,  Tenor    In  Italian 

74220     12-in.,     1.75 
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! 
Bounteous  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. 

LE  ROI  DE  THULFl 

(Ballad  of  the  KingofThule)  GERALDINE 
FARRAR,  Soprano          88229     12-in.,     1.75 
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. 

AIR  DES  BIJOUX 

(Jewel  Song)  GERALDINE  FARRAR,  So- 
prano 88147     12-in.,     1.75 
NELLIE  MELBA,  Soprano  88066     12-in.,     1.75 
MARCELLA  SEMBRICH,  Soprano 

88024     12-in.,     1.75 
Oh  Heav'n!  what  brilliant  gems! 
Can  they  be  real? 

Oh  never  in  my  sleep  did  I  dream  of  aught  so 
lovely! 


If  I  dared  for  a  moment 

But  to  try  these  earrings,  so  splendid! 

And  here,  by  a  chance,  at  the  bottom  of  the 
casket,  is  a  glass! 

Who  could  resist  it  longer? 

SEIGNEUR  DIEU! 

(Saints  Above)  Quartet  from  Garden 
Scene,  Part  I,  FARRAR,  CARUSO,  JOUR- 
NET  and  MME.  GILIBERT 

95204  12-in.,    2.50 
EH  QUOI  TOUJOURS  SEULE? 

(But  Why  So  Lonely?)  Quartet  from  the 
Garden  Scene,  Part  II,  FARRAR,  CA- 
RUSO, JOURNET  and  MME.  GILIBERT 

95205  12-in.,    2.50 
INVOCATION  MEPHISTOPHELES 

(Oh  Night,  Draw  Thy  Curtain!)  MARCEL 

JOURNET,  Bass  64119     10-in.,     1.25 

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  ever! 
Ye  flowers,  aid  the  enchanting  charm, 
Her  senses  to  bewilder;  till  she  knows  not 
Whether  she  be  not  already  in  Heaven! 
LAISSE-MOI 

(Let  Me  Gaze)  (Preceded  by  "II  se  fait 
tard" — The  Hour  is  Late!)  Duet 
from  the  Garden  Scene,  Part  I, 
GERALDINE  FARRAR,  Soprano  and 
ENRICO  CARUSO,  Tenor 

89032     12-in.,     2.00 

(Let  Me  Gaze)    ALICE  NIELSEN,  Soprano, 
and  FLORENCIO  CONSTANTINO,  Tenor 
In  Italian  74076     12-in.,     1.75 

ELLE  OUVRE  SA  FENETRE 

(She  Opens  the  Window!)     GERALDINE 
FARRAR,  Soprano  and  MARCEL  JOUR- 
NET, Bass  89040     12-in.,      2.00 
ETERNELLE 

(Forever  Thine!)  Duet,  Part  II,  GERAL- 
DINE FARRAR,  Soprano  and  ENRICO 
CARUSO,  Tenor  89031  12-in.,  2.00 

NOTE — The  four  records  above  are  numbers  from 

the  same  scene. 

FANTASIE  FROM  GARDEN  SCENE 
MISCHA  ELMAN,  Violin    64122     10-in.,     1.25 

ACT  IV 

SERENADE  MEPHISTOPHELES 
(While  You  Play  at  Sleeping)  MARCEL 

JOURNET,  Bass  74036     12-in.,     1.75 

POL  PLAN^ON,  Bass          81040     10-in.,     1.25 
TITTA  RUFFO,  Baritone  In  Italian 

87222     10-in.,     1.25 


111 


REDEMPTION    OF    MARGUERITE 


112 


VICTROLA     BOOK     OF     THE      OPERA 


MEPHISTOPHELES: 

Thou  who  here  art  soundly  sleeping, 
Close  not  thus  thy  heart, 
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. 

QUE  VOULEZ-VOUS,  MESSIEURS? 
(What  is  Your  Will?)     ENRICO  CARUSO, 
Tenor,  ANTONIO  SCOTTI,  Baritone  and 
MARCEL  JOURNET,  Bass 

95206     12-in.,  $2.50 


MORT  DE  VALENTINO 

(Death  of  Valentine)  ANTONIO  Scorri, 
Baritone  with  Opera  Chorus 

88282     12-in.,     1.75 
SCENE  DE  L'EGLISE  (I) 

(Church  Scene,  Part  I)  GERALDINE  FAR- 
RAR,  Soprano,  MARCEL  JOURNET,  Bass 
and  Chorus  89035  12-in.,  2.00 

SCENE  DE  L'EGLISE  (II) 

(Church  Scene,  Part  II)  GERALDINE 
FARRAR,  Soprano,  MARCEL  JOURNET, 
Bass  and  Chorus  89037  12-in.,  2.00 

RAMMENTA  I  LIETI 

(Dost  Thou  Remember?)  TITTA  RUFFO, 
Baritone  In  Italian  87166  10-in.,  1.25 

ACT  V 

PRISON  SCENE— PART  I,  MON  COEUR 
EST  P£NETRE  D'  EPOUVANTE 

(My  Heart  is  Torn  With  Grief)  GERAL- 
DINE FARRAR,  Soprano  and  ENRICO 
CARUSO,  Tenor  89033  12-in.,  2.00 

PRISON    SCENE— PART    II,    ATTENDS! 
VOICI  LA  RUE 

(This  Is  the  Fair)  GERALDINE  FARRAR, 
Soprano  and  ENRICO  CARUSO,  Tenor 

89034     12-in.,     2.00 

PRISON  SCENE— PART  III,  ALERTE! 
(Leave    Her)   FARRAR,  CARUSO  and 
JOURNET  95203     12-in.,     2.50 


DOUBLE-FACED  RECORDS 

f  Mais  ce  Dieu,  que  peut-il  pour  moi  ?  (But  this  God,  what  will  he  do  for  me?)     1 

Campagnola-Cerdan  [55087 
I A  moi  les  plaisirs     (Pleasures  of  Youth) Campagnola-Cerdan) 

/Even  Bravest  Heart     (In  English) Reinald  JVerrenrath,  Baritone} --f 

\     Bohemian  Girl — Heart  Bowed  Down Reinald  fVerrenrath,  Baritone} 

/In  the  Language  of  Love  (Flower  Song)     (In  English) .  .Elsie  Baker,  Contra/to} 
\     Drink  to  Me  Only  with  Thine  Eyes(Ben  Jonson) . . .  .Harry  Macdonough,Tenor] 

/Soldiers'  Chorus — Made  especially  for  School  Marching Victor 

\     March  Religiose    (Onward  Christian  Soldiers) Victor 

f  Ballet — "  Dance  of  Nubian  Slaves" Vessella's  Italian 

IDance  of  Trojan  Maidens Vessella's  Italian  Ban 

/Prison  Scene — Part  III     (In  English) Victor  Opera  Trio\ 

\     Boheme-Ah,Mimi-Lambert  Murphy,  Tenor  and  Reinald  Werrenrath,  Baritone] 

f  Prison  Scene Vessella's  ^"^135449 

\     Favorita — Fantasia Vessella's  Band] 


12-in.,  £1.50 


12-in., 
12-in., 


1.50 


1.35 


12-in.      1.35 


10-in., 
lain., 
12-in., 


.85 


1.00 


1.35 


113 


THE    DEATH    OF    LEONORA 


LA   FAVORITA 


THIS  was  about  Donizetti's  fifty- 
seventh  opera,  the  chronological 
order  of  his  sixty-four  odd  works 
not  being  very  clear.    Its  plot,  in  com- 
parison   with    the   opera   plots   of  its 
time  and  school,  is  almost  a  master- 
piece of  ironic  tragedy.     Its  music  is 
melodious,  fluent,  at  all  times  without 
harshness. 

THE  OPERA 

OPERA  in  four  acts.  Text  by 
Alphonse  Royer  and  Gustave 
Waez,  adapted  from  a  drama  oi 
Baculard-Darnaud,  Le  Comte  de  Com- 
minges.  Music  by  Donizetti.  First 
produced  at  the  Academic,  Paris,  De- 
cember 2,  1840.  First  London  pro- 
duction in  English,  1843;  in  Italian 
February  16,  1847.  First  American 
production  at  New  Orleans  1843.  An 
English  version  was  given  at  the  Park 
Theatre,  New  York,  October  4,  1848. 
Some  later  American  productions  were 
in  1895-96,  with  Manelli,  Cremonini, 


Ancona  and  Plangon;  and  in  1898,  at 
Wallack's  Theatre,  and  in  1905  at  the 
Metropolitan. 

CHARACTERS 

ALPHONSO  XI,  King  of  Cas- 
tile  Baritone 

FERDINAND,  a  young  novice  of 

the  Convent  of  St.  James  .  .  .Tenor 

DON  CASPAR,  the  King's  Min- 
ister   Tenor 

BALTAZAR,  Superior  of  the  Con- 
vent of  St.  James Bass 

LEONORA  DI  GUSMANN,  the 

King's  favorite Soprano 

INEZ,  her  confidante Soprano 

Courtiers,  Guards,  Monks, 
Attendants,  etc. 

Scene  and  Period:    The  Action  is  sup- 
posed to  take  place  in  Castile, 

about  the  year  1340 
(The    name    of    the    opera    is   pro- 
nounced   Lah  Fah-voh-ree' -tah.    Its 
English  equivalent  is  "The  Favorite"). 


114 


VICTROLA     BOOK     OF     THE      OPERA 


ACT   I 

SCENE — The  Monastery  of  St.   James 

T7ERDINAND,  or  Fernando,  a  nov- 
JL  ice,  is  sitting  with  Ba/tazar,  the 
Prior,  in  a  quiet,  grass-grown,  ancient 
cloister.  He  is  describing  to  the  un- 
worldly and  somewhat  scandalized  old 
priest  a  beautiful  girl  he  has  seen.  He 
speaks  of  her  in  the  aria,  "Una  Ver- 
gine"-  -"Une  ange,  une  femme  in- 
connue*  (Like  an  Angel). 

Justly  outraged,  his  friend  and  su- 
perior protests,  in  "Non  sei  tu  che  d'un 
giusto"  (Know'st  Thou?)  an  air  in 
vigorous,  dramatic,  yet  tuneful  style, 
proclaiming  to  the  youth  that  he  is 
designed  to  succeed  Baltazar  himself 
as  Prior.  But  Ferdinand  can  only 
reply  that  he  loves  the  stranger.  He 
is  dismissed,  but  goes  without  pro- 
test, to  seek,  somewhere  in  the 
world,  his  beloved  idol.  At  the  last 
moment  he  recalls  his  novitiate.  He 
would  turn  to  Baltazar  with  outspread 
arms.  But  the  Prior  turns  away. 

For  once  the  miraculous  thing  hap- 
pens. Ferdinand  hears  from  the  lady, 
through  a  fair  guide  who  leads  him, 
with  bandaged  eyes, to  the  Isle  of  Leon, 
where  Inez,  the  attendant  of  his  un- 
known beloved,  Leonora,  is  gathering 
flowers. 

Leonora  is  the  mistress  of  the  King 
of  Castile,  and  a  most  unhappy 
woman.  •  Beguiled  at  an  early  age,  she 
now  is  shunned  by  former  friends. 
Despite  the  flowers  and  the  sunshine, 
to  her  the  place  is  a  prison  of  torment. 

Ferdinand's  bandages  are  removed. 
He  gazes  wonderingly  around  him,  and 
he  begs  of  Inez  the  name  of  his  un- 
known fair  one.  She  smiles,  declaring 
that  only  the  fair  one  herself  may  tell; 
and  in  due  course,  the  fair  one 
appears.  There  is  a  delightful  love- 
scene,  with  a  constant  shadow  of  fear, 
however,  in  the  background;  the  King 
may  arrive  at  any  minute. 


Ferdinand  passionately  avows  his 
love;  he  is  heard  willingly  but  with 
distress.  Finally  Leonora  commands 
him  to  leave  her  forever;  but  since 
miraculous  things  are  yet  to  happen, 
she  gives  him  a  parchment  which,  she 
avers,  will  ensure  his  future.  The 
duet  "Fia  vere!"  (Fly  From  Thee!) 
heard  here,  is  a  dramatic  but  exceed- 
ingly tuneful  number.  He  wishes  to 
remain,  when  Inez  enters,  whispering 
that  the  King  is  at  the  villa.  As 
Ferdinand  leaves  he  recognizes  the 
monarch,  and  his  hopes  fall.  If  the 
King  comes  to  woo  his  mistress  how 
can  he,  a  recreant  monk,  aspire  to  her 
hand?  He  looks  at  the  parchment — 
his  commission  as  an  officer  of  the 
King\ 

ACT  II 
SCENE — Gardens  of  the  Alcazar  Palace 

THE  King  walks  in  his  garden,  re- 
cently regained  from  the  Moors. 
He  reflects  how  his  victory  might  have 
been  defeat,  had  it  not  been  for  one 
Ferdinand,  a  young  officer  who  rallied 
the  troops — an  action  worth  reward. 
He  is  disturbed  by  a  messenger  from 
Baltazar,  the  Kings  father-in-law,  and 
head  of  the  powerful  Church  party. 
The  King  is  threatened  with  the 
wrath  of  the  church  if  he  will  not 
give  up  Leonora;  but  he  is  in  no  mood 
to  submit  to  ecclesiastical  authority, 
and  he  defies  it. 

Leonora  enters.  She  is  melancholy, 
and  the  King  asks  the  cause.  "Vien, 
Leonora,"  sings  he  (Leonora,  Thou 
Art  Alone),  and  he  promises  her  wealth 
and  honor  if  she  will  but  return  his 
love.  Leonora's  pathetic  reply  ex- 
tends over  two  numbers:  "Quando 
lesoglie"  (From  My  Father's  Halls) 
and  "Ah!  1'alto  ardor"  (Oh  Love!). 
She  reminds. the  King  that  as  a  child 
she  believed  in  his  promises,  but  that 
he  broke  them  to  bring  dishonor  to 
her  father.  Now  she  dwells,  in  pub- 


VICTROLA      BOOK     OF     THE      OPERA 


lie  contempt,  in   her  island-garden,  a 
plaything,  no  more. 

The  music  here  is  vividly  arresting; 
it  increases  in  interest  as  Leonora  goes 
on  to  beg  the  Kings  permission  to  leave 
his  court,  so  that  she  may  die  remote 
from  its  grandeur.  Baltazar  enters, 
with  a  mandate  from  the  Pope  himself. 
The  King  declares  he  will  wed  Leonora, 
for  a  second  time  defying  religious 
authority.  The  rejoinder  is  a  threat, 
by  Baltazar,  of  Divine  vengeance — 
before  which  both  the  King  and  his 
favorite  shrink  back  in  terror.  The 
music  here, "Ah!  paventa  il  furor ''(The 
Wrath  of  Heaven),  is  one  of  the  most 
impressive  of  the  opera's  concerted 
numbers.  The  curtain  descends  upon 
a  dramatic  tableau — Leonora  weeping 
with  shame,  the  King  hesitating  be- 
tween love  and  fear,  and  Baltazar 
thundering  down  upon  them  the  ter- 
rible words  of  the  Papal  curse. 

ACT  III 

SCENE — A  Room  in  the  Palace 

THE  King  has  not  forgotten  his 
debt  to  Ferdinand.  He  offers  to 
discharge  it,  and  the  young  man  asks 
the  hand  of  the  lady  to  whom  he  owes 
all.  Her  name  is  requested.  When 
Leonora  is  pointed  out  the  King  changes 
his  mind.  He  has  guessed,  of  late, 
from  the  lady  herself,  the  condition  of 
her  heart — so  this  is  it!  Well,  why 
not?  No  pleasure  the  King  might  find 
in  her,  would  atone  for  a  break  with 
the  Church.  And  what  sweeter  re- 
venge than  to  bestow  upon  this  pre- 
sumptuous youth  a  lady  of  tarnished 
honor? 

In  the  presence  of  the  Court,  the 
King  consents;  the  melody  "A  Tan  to 
Amor"  (Thou  Flower  Belov'd)  is  in 
bitter  irony,  and  every  word  stabs  like 
a  knife-thrust  the  heart  of  Leonora. 
Ferdinand  is  oblivious  of  this,  and  he 
listens  with  respect. 


Leonora,  like  many  another  woman 
in  a  false  position,  is  a  woman  of  char- 
acter. She  bids  Inez  to  tell  Ferdinand 
everything,  but  Inez  is  arrested  before 
he  can  receive  the  message.  So,  then, 
Leonora  prepares  for  the  wedding.  The 
King  has  conferred  upon  Ferdinand 
the  title  of  the  Count  of  Zamora. 

Leonora  appears,  and  seeing  Ferdi- 
nand gaze  at  her  lovingly,  believes  the 
message  of  Inez  has  been  delivered, 
and  that  her  past  has  made  no  dif- 
ference. But  when  the  pair  are  pre- 
sented at  Court,  cold  looks  and  averted 
eyes  whisper  to  Ferdinand  more  than 
tongues.  White  with  anger,  he  draws 
sword,  and  bloodshed  is  prevented  only 
by  the  arrival  of  Baltazar,  who  tells 
the  truth.  The  new  Count  is  dumb- 
stricken.  Then  he  denounces  the 
King.  An  intense  scene  follows,  Leonora 
striving  to  tell  of  her  message  through 
Inez:  "Orsu,  Fernando"  (Stay,  Hear 
Me,  Fernando).  Ferdinand  hurls  at 
the  Kings  feet  his  badge  of  honor  and 
the  pieces  of  his  broken  sword. 

ACT  IV 

SCENE — The  Cloisters  of  the  Monastery 

THE  .sun  is  rising  over  the  cloister 
walls.  The  monks  have  assembled 
to  welcome  back  Ferdinand  from  the 
earthly  life.  Heart-broken,  he  has 
asked  to  renew  his  vows,  and  he  is  re- 
turning to  accept  the  forgiveness  so 
freely  held  forth.  There  is  first  a 
hymn-like  song  of  greeting,  "Splendon 
piu  belle  in  ciel  le  stelle"  (In  Heavenly 
Splendor)  sung  by  Baltazar  and  chorus. 
The  repentant  is  told  to  lift  up  his  eyes 
from  earthly  things,  and  to  contem- 
plate the  stars.  Left  alone  a  moment, 
he  sings  his  farewell  to  the  external 
world,  the  beautiful  "Spirto  gentil" 
(Spirit  so  Fair).  The  phantom  of  love 
and  its  illusions  are  left  behind — only 
memories  remain,  pale,  tranquil,  tender 
and  ineffably  sad.  As  Ferdinand  goes 


116 


VICTROLA     BOOK     OF     THE      OPERA 


to  the  chapel,  word  is  brought  that  a 
novice  craves  admittance.  Unseen, 
the  newcomer  watches  Ferdinand  take 
the  final  vows,  then  falls  before,  the 
chapel  entrance.  The  newly-accepted 
monk  helps  the  prone  figure  to  arise; 
then  he  recognizes  Leonora.  Horri- 
fied, he  bids  her  begone. 

But  love,  if  still  of  the  earth,  is  ter- 
rible to  break.  Leonora  only  wishes 
to  say  farewell.  There  is  a  touching 
duet,  "Pietoso  al  par  d'un  Nume"  (As 
Merciful  as  God).  Even  now,  the 
torn  and  wracked  Ferdinand  would  go 
back,  for  the  second  time  into  the 
world,  but  she  forbids  him.  She 
is  seen  to  be  very  near  death;  and 
with  the  assurance  that  she  and  her 
lover  will  meet  again,  in  a  happier 
land,  she  sinks  lifeless. 

THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  otherwise  noted) 

ACT  II 
AH!  L'ALTO  ARDOR 

(Oh,  Love!)  MARGARETE  MATZENAUER, 
Contralto  and  PASQUALE  AMATO, 
Baritone  89062  12-in.,  32.00 


ACT  III 
A  TANTO  AMOR 

(Thou   Flower  Beloved)   GIUSEPPE   DE 
LUCA,  Baritone  74591     12-in., 


1.75 


RENATO  ZANELLI,  Baritone 

74632     12-in.,  31.75 
MATTIA  BATTISTINI,  Baritone 

92045     12-in.,    1.75 
ALPHONSO: 

Thou  flow'r  belov'd, 

And  in  hope's  garden  cherish'd, 

With  sighs  and  tears  refresh'd, 

Both  night  and  morn; 

Fad'st  from  my  breast, 

Thine  ev'ry  beauty  perished, 

And  in  thy  stead  alone  have  left  a  thorn! 

O  MIO  FERNANDO 

(Dearest  Ferdinand)  GABRIELLA  BESAN- 
ZONI,  Contralto  74680     12-in.,     1.75 

ACT  IV 
SPIRTO  GENTIL 

(Spirit  So  Fair)  ENRICO  CARUSO,  Tenor 

88004     12-in.,     1.75 

BENIAMINO  GIGLI,  Tenor  74688     12-in.,     1.75 

HIPPOLITO  LAZARO,  Tenor 

74496     12-in.,     1.75 

EVAN  WILLIAMS,  Tenor    In  English 

74141     12-in.,     1.75 
FERDINAND: 

Spirit  so  fair,  brightly  descending, 
Then  like  a  dream  all  sadly  ending, 
Hence  from  my  heart,  vision  deceiving, 
Phantom  of  love,  grief  only  leaving, 
In  thee  delighting,  all  else  scorning, 

A  father's  warning,  my  country,  my  fame! 
Ah,  faithless  dame,  a  passion  inviting, 

Fair  honor  blighting,  branding  my  name, 
Grief  alone  thou  leav'st,  phantom  of  love! 


DOUBLE-FACED  RECORDS 

/Un  ange,  une  femme  inconnue(Like  an  Angel)  (In  French)  Leon  Campagno/a\.r,*Q     in  • 
lAnge  si  pur  (Spirit  So  Fair)  (In  French) Leon  Campagnola,  Tenor}**  m'> 

I  Ah!  paventa  il  furor  (The  Wrath  of  Heaven)  1 

Codolini,  Cigada,  Sillich  and  Chorus  [ 16536     10-in.,       .85 
A  tan  to  amor  (Thou  Flower  Beloved) Francesco  Cigaday  Tenor] 

/Grand  Fantasia Vesselta's  Italian  Band\  ,  r , ,Q     ,  7  •          ,  ,  - 

I     Faust— Prison  Scene fessella's  Italian  Band}**  1/'m'>     I>J:> 


117 


PHOTO  WHITE 


THE    METROPOLITAN    CAST    OF    1913 


FIDELIO 


BEETHOVEN'S  only  opera,  "Fi- 
delio,"  called  for  much  revision 
before  it  satisfied  the  composer 
and  his  followers.  It  was  twice  con- 
densed from  its  original  form.  At  the 
second  performance,  in  1806,  even  the 
title  was  changed,  to  "Leonore."  No 
less  than  four  overtures  were  written 
for  it,  "Leonore  No.  2"  being  the  first. 
Then  came  "No.  3,"  then  "Fidelio," 
which  the  composer  himself  thought 
too  "light"  for  the  work.  Musically, 
"No. 3 "is  the  grandest — a  monumental 
work  heard  frequently  in  concert  even 
today.  It  has  been  recorded  for  the 
Victor,  on  two  records.  The  buoy- 
ant, soaring  melody  of  its  first  theme 
is  one  of  Beethoven's  finest  melodic 
inspirations.  A  striking  passage  for 
trumpet,  usually  played  "off-stage," 
typifies  the  arrival  of  deliverance,  in 
the  opera, — in  the  person  of  Don  Fer- 
nando. 

THE  OPERA 

OPERA   in   two   acts,   adapted  by 
Sonnleithner  from   Bouilly's 
Leonore,  ou   Tdmour  Conjugal.  Music 


by  Beethoven.  First  produced  at 
Vienna,  November  20,  1805.  Given 
in  London  May  18,  1832.  In  Paris  at 
the  Theatre  Lyrique,  translated  by 
Barbier  and  Carre,  and  in  three  acts, 
May  5,  1860.  First  American  per- 
formance in  New  York,  September  9, 
1839,  with  Giubilei,  Manvers  and 
Poole.  Other  notable  productions  in 
1858,  with  Mme.  Caradori  and  Karl 
Formes;  in  1868,  with  Mme.  Rotter, 
Habelmann  and  Formes;  at  the  New 
Orleans  Opera,  in  Italian,  December  11, 
1877;  the  Damrosch  production  of 
1884,  with  Brandt,  Belz  and  Koegel; 
the  Metropolitan  performances  in  1901 
with  Ternina  as  Leonore;  and  the  re- 
vivals of  1913  and  1917. 

CHARACTERS 

DON     FERNANDO     (Fair-nahn'- 

doh),  Minister. Baritone 

DON  PIZARRO  (Pee-tsar'-ro], 

Governor  of  the   State 

Prison Baritone 

FLORESTAN  (F/oh'-ray-stahn),  a 

prisoner Tenor 


118 


VICTROLA     BOOK     OF     THE      OPERA 


LEONORE  (Lay-oh-noh'-reh),  his 

wife,  known  as  Fidelio. . .  .Soprano 

Rocco  (Roh'coh),  jailor Bass 

MARZELLINE     (Mahr-tsay-leen'- 

eh),  his  daughter Soprano 

J AQUINO  (Yah-kwee'-tnoh),  gate- 
keeper  Tenor 

Soldiers,  Prisoners,  People,  etc. 
Place:    A  Spanish  State  Prison  in  the 

Vicinity  of  Seville 

(The    name    of   the    opera    is    pro- 
nounced Fee-day' -lee-oh). 

EONORE  and  Fidelio  are  one  and 
the  same  person — the  wife  of 
Florestan,  a  Spanish  nobleman  who 
has  incurred  the  enmity  of  Don 
Pizarro,  Governor  of  the  State  Prison. 
Pizarro  has  placed  him  in  a  dungeon, 
and  announced  his  death.  Leonore  re- 
fuses to  believe.  Disguising  herself  as 
a  lad,  she  makes  love  to  Marzelline, 
daughter  of  Rocco,  the  jailor,  under  the 
name  Fidelio,  .thus  gaining  access  to 
the  place,  where  she  learns  of  a  mys- 
terious prisoner.  Hope  nearly  dies 


when  she  overhears  Pizarro  plotting 
with  Rocco  to  have  this  prisoner  killed. 
His  death  has  become  necessary,  be- 
cause the  harsh  methods  of  Pizarro 
have  become  known,  Don  Fernando, 
Minister  of  the  Interior,  is  to  investi- 
gate, and  "dead  men  tell  no  tales." 
Fidelio  is  assigned  the  task,  with 
Rocco,  of  digging  her  own  husband's 
grave.  While  she  is  plying  the  spade, 
Rocco  brings  in  the  prisoner,  whom  she 
does  not  at  first  recognize,  so  terrible 
is  his  condition.  Pizarro,  entering, 
tries  to  stab  the  man,  but  Leonore, 
now  scorning  disguise,  throws  herself 
between.  Pizarro  is  about  to  kill  both 
when  trumpets  announce  the  arrival  of 
Don  Fernando.  Husband  and  wife  are 
rescued,  and  Pizarro  is  duly  punished. 
The  liberation  of  other  prisoners  af- 
fords opportunity  for  one  of  the  most 
inspiring  of  Beethoven's  male  choruses; 
the  "Prisoners' Chorus  "(Oh,  What  De- 
light). The  music  throughout  the  opera 
is  of  a  dignified,  noble  character — as  be- 
fits the  utterance  of  a  great  composer 


VICTOR   DOUBLE-FACED    RECORDS 

fLeonore  Overture,  No.  3    (Part   I) Victor  Concert  Orchestra\^r^f-n     11  :„     «i  ic 

\L6onore  Overture,  No.  3   (Part  II) Victor  Concert  Orchestra}**  m'>  * 

/Leonore  Overture,  No.  3  (Part  III) Victor  Concert  Orchestra}  JCI/M     17  :n       i  35 

\     Adagio  from  Fourth  Symphony  (Beethoven) Vessella's  Band]  '' 

(Prisoners'  Chorus  (Oh!  What  Delight) Victor  Male  Chorus 

\     The  Heavens  Resound  (Beethoven) Victor  Oratorio  Chorus 


1.35 


K  I  M  II K  \  M  i  I 


SCENE    FROM    FIDELIO 
119 


THE    PHANTOM    SHIP 


THE  FLYING  DUTCHMAN 

(DER   FLIEGENDE    HOLLANDER) 

(German) 


DRIVEN  by  a  gale,  a  phantom 
ship   approaches    the    shore, — 
the  ship  of  Van  der  Decken, 
who  after  trying  vainly  to  pass  the  Cape 
of  Good  Hope,  swore  he  would  not  quit, 
if  he  had  to  sail  the  ocean  to  Eternity. 
To  punish  his  blasphemy,  he  is  to  sail 
the  ocean  forever,  in    a  phantom  ship 
with  a  phantom  crew.    Such  is  Heine's 
legend. 

As  in  all  Wagner's  operas,  however, 
there  is  mercy.  If  The  Dutchman  can 
find  a  woman  who  will  be  faithful  unto 
death,  he  will  go  free.  To  find  her,  he 
is  allowed  to  go  ashore  once  every  seven 
years.  This  is  the  time.  The  Over- 
ture itself  tells  the  story.  Above  the 
howling  of  the  gale  is  heard  a  motive,  or 
theme,  which  signalizes  damnation, — 
the  curse  motive: 


There  is  another  to  balance  it — the 
motive  of  redemption — an  echo  of  an 
ancient  phrase  signifying  "Farewell," 
— a  phrase  used  by  Beethoven,  by 
Schubert,  by  Mendelssohn,  and  later 
on,  with  sublime  effect,  in  "Lohengrin" 
by  Wagner  himself.  Against  the  Curse 
of  The  Dutchman's  own  will,  is  the 
Redemption  which  will  come  to  him 
through  a  woman's  true  soul.  Senta, 
the  daughter  of  Da/and,  a  sea-captain, 
is  the  chosen  one.  But  the  story  is 
best  told  in  detail. 

THE  OPERA 

R3MANTIC  opera  in  three  acts. 
Text  and  score  by  Richard  Wag- 
ner. First  produced  at  the  Royal 
Opera  in  Dresden,  January  2,  1843. 
Produced  in  Berlin  in  1844;  Zurich, 
1852;  Weimar,  1853;  Vienna,  1860; 
Munich,  1864.  First  London  pro- 
duction July  23,  1870,  under  the  title 


120 


VICTROLA     BOOK     OF     THE      OPERA 


L'0/andese  Dannato,  the  book  being 
translated  into  Italian  by  Marchesi; 
and  in  English  by  Carl  Rosa,  October 
3,  1876.  In  Italy,  at  Bologna,  1877. 
Another  Italian  version  was  given  at 
Covent  Garden,  this  time  called  // 
Vascello  Fantasma,  June,  1877.  First 
American  production  at  Philadelphia, 
November  8,  1876,  by  the  Pappen- 
heim  Opera  Company,  in  Italian;  first 
New  York  production,  in  English, 
January  26,  1877;  in  German,  March 
12,  1877.  Given  at  New  Orleans  Opera 
in  1877. 

CHARACTERS 

DALAND,  a  Norwegian  sea  captain. Bass 

SENTA,  his  daughter .  .Soprano 

ERIC,  a  huntsman Tenor 

MARY,  Senta's  nurse Contralto 

DALAND'S  STEERSMAN Tenor 

THE  DUTCHMAN Baritone 

Sailors,  Maidens,  Hunters,  etc. 

Place:   On  the  Coast  of  Norway 

(The  German  name  of  the  opera  is 
pronounced  Dair  Flee' -gen-deh  Hol- 
layn'-der). 

ACT  I 

SCENE — The  Coast  of  Norway 

THE  worst  of  the  storm  is  over; 
Daland  brings  his  ship  to  anchor  off 
the  rocky  coast.  As  the  crew  furls  the 
sails,  he  goes  ashore  to  obtain  his  bear- 
ings. From  the  head  of  the  cliff  he 
discerns  he  is  but  seven  miles  from 
home;  but  as  he  must  wait,  now,  for  a 
change  of  wind  from  off-shore,  he  al- 
lows the  crew  to  rest.  He  is  weary  him- 
self after  his  long  struggle  with  sea  and 
wind,  so  he  leaves  the  vessel  in  charge 
of  the  Steersman  as  he  goes  below. 

The  Steersman,  to  keep  himself 
awake,  sings  a  ballad  to  the  South 
Wind — that  is  to  bring  him  home  to 
his  beloved  one.  Nevertheless,  he  falls 
asleep,  and  he  cannot  see,  gliding  in 
silently  through  the  darkness,  the 
blood-red  sails  and  the  black  masts  of 


The  Dutchman's  fearful  craft.  The 
spectral  crew,  with  their  pale  faces  and 
phosphorescent  eyes,  furl  the  strange 
sails  and  drop  the  rusty  anchor.  And 
the  Steersman  sleeps  on. 

But  The  Dutchman  stands  alone  on 
the  rotting  deck  of  his  ship,  and  he 
sings  the  famous  soliloquy,  "Die  Frist 
ist  urn"  (The  Term  is  Passed).  This 
is  a  strange  number,  half  recitative, 
half  aria,  weird,  imaginative  and  won- 
derful. It  expresses  The  Dutchman's 
hopelessness  of  salvation.  A  night  or  so 
ashore,  then  another  seven  years,  then 
another  and  another  and  yet  another, 
and  so,  possibly,  throughout  Eternity. 
What  woman  may  be  found  to  love 
such  a  wretch,  and  to  remain  faithful? 

Daland  appears  on  the  deck  of  the 
other  ship,  and  he  is  astonished  to  see 
the  strange  craft  alongside.  He  wakes 
the  Steersman,  and  the  two  hail  her. 
The  Dutchman  asks  for  a  night's  shelter 
in  the  house  of  Daland,  for  which  he 
offers  a  generous  sum.  He  notes  the 
Norwegian's  quickness  to  accept,  and, 
hearing  that  he  has  a  daughter,  he  pro- 
poses marriage.  The  simple-minded 
captain  consents,  provided  the  girl, 
Senta,  is  willing.. The  stranger,  thought- 
ful-looking, is  nevertheless  of  distin- 
guished appearance,  and  obviously 
rich.  A  wind  springs  up,  the  Nor- 
wegian sails  for  home,  and  The  Dutch- 
man promises  to  follow  at  once. 

ACT  II 

SCENE — A  Room  in  Daland's  House 

WOMEN,  in  Daland' s  house, await 
his  arrival,  spinning,  singing, 
laughing,  chatting  among  themselves. 
They  sing  the  wonderful  "Spinning 
Chorus,"  with  its  light  tripping  melody 
and  its  whirring  accompaniment,  for  all 
the  world  like  the  steady  rote  of  the 
spinning-wheel. 

Among  the  girls,  Senta  sits  somewhat 
aloof  and  inattentive.  Her  eyes  are 
fixed  upon  a  fanciful  portrait  of  the 


121 


VICTROLA     BOOK     OF     THE      OPERA 


Flying  Dutchman,  hanging  on  the  wall. 
The  legend  of  the  unhappy  mariner  has 
deeply  impressed  her  mind.  Her  com- 
panions ridicule  the  girl,  declaring  her 
lover,  Erik,  will  be  jealous.  She  is  dis- 
posed to  be  resentful;  she  objects  to  the 
spinning  song,  and  asks  that  someone 
may  sing  the  ballad  of  the  Flying 
Dutchman.  As  no  one  will,  she  sings  it 
herself,  the  grim,  fantastic,  terrible 
"Curse"  motive  breaking  like  a  raw 
sea-wind  into  the  warm  homelike 
atmosphere  of  the  spinning  party.  The 
wind  itself  wails,  in  fierce  chromatics, 
throughout  the  song. 

But  as  the  tale  proceeds,  this  new 
theme  of  salvation,  or  redemption  by 
woman 's  love,  one  of  the  tenderest  and 
most  melodious  phrases  in  music,  is 
heard.  Half-conscious,  she  runs  to- 
ward the  portrait  with  outstretched 


arms. 


^ 


The  girls  are  amazed.  Some  of  them 
rush  out  to  produce  Erik.  The  young 
man  brings  with  him  the  news  that 
Daland's  ship  has  arrived  and  that  of 
the  stranger.  The  women-folk  run  to 
the  shore  with  greetings;  but  Erik  re- 
mains to  chide  Senta.  She  refuses  to 
listen,  and  he  goes  too.  Left  alone, 
she  remains  in  a  half-dreamy  state. 
Then  the  door  opens,  and  there  stands 
the  Flying  Dutchman,  for  all  the  world 
like  the  picture  of  himself  that  some  old 
painter  has  imagined — or  painted  from 
someone's  description.  The  girl  looks 
at  this,  then  at  her  visitor,  and  back 
again.  The  eyes  of  the  pair  meet,  and 
they  remain  in  awed  silence.  Daland 
is  delighted  at  the  impression  his 
daughter  and  the  stranger  have  made. 
He  announces  The  Dutchman's  pro- 
posal of  marriage.  The  lovesick  girl 
assents.  The  couple  are  left  alone,  in 
the  strange,  half  mystical  rapture  of 


their  discovery.  Daland  has  not  rec- 
ognized the  original  of  the  picture. 
Senta,  before  her  betrothed,  promises 
to  remain  faithful  unto  death. 

ACT  III 
SCENE — The  Harbor 

DALAND'S  ship  is  gay  with  lan- 
terns, strung  out  in  lines  of 
fire  in  the  gathering  gloom.  The  crew 
is  merry-making — over  a  safe  voy- 
age, and  over  the  wedding  to  be. 
The  women  bring  baskets  of  good 
things  to  eat.  The  men  of  Daland's 
ship  receive  them  joyously,  but  there 
is  no  sign  from  The  Dutchman's.  They 
turn  over  their  baskets,  and,  hurt  at 
this  silent  reception,  they  return  home. 

Then  Daland's  crew  turn  to  the 
strange  vessel.  They  call  once  more, 
inviting  her  crew  to  the  feast.  Sud- 
denly the  sea  rises,  the  air  grows  icy 
cold,  and  a  singular  glow  illumines  the 
ship.  The  crew  then  appear,  misty, 
spectral  figures,  and  begin  a  sepulchral 
chant.  The  Norwegians  are  aston- 
ished and  dismayed.  They  cross  them- 
selves in  terror  and  run  below,  fol- 
lowed by  devilish-sounding  laughter. 
The  lights  burn  blue  and  die  upon  the 
stranger's  decks.  And  the  ship  and 
her  crew  disappear  again  into  the 
darkness. 

Senta  and  Erik  arrive.  The  young 
man  has  heard,  and  he  is  beside  him- 
self. He  kneels  and  begs  his  love  to 
take  pity  on  him.  Senta,  for  all  her 
love  for  The  Dutchman,  is  human,  and 
her  pity  indeed  is  aroused.  She  lets  it 
be  seen — when  The  Dutchman  suddenly 
appears. 

He  cannot  but  believe,  after  his 
years  of  torture  and  disappointment, 
that  his  love  is  false.  He  cries  out, 
briefly,  "All  is  lost — farewell!" 

It  is  the  signal  for  action.  The  crews 
appear.  The  Dutchman  declares  his 
identity,  and  admits  himself  cursed 


122 


VICTROLA     BOOK     OF     THE      OPERA 


forever.  He  leaps  to  the  deck  of  the 
ship.  The  blood-red  sails  drop  from 
the  yards,  and  belly  out  beneath  a  wind 
that  no  man  ever  felt  on  earth.  The 
crew  set  up  their  wild  refrain,  the 
weird  St.  Elmo's  fires  light  up  the 
mastheads,  and  the  crazy  and  worm- 
eaten  phantom  ship  goes  off,  cutting 
the  water  like  a  knife,  irrespective  of 
wind  or  tide. 

Senta,  in  wild  exultation,  rushes  to 


the  shore,  crying  out  "I  am  faithful 
unto  Death!"  Before  a  hand  can  stay 
her,  she  has  thrown  herself  into  the 
sea.  As  she  does  so,  the  phantom 
ship  sinks  too.  But  rising  from  the 
wreck  can  be  seen  the  forms  of  the 
Flying  Dutchman  and  his  eternal  bride, 
clasped  in  one  another's  arms.  The 
curse  has  been  dissolved  by  the  love 
of  one  true  woman.  Legend  or  sym- 
bol, such  is  the  tale. 


DOUBLE-FACED  RECORDS 

/Die  Frist  ist  urn  (The  Term  is  Past)  Part  I  (In  German)  ----  Fritz  Feinhals\  (-0,0,     i?  • 
\Die  Frist  ist  urn  Part  II    (In  German)  .....................  Fritz  FeinhalsF 


(•Spinning  Chorus  (In  English)  ....................  Victor  Women  3  Chorus^  35494 

\     Lohengrin  —  Bridal    Chorus  ........................  Victor  Opera  Chorus] 

/Arie  des  Erik  (In  German)  ............................  Karl  Jorn,  7V/7or\4cn»7 

I     Die  liistigen  Weiber—Horch,  die  Lerche  (In  German)  ......  Karl  Jam,  Tenor}*3 


1  35 


10-in        1  DO 


HOKPKRT,  BERLIN 

M'HI    MASN-HKIN  K     AS     MARY 


123 


DON  ALVARO: 

Swear  in  this  hour 

That  you  will  grant  my  wish! 


LA  FORZA  DEL  DESTINO 


(THE  FORCE  OF  DESTINY) 


OPERA  in  four  acts.  Book  by 
Piave;  music  by  Giuseppe 
Verdi.  First  produced  at  St. 
Petersburg,  November  11,  1862;  in 
London,  June  22,  1867;  in  Milan,  1869; 
Paris,  1876;  Berlin,  1878.  First  New 
York  production  February  2,  1865, 
with  Carozzi-Zucchi,  Massimilliani  and 
Bellini.  It  was  not  heard  again  for 
fifteen  years,  when  it  was  produced  at 
the  Academy  of  Music,  with  the  last 
act  rewritten  by  the  composer,  the  cast 
including  Annie  Louise  Gary,  Campa- 
nini,  Galassi  and  Del  Puente.  Given 
in  recent  years  in  San  Francisco  by  the 
Lombardi  Opera  Company.  Revived 


in  1918  at  the  Metropolitan  with 
Caruso. 

CHARACTERS 

MARQUIS  OF  CALATRAVA  (Kal- 

ah-trah'vah} Bass 

DONNA  LEONORA!  his  J  Soprano 
DON  CARLO  J  children  |  Baritone 
DON  ALVARO  (Ahl-vah'-roh) ....  Tenor 
ABBOTOFTHE  FRANCISCAN  FRIARS. Bass 

MELITONE,  a  friar Baritone 

Muleteers, Peasants,Soldiers,Friars,etc. 
Scene  and  Period:  Spain  and  Italy;  about 
the  Middle  of  the  Eighteenth  Century 
(The    name    of   the    opera    is    pro- 
nounced Lah  Fort'-zah  delDes-tee'-noh). 


124 


VICTROL  A     BOOK     OF     THE      OPERA 


THE  opera  has  an  overture,  in  which 
is  given  a  foretaste  of  what  is  to 
follow.  It  opens  with  a  trumpet  blast, 
followed  by  an  air  in  the  minor,  leading 
in  its  turn  to  a  striking  theme  in  the 
stringed  instruments,  which  has  been 
compared  to  a  familiar  theme  in  a  Liszt 
rhapsody  and  one  in  a  composition  by 
Brahms — showing  the  plasticity  of  a 
simple  motif  in  the  hands  of  three  com- 
posers of  varying  nationalities  and 
temperaments.  This  is  the  theme  of 
the  "Madre  Pierosa,"  afterwards  heard 
with  magnificent  effect  in  the  opera: 


ACT  I 

SCENE — Drawing  Room  of  the  Marquis 
of  Calatrava 

DON  ALVARO  is  a  young  prince 
of  an  illustrious  family  in  India. 
His  forbears  have  claimed  descent 
from  the  sun  itself;  but  this  counts  for 
little  in  proud  Spain.  Aware  that  her 
family  will  never  permit  marriage  with 
him,  Leonora  plans  to  elope.  Aharo 
arrives  by  night,  but  the  noise  of  de- 
parture awakens  the  household,  and 
the  aged  Marquis  of  Calatrava  discovers 
the  pair.  Leaping  to  the  wrong  con- 
clusion, he  ignores  the  protests  of  both. 
To  take  the  blame  alone,  Aharo  throws 
his  pistol  away,  intending  to  present  his 
bare  breast  to  the  aged  noble's  sword. 
But  the  weapon  is  a  hair-trigger  affair, 
and  in  the  act  it  goes  off.  When  the 
smoke  clears,  the  Marquis  lies  mortally 
wounded,  cursing  his  daughter  with  his 
last  breath. 

ACT  II 

SCENE  I — An  Inn  at  Hornacuelos 

IN  the  warm  kitchen  of  this  mountain 
hostelry  is  gathered  a  crowd  of 
muleteers,  soldiers,  a  monk,  a  student, 
a  gypsy  fortune-teller,  and  Leonora  in 
male  disguise.  Hither  she  has  fled 
from  the  home  of  an  aged  relative  who 
gave  her  temporary  shelter.  Her 


brother,  Don  Carlo,  has  sworn  to  kill 
both  Leonora  and  her  lover;  and  having 
lost  trace  of  Don  Aharo  since  the  fatal 
night,  Leonora  is  both  alone  and  des- 
perate. Her  terror  and  despair  increase 
when  she  discovers  that  the  student, 
hobnobbing  with  a  friar,  is  none  but 
Don  Car/a,  who  in  disguise  is  hoping  to 
find  some  trace  of  the  man  he  believes 
the  seducer  of  his  sister  and  the  mur- 
derer of  his  father.  She  flees  the  place, 
among  the  confusion  caused  by  the 
announcement,  from  a  gypsy  girl,  that 
Italy  and  Spain  have  declared  war 
upon  the  Austrians. 

SCENE  II — The  Monastery  at 
Hornacuelos 

EONORA  has  come  to  the  door  of 
the  monastery,  where,  kneeling  in 
the  moonlight,  she  asks  the  Virgin  to 
protect  her.  This  plea  affords  a  very 
beautiful  number,  based  on  the  theme, 
"Madre  Pietosa  Vergine"  (Holy  Moth- 
er, Have  Mercy),  heard  previously  in 
the  overture.  It  begins  in  agitated 
style,  but  soon  develops  into  a  beauti- 
ful aria  succeeded  by  solemn  choral 
passages,  the  Venite  of  the  monks  sing- 
ing in  the  chapel.  Above  these  the 
solo  voice  rises  with  supreme  power. 

Still  in  her  disguise  as  a  man,  Leonora 
seeks  admission,  confessing  all  to  the 
Abbot.  He  procures  her  suitable  at- 
tire, and  directs  her  to  a  cave  in  the 
nearby  mountainside  which  is  shunned 
by  the  superstitious  folk.  The  monks 
solemnly  lay  a  curse  upon  all  who  may 
seek  to  learn  the  stranger's  identity. 
She  remains  for  some  years  in  her 
solitary  hold;  but  love  remains  alive 
in  her  heart,  affording  rich  material 
for  the  sport  of  Destiny. 

ACT  III 

SCENE — A  Military  Camp  near  Valletri 

ALVARO,  believing    Leonora   dead, 
has,    with   the   outbreak   of   the 
war,  enlisted  with  the  Spanish  army 
to  fight  in  Italy  against  Austria.    He 


125 


VICTROLA     BOOK     OF     THE      OPERA 


bears  an  assumed  name,  but  he  is 
tormented  by  memories  of  his  beloved: 
"O  tu  che  in  sono  agli  angeli"  (Thou 
Heavenly  One),  he  sings,  in  a  tender 
and  melancholy  number  which  prays 
to  her,  believably  in  Heaven,  to  look 
down  upon  his  loneliness  of  heart. 

His  reveries  are  interrupted.  He 
hears  a  cry  of  distress,  and  goes  out 
to  find  a  wounded  man.  It  is  Don 
Carlo,  his  sworn  enemy.  But  as  the 
two  never  have  met,  they  do  not 
recognize  one  another.  They  become 
close  friends.  Another  battle  follows, 
and  this  time  it  is  Don  Alvaro  who  is 
wounded, — seriously,  to  all  seeming 
mortally. 

His  new  friend  volunteers  to  ad- 
minister his  last  wishes.  Alvaro  begs 
him  to  search  in  his  cloak  for  a  key 
and  a  casket  of  letters.  These  are  to 
be  burned,  without  opening,  and  Don 
Carlo  is  sworn  to  execute  this  ofBce. 
The  adjuration  affords  a  fine  duet, 
beautiful  in  melody  and  intense  in  its 
emotional  fervor,  the  famous  "Solenne 
in  quest'  ora"  (Swear  in  This  Hour). 
Don  Carlo  is  torn  with  pity. 

But,  Destiny  preferring  to  work  in 
its  own  fashion,  Don  Alvaro  does  not 
die — nor  does  Don  Carlo  break  his 
oath.  But  having  accidently  mentioned 
the  name  Calatrava,  his  suspicions 
are  aroused  when  Alvaro  starts  at  the 
sound  of  it.  He  does  not  open  the 
casket,  but  otherwhere  in  the  wounded 
man's  effects  he  discovers  a  picture 
of  Leonora.  When  Alvaro  recovers, 
Don  Carlo  makes  himself  known;  at 
the  same  time,  unwittingly,  giving  his 
enemy  to  understand  that  Leonora 
still  lives — though  he  does  not  know 
where.  Alvaro  is  overjoyed;  he  in 
turn  discloses  himself,  striving  to  con- 
vince Don  Carlo  he  is  guiltless  of 
wrongdoing,  and  worthy  of  his  sister. 
Unable  to  draw  Alvaro  into  combat, 
Carlo  threatens  then  to  search  out 
Leonora,  and  take  her  life  instead.  A 


dramatic  scene  rises:  "II  segreto  fu 
dunque  violate?"  (Is  My  Secret  Then 
Betrayed?).  A  duel  follows,  and  Alvaro 
wins.  Believing  he  has  killed  a  second 
man,  he  decides  to  take  holy  vows  and 
to  end  his  days  in  a  monastery.  He 
cannot  now  go  to  Leonora  with  a 
brother's  blood,  as  well  as  a  father's, 
upon  his  hands. 

ACT  IV 

SCENE — The  Monastery  of 
Hornacuelos 

FIVE  years  have  passed.  And  Don 
Alvaro,  now  Father  Raphael,  has 
become  noted  for  his  goodness  of  life, 
his  compassionate  kindliness  toward 
all  who  suffer.  But  Don  Carlo  has 
sought, — and  he  has  now  found  him — 
only  to  taunt  the  devoted  and  harm- 
less soul  with  cowardice.  "In  Vano, 
Alvaro"  (In  Vain,  Alvaro!)  sings  he. 
The  friar,  well  schooled  to  ignore  his 
own  feelings,  tries  hard  to  convince 
Don  Carlo  that  vengeance  lies  with 
God.  In  return  he  receives  the  most 
venomous  insults.  He  endeavors, 
vainly,  to  reach  a  peaceful  solution.  In 
the  duet,  "Le  minaccie,  i  fieri  accenti" 
(Thy  Menaces  Wild),  the  tensity  of 
the  situation  reaches  the  breaking 
point.  Slowly  but  surely  the  benev- 
olent priest  becomes,  again,  the  fiery 
"man  of  honor."  A  pathetic  instru- 
mental melody  coupled  with  the 
broken  speech  of  Don  Alvaro,  is  ex- 
ceedingly touching;  but  it  disappears 
in  the  riot  of  stormier  passions.  The 
convent  is  no  place  to  fight,  and  the 
two  seek  a  hillside — the  very  hillside 
where,  unknown  to  either,  Leonora 
herself  abides  in  misery. 

ACT  V 

SCENE — A  Wild  Spot  near 
Hornacuelos 

PALE  and  worn,  yet  still  beautiful, 
Leonora  issues  for  the  thousandth 
time  from  her  cave,  to  implore  Heaven 
to  let   her  die   and   forget   her  lover. 


126 


VICTROLA     BOOK     OF     THE      OPERA 


Heaven's  only  reply  is  a  storm  of  rain 
and  wind  and  thunder  which  drives 
her  back  just  as  the  two  men  arrive. 
Again  Don  Carlo  is  vanquished,  and 
in  fair  fight.  This  time  the  wound  is 
mortal,  and  the  dying  man  begs  his 
enemy,  as  Father  Raphael,  to  confess 
him  and  yield  absolution.  This  Alvaro 
cannot  do,  the  place  being  under  the 
"ban"  still  set  upon  it.  But  he  calls 
the  "friar"  who  dwells  in  the  cave. 
Leonora,  finding  her  brother  dying, 
rushes  to  embrace  him.  Seeing  her  in 


the  presence  of  Don  Alvaro,  he  suspects 
the  pair  of  complicity,  and  stabs  her  as 
her  arms  fold  about  him.  The  music 
here  is  impressive,  "Non  imprecare, 
umiliati"  (Swear  Not,  Be  Humble"), 
one  of  Verdi's  great  concerted  numbers. 
What  is  there  left  for  Don  Alvaro? 
He  has  been  responsible,  an  instrument 
played  upon  by  the  skilful  and  mali- 
cious fingers  of  Destiny,  for  three 
deaths.  What  atonement  is  there? 
He  casts  himself  from  the  cliff  as  the 
monks  arrive  singing  a  Miserere. 


ACT  II 


THE   VICTOR   RECORDS 

(Sung  in  Italian) 


ACT  III 


MADRE,  PIETOSA  VERGINE 
(Holy  Mother,  Have  Mercy) 
CELESTINA  BONINSEGNA,  Soprano  and 
La  Scala  Chorus  92031     12-in.,  31.75 

LEONORA: 

Oh,  Holy  Virgin, 

Have  mercy  on  my  sins! 

Send  help  from  Heaven 

To  erase  from  my  heart 

That  ungrateful  one. 

(The  friars  are  heard  in  their  morning  hymn.) 

0  sublime  song, 
Which  like  incense, 
Ascends  heavenward 
It  gives  faith,  comfort, 
And  quiet  to  my  soul. 

1  will  go  to  the  holy  sanctuary. 

The  pious  father  cannot  refuse  to  receive  me. 

O  Lord!  Have  mercy  on  me, 

Nor  abandon  me. 

(She  rings  the  bell  of  the  convent.) 


O  TU  CHE  IN  SENO  AGLI'  ANGELI 

(Thou  Heavenly  One)  ENRICO  CARUSO, 

Tenor  88207     12-in., 

SOLENNE  IN  QUEST'  ORA 

(Swear  in  This  Hour)  ENRICO  CARUSO, 

Tenor  and  ANTONIO  SCOTTI,  Baritone 

89001     12-in., 


1.75 


2.00 


IL  SEGRETO  FU  DUNQUE  VIOLATO? 
(Is  My  Secret  Then  Betrayed?)  ENRICO 
CARUSO,    Tenor    and    GIUSEPPE    DE 
LUCA,  Baritone  89087     12-in.,     2.00 

ACT  IV 
INVANO  ALVARO 

(In  Vain,  Alvaro!)  ENRICO  CARUSO, 
Tenor  and  PASQUALE  AMATO,  Bari- 
tone 89052  12-in.,  2.00 

LE  MINACCIE,  I  FIERI  ACCENTI 
(Thy  Menaces  Wild)  ENRICO  CARUSO, 
Tenor  and   PASQUALE  AMATO,   Bari- 
tone 89053     12-in.,     2.00 


DOUBLE-FACED  RECORDS 

Solenne  in  quest'  ora  (Swear  in  This  Hour) Murphy  and  IVerrenrath     70103     12-in.,  31.25 

/Overture Arthur  Pryor's  Band) 


\     Orpheus  Overture  (Offenbach) Arthur  Pryor's 

/Solenne  in  quest'  ora . .  Vessella's  Italian  Band\ ?rr17     •  7  •          ,  •>- 

l     Mefistofele—  Selection Vessella's  Italian  Band]**  In'' 

fNon  imprecare,  umiliati   (Swear  Not)  Giofomel/i,  Martinez-Patti  and  Prne\(jgQ26     12  in       135 
X     Masked  Ball — Ah!  qual  soave Giacomellt  and  Martinez-Patti) 


127 


FRA  DIAVOLO 

COMIC     opera     in     three     acts.  The  Scene:  Italy,  in  the  Neighborhood 
Libretto   by   Scribe,    music    by  of  Terracina 
Daniel  Francois  Esprit  Auber.  (The    name    of    the    opera    is    pro- 
First  production  at  the  Opera  Comique,  nounced  Frah  Dee-ah' -voh-loh) . 
Paris,  January  28,  1830.    Presented 

in  Vienna,  1830.  London,  at  the  PHIS  is  a  spirited  little  opera. 
Drury  Lane  Theatre,  in  English,  A  Zerlina  and  Lorenzo,her  soldier, 
November  3,  1831;  in  Italian  at  the  are  too  poor  to  marry.  The  girl's 
Lyceum  Theatre,  1857.  First  Ameri-  father,  Matteo,  has  a  rich  suitor  all 
can  production  at  the  Old  Park  Thea-  ready,  and  "tomorrow  is  the  day." 
tre,  New  York,  in  English,  June  20,  There  is  a  gay  time  at  the  inn.  Lord 
1833.  Produced  in  New  Orleans  in  Rocburg  and  his  wife,  Lady  Pamela, 
1836.  It  was  not  until  1864  that  it  arrive.  They  have  been  robbed,  and 
was  given  in  Italian  in  New  York,  at  Lorenzo  and  his  men  go  after  the  ban- 
the  Academy  of  Music,  with  Kellogg,  dits.  Another  guest,  the  smooth  Mar- 
Colonel  Mapleson  gave  three  perform-  quis  of  San  Marco,  (Fra  Diavolo,  the 
ances  of  the  opera  at  the  Academy  of  bandit,)  n?xt  comes  in— to  flirt  with 
Musicin  1885.  Zelie  de  Lussan  made  her  Lady  Pamela,  and  to  gain  access  to 
debut  here  in  the  part  with  the  Bos-  the  noble  Lord's  money-belt.  He  is 
ton  Ideals  in  1888.  Recently  revived  distressed  when  Lorenzo  returns  with 
at  the  Manhattan  Opera  and  after-  the  jewels  and  news  of  slam  robbers, 
wards  at  the  New  Theatre  by  the  The  young  man  is  given  a  reward 
Metropolitan  forces.  .  which  seems  to  make  possible  his 

marriage. 

CHARACTERS  That  night,  the  Marquis  and  two 

FRA    DIAVOLO,    calling    him-  followers,  Beppo  and  Giacomo,  conceal 

self    "Marquis    of    San  themselves  in  Zerlina' s  room   to  rob 

Marco" Tenor  Rocburg  in  the  night.    Lorenzo  arrives; 

LORD    ROCBURG    (Lord    All-  discovered,  the  Marquis    makes    both 

cash),   an   English   trav-  him  and  Rocburg  believe  he  has  been 

eler Tenor  conducting    affairs    with    Zerlina    and 

LADY  PAMELA  (Lady  Allcash)  Lady    Pamela.     Both    men    challenge 

his  wife Soprano  him.    Next  morning  Zerlina  discovers 

LORENZO,  Chief  of  the  Cara-  Beppo  and  Giacomo  were  in  her  room 

biniers Tenor  too.   Lorenzo   arrests   them,   and   they 

MATTEO,  the  innkeeper Bass  are   forced   to   betray  their  chief.    He 

ZERLINA,  his  daughter Soprano  is  led  into  a  trap   and  shot.    Then  it 

GIACOMO    and    BEPPO,    com-  transpires,  of  course,  that  Fra  Diavolo 

panions    of   Fra  .Dia-  and  the  Marquis  were  one.    All  ends 

volo Bass-Tenor  happily. 

DOUBLE-FACED  RECORDS 

("Overture  to  Fra  Diavolo Arthur  Pryor's  Band\ ,  rim     ,  ~  .        cri  ? r 

I     Marriage  of  Figaro  Overture  (Mozart) Arthur  Pryor's  Bandr*  1Z"ln>>  w"" 

/Fra  Diavolo  Selection Vessella's  Italian  Band\  7r1Q1      10  . 

\     Daughter  of  Regiment  Selection Vessella's  Italian  Band]  ^l          1 2'ln-'     1J* 


128 


PHOTO  LANDE 


THE  WOLF  S  GI-EN  SCENE 


DER  FREISCHUTZ 


CARL  MARIA  VON  WEBER, 
like  others  of  his  group — Men- 
delssohn, Chopin,  Bellini- 
died  before  his  genius  had  fulfilled 
itself.  He  is  usually  regarded  as  the 
first  important  operatic  composer  to 
open  the  new  avenues  of  romanti- 
cism in  the  nineteenth  century.  In 
"Der  Freischiitz"  he  sought  to  escape 
Italian  influence  by  discarding  plots  of 
intrigue,  seeking  rather,  for  material, 
the  legends  of  his  own  country.  He 
gave  to  German  operatic  music  that 
•first  tinge  of  nationalism  which  devel- 
oped to  its  ultimate  in  Wagner,  with 
his  monumental  music  dramas  of  Teu- 
ton mythology. 

The  word  "Freischiitz"  means  not  so 
much  "Freeshooter"  as  "Free  Marks- 
man;" it  was  applied  to  one  who  used 
charmed  bullets.  It  plunges  at  once 
into  that  mystical  word  of  legendary 
superstition  where  fact  is  subordinate 
to  fancy.  This  opera  must  be  enjoyed 
in  the  fairy-tale  spirit,  remembering 


that  first  of  all  it  is  a  story.  We  learn, 
however,  even  in  the  guise  of  folk  lore, 
that  it  is  safer  to  put  trust  in  the  forces 
of  right  than  those  of  evil — in  what- 
ever romantic  guise. 

THE  OPERA 

ROMANTIC  opera  in  three  acts. 
Words  by  Friedrich  Kind;  mu- 
sic by  Carl  Maria  von  Weber;  com- 
pleted as  Die  Jagersbraut,  May  13, 
1820.  Produced  at  Berlin,  June  18, 
1821;  in  Paris  (as  Robin  des  Boisy  with 
new  libretto  by  Blaze  and  Sauvage, 
and  many  changes),  at  the  Odeon,  De- 
cember 7,  1824.  Another  version,  with 
translation  by  Pacini,  and  recitatives 
by  Berlioz,  at  the  Academic  Royale, 
June  7,  1841,  under  the  titleof  Le  Franc 
Archer.  In  London  as  Der  Freischiitz 
or  The  Seventh  Bullet,  with  many  bal- 
lads inserted,  July  23, 1824;  in  German, 
at  King's  Theatre,  May  9,  1832;  in 
Italian,  as  II Franco  Arciero,  at  Covent 
Garden,  March  16,  1850  (recitatives  by 


129 


VICTROLA     BOOK     OF     THE      OPERA 


Costa).  First  New  York  production, 
in  English,  March  2,  1825.  This  was 
followed  by  other  versions,  Charles  E. 
Horn  appearing  as  Caspar  in  1827. 
German  performances  were  given  at 
the  old  Broadway  Theatre,  1856,  and 
by  other  German  companies  in  the 
sixties.  Produced  at  the  Metropolitan 
under  Dr.  Damrosch  in  1884,  and  at 
the  Academy  of  Music  in  1896.  Re- 
vived at  the  Metropolitan  in  1910, 
with  Gadski,  Jadlowker  and  Goritz. 

CHARACTERS 

PRINCE  OTTOKAR,  Duke  of  Bo- 
hemia  Baritone 

CUNO,  head  ranger •. .  Bass 

CASPAR  }  tw°  y°unS  f°resters  { 

KILIAN,  a  rich  peasant Tenor 

A  HERMIT Bass 

ZAMIEL,  the  fiend  huntsman 

AGNES,  Cuno's  daughter Soprano 

ANNIE,  her  cousin Soprano 

Chorus  of  Hunters,  Peasants  and  Spirits 

Scene  and  Period:  Bohemia,  about  1750 

(The  name  of  the  opera  is  pro- 
nounced, approximately,  Dair  Fry- 
sheetz) . 

\  BEAUTIFUL  overture  sums  up 
-/~Y  much  of  the  music.  A  broad,  low 
unison  melody  for  the  whole  orchestra, 
leads  to  a  lovely  horn  passage,  rich 
with  the  spirit  of  the  woodlands.  The 
night  is  falling,  soft  and  mysterious. 
A  rushing  allegro  fills  us  with  the 
doubts  of  the  young  hunter-hero;  we 
hear  his  magic  bullets  fall  into  the 
melting-pot,  one  by  one,  and  the  ter- 
rors of  the  Wolf's  Glen  sweep  down 
upon  us.  A  lovely  melody  brings  re- 
lief— picturing  the  tender  love  of  the 
heroine,  only  to  bring  fresh  dread  and 
distress.  But  triumph  comes  at  last, 
and  the  overture  ends  with  a  ringingly 
melodious  climax. 


The  story  is  simple.  Max  a  young 
ranger  in  the  service  of  the  Bohemian 
Prince  Ottokar,  loves  Agnes,  who  has 
promised  to  marry  him  if  he  wins  the 
shooters'  contest.  He  fails,  the  prize 
going  to  a  peasant,  Kilian.  Max  be- 
wails his  misfortune  in  a  highly  dra- 
matic air,  "Durchdie  Walder  "  (Thro' 
the  Forest).  He  thinks  of  his  beloved: 
"Jetzt  ist  wohl  ihr  Fenster  offen"  (Now 
Beside  Her  Lattice), and  heworks  him- 
self into  rather  a  desperate  mood. 
Caspar,  a  dissolute  fellow-ranger,  ap- 
pears. Caspar's  excesses  have  led 
him  into  the  power  of  Zamiel,  the 
Demon  Hunter  of  Bohemian  tradition 
— a  kind  of  Mephistopheles.  Any 
hunter  who  will  sell  his  soul  to  Zamiel 
will  receive  seven  bullets  which  will 
never  fail  their  mark.  For  each  victim 
he  brings,  the  supply  is  extended — and 
his  own  life;  but  woe  to  him  if  he  fails 
to  bring  a  fresh  one  before  the  seventh 
bullet! 

Caspar  sees  his  chance  in  Max — 
whom  he  induces  to  meet  him  in  the 
Wolf's  Glen,  to  receive  the  charmed 
bullets. 

Meanwhile,  Agnes  awaits,  with 
alarm,  her  absent  lover.  Her  cousin 
Annie,  offers  cheer,  but  vainly,  so  she 
departs.  The  girl,  alone  in  her  room, 
prays  in  the  starlight  for  the  safety  of 
her  lover.  Her  "Preghiera"  (Agnes' 
Prayer),  is  the  most  famous  air  of  the 
opera — if  we  except  the  horn  passage 
in  the  overture,  which  has  been  set  as 
a  familiar  hymn.  The  quiet  dignity 
of  the  "prayer,"  its  restful  faith  in 
Heaven,  have  won  it  the  love  of  all 
true  music-lovers. 

Max  arrives,  followed  by  Annie;  his 
manner  is  agitated.  He  declares  he 
must  go  to  the  Wolf's  Glen  to  bring  in 
a  stag  he  has  shot;  Agnes,  knowing  the 
place's  reputation,  begs  him  not  to. 
But  he  insists,  and  the  scene  changes  to 
the  Glen,  where,  among  picturesque 
terrors,  he  meets  Caspar.  Visions  ar- 


130 


VICTROLA     BOOK.     OF     THE      OPERA 


rive  and  pass,  fiends  rave,  and  the  bul- 
lets are  cast  amid  thunders  and  winds 
and  earthquakes. 

Max  returns  with  the  bullets,  and 
the  Prince  asks  him  to  shoot  a  dove. 
He  does,  but  the  bullet  just  misses 
Agnes,  who  has  come  to  look  for  Max, 
among  her  bridesmaids.  Caspar  is 
wounded  by  this  very  bullet,  which  he 
hoped  would  strike  Agnes  and  thus 
yield  Zamiel  another  victim.  Zamiel, 
however,  claims  Caspar  and  the  story 


is  revealed.  The  Prince  would  punish 
Max,  but  opportunely  a  Hermit  ap- 
pears, showing  that  the  prayer  of 
Agnes  has  been  answered,  Providence 
using  her  to  restore  Max  to  truth  and 
honor.  Max  is  forgiven,  and  all  ends 
well. 

It  is  to  be  noted  that,  as  usually 
produced,  "Der  Freischiitz"  is  in 
"comic  opera"  form,  being  given  with 
spoken  dialog  in  places.  Recitatives 
however,  have  been  written  for  it. 


DOUBLE-FACED  RECORDS 

/Overture  to  Der  Freischiitz Sousa's  Band\ *  rnnn     .  ,  • 

\     Carmen  Selection  (Bizet) Sousa's  Band)**  lZ'm'> 

fDurch  die  Walder  (Through  the  Forest)   (In  German) Karl  Jorn,  Tenor) 

jjetzt  ist  wohl   ihr  Fenster  offen    (Now    Beside   Her    Lattice)    (In  Ger-     [45078 
I        man) Karl  Jorn,  Tenor] 

f  Leise,  leise,  fromme  Weise  (Agatha's  Prayer)  (In  German)  Louise  foigt,  Soprano}  /- 047? 
I     Tannhduser — Dich,  teure  Halle  (In  German) Louise  foigt,  Soprano) 


10-in.,     1.00 


1.35 


PRINCE  OTTOKAR  PARDONS  MAX 
SCENE  OF  THE  OPERA 


131 


GERMANIA 


ERIC  drama  in  a  prologue,  two 
scenes  and  epilogue.  Text  by 
Luigi  Illica.  Music  by  Alberto 
Franchetti.  First  production  at  the 
Teatro  Dal  Verme,  Milan,  in  1902. 
The  opera  was  given  thirty  perform- 
ances at  La  Scala  in  two  seasons,  and 
has  since  been  heard  in  Spain,  Portu- 
gal, Russia  and  South  America.  First 
American  production, New  York,  Janu- 
ary 22,  1910,  with  Caruso,  Destinn 
and  Amato. 

CHARACTERS 

GIOVANNI  FILIPPO  PALM Bass 

FEDERICO  LCEWE  )         ,          (      Tenor 
CARLO  WORMS      {  s  s  (  Baritone 

RICKE Soprano 

Students,    Soldiers,    Members    of   the 

"Tugendbund,"  Forest  Girls 
(The    name    of   the    opera    is    pro- 
nounced Jaer-mah'-nee-ah). 

PROLOGUE 

SCENE — An  Abandoned  Mill  near 
Nuremberg 

NAPOLEON'S  legions  have  over- 
run Germany,  and  its  people 
resent  the  invasion.  Secret  societies, 
under  patriotic  leaders,  work  against 
the  invader.  Ordinary  human  relations 
are  strained,  conceptions  of  right  and 
wrong  disappear,  and  yet  the  nobility 
of  human  character  shines  at  mo- 
ments, through  a  world  that  seems 
dark  indeed. 

Students,  under  Giovanni  Palm,  are 
packing  bags  of  "grain"  for  shipment. 
These  really  contain  propagandist  lit- 
erature calling  for  revolt.  In  the 
company  is  Worms,  a  friend  of  Lcewe, 
the  poet,  who  already  is  at  the  front. 
Lcewe1  s  sweetheart,  Ricke,  has  been  left 
under  the  care  of  Worms — whose  heart 
is  heavy,  for  Lcewe  is  momentarily 
expected  back. 

Ricke,   too,  is   frightened;   for,  in   a 


sudden  gust  of  passion,  she  and  Worms 
have  betrayed  the  love  that  both  of 
them  feel  for  the  absent  poet.  She 
upbraids  Worms,  who  advises  her  to 
avoid  an  open  quarrel.  Lcewe  appears, 
to  stir  the  company  with  patriotic 
words:  "Udite,  udite!"  (Students, 
HearMe!).  Word  comes  of  the  po- 
lice, and  students  set  to  hauling 
"grain."  There  is  no  visible  evidence 
against  them,  but  the  police  seize  Palm 
and  take  him  away  to  die. 

ACT  I 

SCENE — A  Cottage  in  the  Black  Forest 

SEVEN  years  have  gone.  Lcewe  has  re- 
turned;helivesinahutwith  his  aged 
mother,  and  with  the  two  girls,  Ricke 
and  her  little  sister,  Jane.  He  is  about 
to  be  married.  The  bridesmaids  ar- 
rive, but  Ricke  is  troubled.  Worms, 
she  believes,  is  dead;  but  should  she 
undeceive  her  promised  husband?  She 
shudders  as  he  takes  her  in  his  arms, 
and  sings  his  bride-song,  "Non  chiuder 
gliocchivaghi"  (Close  Not  Those 
Dreamy  Eyes).  She  yields  herself  up 
to  happiness,  when  from  the  forest  is 
heard  an  old  student  song.  Lcewe 
rushes  out  to  meet  his  old  friend  Worms 
who  tells  how  he  has  literally  come 
back  from  the  dead.  He  unfolds  his 
escape  from  prison,  his  delight  in  lib- 
erty, his  wish  for  vengeance.  Ricke 
has  been  listening,  and  she  comes  for- 
ward to  meet  him  with  cold  looks. 
Worms  declares  he  must  be  on  his  way, 
and  Lcewe  is  puzzled.  Worms  rushes 
into  the  forest,  and  Lcewe  wonders  if  his 
sufferings  may  not  have  unhinged  his 
reason.  When  he  returns,  Ricke,  too, 
has  gone,  leaving  her  betrothed  a  note, 
but  explaining  nothing.  A  storm  breaks. 
Thelittle  girl,  Jane, becomes  frightened, 
and  when  Worms  comforts  her,  she 
tells  of  the  couple's  guilty  secret. 
The  young  man's  heart  turns  to  lead; 


132 


VICTROLA     BOOK     OF     THE      OPERA 


he  believes  they  have  gone  off  together. 
But  he  is  wrong.  Ricke  has  fled  into 
the  wilderness,  but  not  to  seek  Worms; 
only  to  try  to  escape  her  own  guilty 
conscience.  Ar^r  TT 

SCENE — A  Cellar  at  Koenigsberg 

MASKED  men  have  gathered, 
members  of  societies  sworn  to 
drive  out  the  French.  Worms  is  chair- 
man. Among  the  conspirators,  how- 
ever, is  one  who  defies  his  authority. 
He  tears  off  his  mask,  and  reveals  him- 
self as  Loewe.  A  duel  is  arranged,  then 
and  there,  when  Queen  Louise  appears, 
leading  young  Prince  William  by  the 
hand.  All  is  forgotten.  The  i$ueen 
reminds  them  this  is  no  time  for  dis- 
putes; if  they  must  fight,  let  them  fight 
the  invader!  The  appeal  is  electric. 
Loewe  and  Worms  embrace,  swearing 
to  die  for  Germany. 

EPILOGUE 

SCENE — The  Battlefield  of  Leipzig 

\  TERRIBLE  three  days'  battle  is 

/\over;  the  field  is  a  mass  of  ruins. 

Splintered   wheels,   upturned   cannon, 


discarded  muskets,  dirt,  debris,  among 
which  lie  the  dead  and  the  dying! 
Ricke  is  searching  for  the  body  of  Lcewe, 
to  see  once  more  the  man  she  loved. 
She  finds  him  breathing  his  last,  but  he 
knows  her.  He  tells  her  the  body  of 
Worms  is  nearby,  and  begs  forgiveness 
for  him.  She  looks,  in  pity,  on  the  face 
of  the  man  who  wronged  her,  and  in 
turn  receives  benediction  from  Lcewe. 
Feeling  her  own  death  approaching, 
she  takes  him  in  her  arms.  He  asks, 
"Who  has  won?"  and  she  replies, 
"Germania"  as  the  life-flame,  within 
both  of  them,  sinks  into  darkness.  As 
the  sun  sets,  Napoleon,  with  his  army, 
is  seen  in  retreat. 

THE  VICTOR  RECORDS 

STUDENTI,  UDITE 

(Students,  Hear  Me!)  ENRICO  CARUSO, 
Tenor  In  Italian  87053     10-in.,  ?1.25 

NON  CHIUDER  GLI  OCCHI  VAGHI 

(Close  Not  Those  Dreamy  Eyes)  ENRICO 
CARUSO,  Tenor  In  Italian 

87054     10-in.,     1.25 


LAND!  CARUSO    AS    FEDERICO 

133 


THE    RELATIONS    HEAR    THE    NEW    WILL 


GIANNI    SCHICCHI 


OPERA  in  one  act;  text  by  Gio- 
achino    Forzano;    music   by 
Giacomo   Puccini.    First   pro- 
duced   at     the    Metropolitan    Opera 
House,  New  York  City,  December  14, 
1918,  in  conjunction  with  two  other 
Puccini  one  act  operas,  "II  Tabarro" 
and  "Suor  Angelica." 

GIANNI  SCHICCHI  is  a  shrewd, 
cunning,  but  good-hearted  Tus- 
can peasant  of  the  thirteenth  cen- 
tury. He  has  a  daughter,  Lauretta, 
who  loves  Rinuccio, — whose  family  is 
much  worried  because  a  relation,  Buoso 
Donati,  who  has  just  died,  has  left  his 
fortune  to  a  monastery.  Schicchi  is 
consulted  by  the  disappointed  relatives 
in  the  hope  that  he  may  prove  clever 
enough  to  suggest  a  plan  for  getting 
the  property.  Donati  s  death  not  yet 
having  been  made  public,  Schicchi  sug- 
gests that  he  impersonate  the  old  man 
and  dictate  a  new  will,  leaving  the 
estate  to  Rinuccio  s  family.  Schicchi 


is  placed  in  the  dead  man's  bed,  and  a 
notary  is  sent  for.  He  takes  down  the 
new  will;  but  Schicchi,  after  making  a 
few  minor  bequests  to  the  relatives, 
leaves  the  bulk  of  the  property  to  him- 
self! This  pleases  Rinuccio  and  Lau- 
retta, since  they  will  eventually  benefit 
by  the  will.  The  relatives  are  highly 
indignant,  but  they  do  not  dare  expose 
Schicchi,  as  they  would  make  them- 
selves liable  for  punishment.  They 
keep  their  peace,  while  the  opera  ends 
happily  for  the  lovers. 

In  one  air  Lauretta  begs  Gianni  to 
help  secure  a  part  of  the  wealth  which 
Buoso  has  left  to  a  monastery,  and  tells 
her  "dear  daddy"  that  if  he  will  con- 
sent she  will  be  able  to  buy  a  handsome 
wedding  ring.  This  is  the  "O  mio  bab- 
binocaro"  (Oh,  My  Beloved  Daddy). 

THE   VICTOR  RECORD 

O  MIO  BABBINO  CARO 

(Oh,   My   Beloved  Daddy)   FRANCES   ALDA, 
Soprano  In  Italian      64802     10-in.,     ?1.25 


134 


PROGRAM    OF    FIRST    PERFORM- 
ANCE  (MILAN,   1876) 


COPY  T    MISHKIN 

DESTINN    AS    GIUCONDA 


COPY  T    MISHKIN 

CARUSO    AS    ENZO 


LA   GIOCONDA 


E  GIOCONDA  is  a  product  of 
those  happy  days  when  the  un- 
trained music-lover  was  con- 
sidered; the  days  before  melody  was 
banished  from  the  opera-house  in 
favor  of  uneasy  harmonies  and  choked 
orchestration.  Doubtless  the  frank 
"emotional  appeal"  of  the  middle  nine- 
teenth century  had  to  suffer  the  gen- 
eral law  of  change  in  giving  way  to  the 
subtleties  of  our  own  time.  Those 
educated  to  the  modern  fashion  of 
unresolved  sevenths  and  augmented 
fifths  may  turn  up  noses  today  at  their 
forefathers'  simpler  tastes;  but  even  a 
musician  of  parts  may  today  find  de- 
light in  "La  Gioconda" — not  simply 
from  its  dramatic  power,  but  from  its 
music  too. 

Ponchielli  was  born  at  Palermo  Fas- 
olaro,  Cremona,  in  1834,  and  he  died  in 
Milan  in  1886.  He  belongs  to  the 
halcyon  days  that  followed  Wagner's 
banishment  of  the  banjo-like  accom- 


paniments and  the  sleep-inducing  har- 
monies of  the  Italian  '30's  and  '40's, 
yet  preceded  the  hour  when  melody 
took  fright  before  the  cacophonous 
attacks  of  the  "very  modern."  "La 
Gioconda"  has  plenty  of  tunes,  gener- 
ously embellished  with  interesting 
harmonies  and  with  orchestrations 
which  are  generously  colored. 

THE  OPERA 

OPERA  in  four  acts.  Libretto  by 
Arrigo  Boito;  an  adaptation  of 
Victor  Hugo's  drama,  "Angelo." 
Music  by  Amilcare  Ponchielli.  First 
presented  at  La  Scala,  Milan,  April 
8,  1876.  Rewritten  by  Boito  and 
given  at  Genoa,  December,  1876,  and 
the  following  February  at  La  Scala. 
First  London  production,  June  7,  1883. 
Given  in  Petrograd,  January  30,  1883; 
in  Vienna  April  28,  1883;  in  France,  at 
Nice,  December  29,  1886.  First  New 
York  production,  December  20,  1883, 


135 


VICTROLA      BOOK     OF     THE      OPERA 


with  Nilsson,  Scalchi,  Fursch-Madi,  del 
Puente  and  Novara.  Revived  at  the 
Metropolitan  Opera  House  New  York, 
December  25,  1913. 

CHARACTERS 

LA    GIOCONDA    (Joh-kon'-dah),    a 

ballad  singer Soprano 

LA  CIECA  (Chay'-kah),  her  blind 

mother Contralto 

ALVISE    (Al-vee'-zeh),  one  of  the 

heads  of  State  Inquisition. . .  .  Bass 

LAURA,  his  wife Mezzo-Soprano 

ENZO  GRIMALDO,  a  Genoese  noble 

Tenor 
BARNABA,  a  spy  of  the  Inquisition 

Baritone 

ZUANE  (Tsoo-ahn'-ay),  a  boatman. Bass 
ISEPO  (Ee-zay'-poh),  public  letter- 
writer Tenor 

A  PILOT Bass 

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

The  Action  takes  place  in  Venice,  in  the 

Seventeenth  Century 
There  is  a  prelude  to  the  opera,  soft, 
melodic,  with  a  fine  climax.  It  is  not- 
able in  introducing,  as  its  chief  theme, 
a  beautiful  melody  from  the  first  act, 
where  La  Cieca,  the  blind  woman  of 
Venice,  accused  of  witchcraft  by  the 
mob  and  rescued  by  A/vise,  offers  to  her 
protector,  in  gratefulness,  almost  her 
only  possession — an  old  rosary. 

ACT  I 

SCENE — Street  near  the  Adriatic  Shore, 
Venice 

IT  is  the  afternoon  of  a  Spring  holi- 
day, and  the  Grand  Courtyard  of  the 
Ducal  Palace  is  alive  with  moving  color 
—the  forms  of  monks,  sailors,  dancers, 
shipwrights,  and  the  people-at-large, 
old  and  young.  At  the  rear  are  seen 
the  Giant's  Staircase  and  the  Portico 
della  Carta,  with  a  doorway  leading 


into  the  interior  of  the  jewel-blazing 
Church  of  Saint  Mark.  The  writing 
table  of  a  public  letter-writer  is  seen, 
and  across-stage  can  be  remarked  one 
of  the  public  "Lion's  Mouths" — bear- 
ing its  legend,  "For  Secret  Denuncia- 
tions to  the  Inquisition,  Against  Any 
Person,  with  Safety,  Secrecy  and  Bene- 
fit to  the  State." 

The  spy,  Barnaba,  stands,  moodily, 
with  his  back  to  one  of  the  exquisite 
marble  columns,  watching  the  crowd. 
A  small  guitar  hangs  from  his  shoulder. 
He  points  ironically  at  the  pavement- 
gratings  upon  which  the  people  dance. 
"Dancing  above  their  graves,"  says 
Barnaba,  knowing  the  prisons  of  the 
Inquisition  are  underfoot. 

He  notices  La  Gioconda,  with  her 
blind  mother,  La  Cieca;  the  street 
singer  is  in  the  bright  costume  of  her 
profession;  fresh  and  young,  she  brings 
an  unpleasant  hunger  into  the  eye  of 
Barnaba.  Having  seated  her  mother 
where  she  will  enjoy  the  sun  and  the 
charity  of  Venice,  she  turns  to  follow 
the  crowd,  headed  shoreward  to  watch 
the  regatta. 

But  she  is  the  last,  and,  save  for  her- 
self, her  mother  and  the  spy,  the  square 
is  deserted.  Suddenly  Barnaba  steps 
forth  and  arrests  her  passage,  declaring 
he  loves  her.  She  is  furious,  and 
dashes  away.  Believing  her  in  danger, 
the  blind  mother  screams  for  help. 

A  dastardly  revenge  is  plotted  by  the 
man.  When  the  people  return  from 
the  regatta,  "chairing"  the  victor, 
Barnaba  tells  the  defeated  competitor, 
Zuane,  he  has  been  bewitched  by  La 
Cieca,  and  thus  defeated.  The  super- 
stitious crowd  attacks  the  old  blind 
woman,  whose  screams  bring  La  Gio- 
conda, followed  by  Enzo  Grimaldo, 
whom  the  girl  adores.  Enzo  fights  off 
the  mob,  when  the  Grand  Duke  Ahise 
and  Laura,  his  wife,  suddenly  appear. 
Chiefly  through  Laura,  La  Cieca  is 
saved;  and  she  bestows  upon  the 


136 


VICTROLA     BOOK     OF     THE      OPERA 


Duchess  her  rosary.  Earnaba  sees  a 
meaningful  glance  pass  between  La 
Gioconda  and  Enzo. 

Presently  all  depart  but  the  two 
men.  "Enzo  Grimaldo,  Prince  of  Santa 
Fior,"  begins  the  spy,  "you  look 
thoughtful."  Enzo  is  astonished  that 
his  rank  is  known.  He  is  a  prince 
proscribed,  and  despite  his  kindness  to 
the  street  singer,  his  heart  long  ago 
was  given  to  Laura,  now  the  wife  of 
Ahise.  Earnaba  tells  him  Laura  will 
visit  Enzo's  ship  that  evening.  Enzo 
is  grateful,  though  the  men  lose  no  love 
for  one  another.  He  departs,  when 
Earnaba  turns  to  the  public  scribe. 
As  he  does  so,  the  mother  and  daughter 
return,  concealing  themselves  when  the 
girl  sees  their  enemy.  They  overhear 
him  dictate  a  letter  to  the  Grand  Duke, 
warning  him  of  the  love  between  Enzo 
and  Laura.  Apostrophizing  the  stone 
lion  for  its  usefulness  in  such  matters, 
Earnaba  places  the  missive  between  its 
jaws.  All  is  seen  by  LaGioconda, whose 
passionate  soul  is  filled  with  hate 
against  Earnaba,  against  Laura — and 
against  Enzo;  for  is  not  Enzo  her  lover? 
For  her,  too,  the  way  of  revenge  lies 
open;  but  not  Earnaba  s  way. 

ACT  II 

SCENE — A  Lagoon  near  Venice.    Enzo's 
Ship  at  the  Quay 

THE  early  moon  reveals  Enzo's 
ship,  at  anchor  at  an  island  in  the 
Fusima  lagoon.  The  sailors  are  singing 
and  merrymaking.  Disguised  as  a 
fisherman,  now  appears  Earnaba,  with 
Isepo,  the  letter-writer.  He  notes  the 
number  and  disposition  of  the  crew, 
and  sends  off  Isepo  for  aid.  He  sings 
a  merry  ballad,  "Ah,  pescator  affonda 
1'esca"  (Fisher  Boy,  Thy  Bait  Be 
Throwing),  which  brings  hearty  ap- 
proval from  the  men  aboard  ship. 
Soon  Enzo  appears,  and  they  go  be- 
low. Earnaba  hides.  Left  alone,  Enzo 
sings  of  his  joy  at  the  approaching 


visit,  in  the  beautiful  aria,  "Cielo  e 
Mar"  (Heaven  and  Ocean).  It  has 
a  striking  passage 


Suddenly,  out  of  the  dusk,  a  boat 
appears,  and  Laura  steps  aboard  ship. 
A  touching  love  scene  follows,  and  the 
pair  agree  to  sail  off  as  soon  as  the 
wind  may  rise.  Enzo  is  called  below,  and 
Laura  kneels  at  an  altar  on  the  deck. 
La  Gioconda  creeps  from  hiding  at  the 
bow  of  the  ship,  and  advances.  Her 
muffled  curses  arouse  the  praying 
woman.  "Who  are  you?"  cries  Laura, 
in  sudden  fear. 

"I  am  a  shadow.  .1  am  Vengeance!" 
is  the  strange  reply;  and  the  girl  in 
fury,  pours  out  her  woes.  Finally  she 
takes  a  dagger  and  points  it  at  the 
breast  of  Laura — when  she  catches 
sight  of  the  rosary,  and  she  remembers. 
Her  arm  falls,  powerless;  taking  the 
distracted  Laura,  the  girl  drags  her  to 
a  boat  alongside  and  puts  her  aboard. 
When  Enzo  comes  on  deck,  crying  for 
Laura,  he  greets  the  followers  of  Ahise, 
headed  by  Earnaba.  Caught,  he  sets 
fire  to  the  ship. 

ACT  III 

SCENE — The  House  of  Gold 

ADVISE  is  in  agitation.  There  is  a 
great  festival  at  his  house,  where 
he  has  planned  an  exquisite  revenge. 
Laura  enters,  robed  for  the  ball.  She 
is  told  that  she  must  die.  She  begs 
for  mercy,  but  is  thrown  to  the  floor, 
and  dragged  to  an  adjoining  room, 
where  she  sees  a  funeral  bier,  prepared 
to  receive  her.  Alvise  gives  her  a 
goblet  of  poisoned  wine,  which  she 
must  drink  before  the  next  dance. 
Then  he  goes  to  receive  his  guests. 
Again  La  Gioconda  appears,  emptying 
the  poisoned  wine  into  a  bottle,  and 
replacing  it  with  a  sleep-inducing  but 


137 


VICTROLA     BOOK     OF     THE      OPERA 


harmless  narcotic.  Then  begins  the 
famous  "Dance  of  the  Hours," 
today  one  of  the  most  popular  of 
orchestral  pieces.  At  the  end  of  it, 
in  rushes  Barnaba,  among  the  dancers, 
with  Enzo,  dragging  La  Cieca,  who 
cries  out  with  fright.  Barnaba  insists 
she  was  working  malice,  but  the 
woman  avers  she  was  but  praying 
for  the  dead.  A  bell  is  heard  tolling, 
and  Barnaba  whispers  to  Enzo  that 
it  is  for  Laura.  Enzo  then  advances 
upon  Alvise,  throws  off  his  mask  and 
lets  himself  be  known.  Alvise  tells 
the  story  of  the  wrong  done  Laura,  and 
drawing  back  the  curtains,  shows  her 
lying,  in  her  ball  dress,  oh  the  bier. 
Enzo  rushes  at  him  but  is  withheld. 

ACT  IV 

SCENE — The  Orfano  Canal 

STILL  swooning,  Laura  is  brought 
to  a  ruined  palace  on  the  island  of 
the  Giudecca,  where  at  La  Gioconda' s 
command,  she  is  placed  on  a  couch. 
Near  her  are  set  a  flask  of  poison  and 
a  dagger.  The  street  singer  has  agreed 
with  Barnaba  to  become  his  if  he  will 


help  Enzo  and  Laura  to  escape.  She 
sings  the  famous  "Suicidio"  (Suicide 
Only  Remains).  What  is  there,  indeed, 
to  live  for?  She  is  half  tempted  to 
drown  the  unconscious  Laura.  Then 
Enzo  reappears  from  prison. 

This  is  Barnaba  s  work.  But  when 
Enzo  declares  he  will  die  at  the  tomb  of 
Laura,  La  Gioconda  mockingly  declares 
she  has  removed  the  body.  Enzo 
lifts  his  dagger.  For  a  moment  the 
girl  would  gladly  die  by  his  hand,  so 
great  is  her  infatuation;  but  Laura 
appears,  restored.  And  she  returns 
the  girl  her  mother's  rosary. 

The  lovers  go.  Then,  last  of  all, 
comes  Barnaba,  to  claim  his  reward. 
The  girl  plays  upon  his  feelings  until 
he  cannot  contain  himself.  He  seizes 
her  in  his  arms.  But,  more  deft  than 
he,  she  stabs  herself  with  her  dagger. 
"La  Gioconda  is  thine!"  she  declares. 
Barnaba,  stooping  down,  howls  in  her 
ear: 

"Last  night  your  mother  offended 
me.  I  have  strangled  her!"  But  he 
speaks  into  an  ear  that  is  deaf  as  stone; 
for  the  girl  is  dead.  Barnaba  rushes 
back  into  the  night. 


THE   VICTOR   RECORDS 


ACT  I 


VOCE  DI  DONNA 

(Angelic    Voices)    GABRIELLA    BESAN- 
ZONI,  Contralto  64876     10-in.,  31.25 

LA  CIECA: 

Thanks  unto  thee,  angelic  voice, 

My  fetters  asunder  are  broken; 

I  cannot  see  the  face  of  her 

By  whom  those  words  were  spoken. 

(Takes  the  rosary  from  her  belt.} 

This  rosary  I  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! 

ACT  II 

PESCATOR,  AFFONDA  L'ESCA 
(Fisher  Boy,  Thy   Bait   be  Throwing) 


TITTA  RUFFO,  Baritone,  88394     12-in.,  31.75 
PASQUALE  AMATO,  Baritone  and  Metro- 
politan Opera  Chorus   87093     10-in.,     1.25 

CIELO  E  MAR 

(Heaven  and  Ocean)   ENRICO  CARUSO, 

Tenor  88246     12-in.,     1.75 

ENRICO  CARUSO,  Tenor  Piano  Ace. 

85055     12-in.,     1.75 
GIOVANNI  MARTINELLI,  Tenor 

64409     10-in.,     1.25 

BENIAMINO  GiGLi,Tenor  64938     10-in.,     1.25 
ENZO: 

Heaven  and  ocean!  yon  ethereal  veil 

Is  radiant  as  a  holy  altar, 

My  angel,  will  she  come  from  heaven? 

My  angel,  will  she  come  o'er  ocean? 

Here  I  await  her,  I  breathe  with  rapture 

The  soft  zephyrs  fill'd  with  love. 

Mortals  oft,  when  fondly  sighing, 

Find  ye  a  torment,  O  golden,  golden  dreams. 


138 


V1CTROLA      BOOK     OF     THE      OPERA 

ACT  IV 
SUICIDIO 

(Suicide  Only  Remains)  EMMY  DESTINN, 
Soprano  88478    -12-in.,     1.75 


Come  then,  dearest,  here  I'm  waiting; 

Wildly  panting  is  my  heart. 
Come,  then,  dearest!  oh  come,  my  dearest! 

Oh  come,  taste  the  kisses  that  magic  bliss 
impart! 


DOUBLE-FACED   RECORDS 


......................................... 

I     Othello—  Fantasia  ...............................  Vessellas  Italian  Band! 


Prelude  .........................................  Vessellas  Italian  Band\^r±rQ 

!5™ 

fCielo  e  mar  (Heaven  and  Ocean)  ..............  Franco  de  Gregorio,  Tenor\.rf.<*y 

\     Manon  Lescaut  —  Manon   mi  tradisce  ..........  Franco  de  Gregorio,  Tenor) 

fDance  of  the  Hours  ............................  Victor  Herbert's  Orchestra\rrc^. 

I     Kamennoi-Ostrow  (Rubinstein)  .................  Victor  Herbert's  Orchestral^ 


,  -y  •       »,  7C 
1'Mn'»  *l'i:> 

.^  •          .  ™ 
"in'' 


,  rn 
1<:)U 


THE    RUINED    PALACE — ACT    IV 


139 


FERD.   LEEKE 


SIEGFRIED: 

If  you  threaten  my  life, 

Hardly  you'll  win  from  my  hand  the  ring! 


140 


GOTTERDAMMERUNG 

(THE   DUSK   OF  THE   GODS) 


MUSIC-DRAMA  in  three  acts 
and  a  prelude.  Words  and 
music  by  Richard  Wagner, 
who  began  composition  of  the  music  at 
Lucerne  in  1870  and  completed  it  in 
1874.  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.  Given  in  Italy 
atLaScalain!890.  Many  notable 
productions  have  been  made  at  the 
Metropolitan,  and  the  work  has  been 
presented  almost  every  year  at  this 
house. 

CHARACTERS 

SIEGFRIED  (Zeeg' -freed} Tenor 

GUNTHER  (Goon'-ter) Bass 

HAGEN  (Hah1 -gen) Bass 

BRUNNHILDE  (Breen-hil-deh) .  .Soprano 

GUTRUNE  (Goot-troori '-eh) Soprano 

Woe  LINDA  1  (Vo-glin'-de)  Soprano 
WELLGUNDA  \(V ell-goon' -deh)  Soprano 
FLOSSHILDE  \(Floss-hil'-deh}  Contralto 

(Rhine-Nymphs) 

(The  name  of  the  opera  is  pro- 
nounced (nearly)  Gay-ter-daym-mer- 
oong}. 

PRELUDE 

WITH  dawn  comes  the  leave-tak- 
ing of  Brunnhilde  and  Siegfried, 
for  the  conqueror  must  go  forth  into 
the  world  to  prove  himself  a  hero  among 
men.  He  leaves  her  as  a  love-pledge 
the  magic  Ring,  the  Ring  taken  from 
Alberich  by  Wotan  to  pay  the  giants, 
and  taken  by  Siegfried  in  turn  from 
Fafner,  dragon-giant.  In  answering 
faith,  Brunnhilde  gives  Siegfried  her 
Valkyrie  armor,  dowers  him  with  her 
protecting  magic,  and  leads  to  him  the 
horse  Grant.  Mounting,  he  rides  away 


down  the  rocky  defile,  and  Brunnhilde, 
watching  him  from  a  high  rock,  hears 
his  horn  echoing  down  the  valley. 

ACT  I 

SCENE — Castle  of  King  Gunther 

ON  the  banks  of  the  Rhine  is  the 
kingdom  of  the  Gibichungs,  gov- 
erned by  Gunther  and  his  sister  Gutrune. 
Gunther  has  a  magician  adviser  in 
Hagen,  who  is  in  fact  a  natural  son  of 
Alberich.  When  Alberich  first  renounced 
woman  kind,  he  required  a  human 
agent  to  defeat  Siegfried,  so  he  bought 
a  wife  with  his  gold.  Hagen  tells 
Gunther,  listening  wide-eyed,  of  Brunn- 
hilde and  the  Ring,  saying  that  the 
sleeping  goddess  can  be  won  only  by  a 
fearless  hero  who  can  penetrate  through 
her  curtaining  veil  of  fire.  Siegfried 
alone  may  bring  her  to  Gunther;  Hagen 
has  on  foot  a  scheme  whereby  with 
magic  he  may  win  for  Gunther  the 
powerful  Brunnhilde,  and  wed  Gutrune 
to  Siegfried.  Thus  he  plans  to  secure 
the  ring  for  his  father,  Alberich. 

When  Siegfried  arrives  at  the  hall  of 
the  Gibichungs,  he  is  royally  welcomed. 
He  is  given  to  drink  of  a  magic  draught 
— whereby  he  completely  forgets  the 
unsuspecting  Brunnhilde  and  falls  in 
love  with  Gutrune,  the  sister  of  the 
King.  He  next  swears  blood-brother- 
hood with  Gunther,  and  promises,  in 
exchange  for  Gutrune,  to  bring  Brunn- 
hilde from  her  mountain  of  fire.  By 
means  of  the  Tamhelm  he  changes 
himself  into  Gunther 's  form  and  goes 
upon  his  mission.  Brunnhilde  is  hor- 
rified when  Siegfried  in  the  visible 
shape  of  Gunther,  seizes  her.  She  be- 
lieves this  must  be  the  last  vengeance 
of  Wotan.  She  strives  to  protect  her- 
self with  the  magic  of  the  Ring,  but  as 
it  is  Siegfried  himself  appearing  to  her 


141 


VICTROLA     BOOK     OF     THE      OPERA 


in  Gunther  s  form  she  is  dismayed  to 
find  the  Ring  powerless.  Siegfried 
takes  the  Ring  from  her  as  a  sign  of 
their  wedding;  but  remains  beside  her 
with  the  sword  between  them — in 
memory  of  his  brotherhood  pledge  to 
Gunther. 

ACT  II 

SCENE — The  Rhine  near  Gunther  s 
Castle 

HAGEN  is  awaiting  the  return  of 
Siegfried,  when  Alberich  appears, 
to  discuss  their  plot  to  regain  the  Ring. 
Hagen  swears  to  accomplish  his  pur- 
pose, and  Alberich  vanishes  when  Sieg- 
fried arrives.  The  hero  is  in  his  own 
form  but  wears  the  Tamhelm,  which  he 
now  places  in  his  belt,  declaring  that 
Gunther,  with  Briinnhilde,  is  following. 
Hagen  speeds  to  the  Castle,  where  the 
retainers  are  called  forth  to  celebrate 
the  double  wedding  of  Siegfried  with 
Gutrune  and'Gunther  with  Briinnhilde. 
When  Gunther  arrives  with  Briinnhilde, 
the  Valkyrie  is  startled  to  see  Siegfried, 
whom  she  approaches  tenderly.  He 
ignores  her,  but  she  perceives  the  Ring 
upon  his  finger.  Gunther  is  perplexed 
when  she  claims  that  Siegfried  has 
wedded  her  with  the  Ring,  and  he  now 
believes  himself  betrayed.  Siegfried, 
still  beneath  the  baneful  effects  of  the 
drink,  denies  all  memory  of  his  having 
given  Erunnhilde  the  Ring.  He  goes 
off  with  his  new  love,  Gutrune,  leaving 
Briinnhilde,  Gunther  and  Hagen  to  plot 
vengeance.  Erunnhilde  tells  her  new 
companion  that  she  has  made  Siegfried 
invulnerable  from  a  frontal  attack,  but 
knowing  that  he  will  never  turn  his 
back  to  a  foe,  has  taken  no  pains  to 
protect  him  from  the  rear.  They  then 
plan  between  them  to  kill  Siegfried. 

ACT  III 

SCENE  I — A  Wild  Valley  near  the  Rhine 

OFF  on  a  hunting  expedition,  Sieg- 
fried has  strayed  from  his  com- 
panions.    At  the  banks  of  the  Rhine, 


the  Rhine  maidens  endeavor  to  per- 
suade him  into  giving  up  the  Ring.  He 
is  charmed  by  their  songs  and  their 
cajolery,  but  laughs  at  the  demand  for 
the  Ring.  Thereupon  they  warn  him 
that  this  very  day  he  will  die.  He 
treats  their  prophecy  with  lightness, 
forgetting  it  completely  when  Hagen 
and  Gunther  appear.  Having  killed 
nothing,  he  is  obliged  to  eat  of  their 
food  and  drink  of  their  wine.  Hagen 
gives  him  yet  another  magic  potion,  by 
which  his  memory  is  so  far  restored 
that  he  tells  them  something  of  his  past 
life,  including  the  story  of  Mime  and 
the  Dragon,  "Mime  hiess  ein  murri- 
scher  Zwerg"  (Mimi,  Know  Then,  Was 
a  Dwarf). 

Plied  by  Hagen,  he  proceeds  to  tell  of 
his  communion  with  the  birds;  then, 
scene  by  scene,  the  whole  of  his  past 
life.  Much  of  this  is  given  in  the  "Zu 
den  Wipfeln  lauscht'  ich"  (To  the 
Branches  Gazed  I  Aloft). 

As  he  repeats  to  them  the  message  of 
the  birds,  he  thinks  dreamily  once  more 
of  Briinnhilde,  Hagen  keeping  the 
drinking-horn  well  supplied.  Two  ra- 
vens fly  overhead.  "Canst  read  the 
speech  of  those  ravens  aright?"  asks 
Hagen,  and  Siegfried  starts  at  the  mem- 
ory of  the  bird  who  led  him  on  his  way 
to  Briinnhilde.  As  he  arises,  Hagen 
plunges  a  spear  into  his  back.  The 
dying  Siegfried,  with  his  last  breath, 
now  recalls  the  kiss  of  Briinnhilde  and 
his  love.  "Briinnhilde  beckons  me!" 
groans  the  hero  as  life  dies  out  of  him. 

SCENE  II — Hall  in  Gunther  s  Palace 

THE   body   of   Siegfried   is    borne 
back  to  the  Castle  to  the   music, 
perhaps,of  the  greatest  threnody 
ever  composed,  "Siegfried's  Funeral 
March." 

To  the  solemn  rhythm  of  this  as- 
tounding musical  picture  of  the  pas- 
sage of  Death,  are  added  one  by  one 
the  leading  themes  or  "motives"  of  the 


142 


VICTROLA      BOOK     OF     THE      OPERA 


entire  Ring.  We  hear,  as  in  review,  the 
heroic  motive  of  the  Volsungs,  the  race 
founded  by  Wotan  and  ended  with 
Siegfried^  and  then  follow  all  the  other 
leading  motives,  like  the  images  said  to 
be  seen  by  drowning  men;  the  Com- 
passion of  the  unhappy  Sieglinde,  the 
love  of  Siegmund  and  Sieglinde,  the 
Sword)  and  that  of  Siegfried,  Guardian 
of  the  Sword)  and  that  of  Siegfried  him- 
self in  its  heroic  form,  and  his  love  of 
Brunnhilde.  The  complaint  of  the 
Rhine-maidens,  the  motive  of  Briinn- 
hilde's  captivity,  and  the  Curse-motive 
all  are  heard,  and  in  the  imagination 
we  may  picture  the  funeral  procession, 
disappearing  among  the  mountains 
into  the  silence  of  the  night,  a  single 
wan  beam  of  moonlight  tragically  illu- 
mining the  scene. 

Siegfried's  body  is  borne  majestically 
into  the  Hall  of  Gunther' s  Castle,  where 
the  weeping  Gutrune  clasps  the  dead 
form  of  her  husband.  Hagen  now  de- 


mands the  ring,  but  Gunther  refuses  it. 
Once  more  the  Curse  works  out,  and 
Gunther ;  in  his  own  hall,  dies  by  Ha- 
gen s  hand.  Then,  when  Hagen  ap- 
proaches the  dead  hero  to  take  the  Ring 
from  his  finger,  Siegfried's  arm  rises  in 
warning  and  Hagen  recoils  in  horror. 

The  last  great  moment  approaches. 
Brunnhilde  appears,  and  gazing  long 
and  sadly  upon  the  face  of  Siegfried, 
commands  that  a  great  funeral  pyre  be 
set  up  to  consume  his  body.  The  vas- 
sals obey,  building  a  mighty  pyre  in 
sight  of  the  Rhine  waters.  High  upon 
this  the  body  of  Siegfried  \s  laid.  Brunn- 
hilde summons  the  two  ravens  from  the 
rocks,  commanding  them  to  summon 
the  Fire-god. 

Thus  begins  the  great  Immolation 
Scene,  "Fliegt  heim." 

The  ravens  are  sped  away,  to  bid 
Loki  burn  the  palace  of  Valhalla;  then 
kindles  the  pile,  which  burns  rapidly  as 
the  black-winged  messengers  disappear. 


11  11  UK    HA 


SETTING    OF    ACT    II    AT    BAYREUTH 
143 


VICTROLA     BOOK     OF     THE      OPERA 


Commanding  that  the  horse  Grant  be 
brought  her,  Erunnhilde  takes  from 
him  the  bridle. 

She  swings  herself  onto  his  broad 
back  and  rides  him  boldly  into  the 
burning  funeral  pyre,  whose  terrible 
flames  partly  destroy  the  Hall  itself. 
The  Rhine  rises,  however,  and  puts  out 
the  fire,  and  on  its  level  surface  are 
seen  the  Rhine-maidens,  who  seize  the 
Ring  from  the  embers.  Hagen  rushes 
upon  them, crying:  "The  Ring  is  mine!" 


But  the  maidens  seize  the  creature  and 
drag  him  down  into  the  now-roaring 
flood.  The  smoke  from  the  pyre  gathers 
into  a  great  bank,  and  the  frightened 
Gibichungs  note  an  increasing  red  glow 
appear  in  the  midst  of  it  high  above 
them.  Valhalla  itself  is  in  flames  and 
the  gods  and  heroes,  their  work  accom- 
plished, are  seen  awaiting  their  fiery 
doom  as  the  flames  lick  about  their 
great  castle  of  Valhalla.  Thus  ends 
the  old  order,  giving  place  to  the  new. 


DOUBLE-FACED  RECORDS 

Mime  hiess  ein  miirrischer  Zwerg    (Mimi,  Know  Thee  Then,  Was  a  Dwarf)  1 
(In  German)  .........................  >  .........  Carl  Burrian,  Tenor  I 

Zu  den  Wipfeln  lauscht'  ich    (To  the  Branches  Gazed  I  Aloft)     (In  German) 

Car!  Burrian,  Tenor) 


JSieefried's  Funeral  March  .........................  Vessellas  Italian 

\     Die  Walkure—Ride  of  the  Valkyries  ..............  Vessellas  Italian  Band 


12-in.,  31.50 
12-in.,     1.35 


GUTRUNE:  Welcome,  O  guest,  to  Gibich's  house! 
From  its  daughter  take  thou  the  drink. 


ft 


144 


GOYESCAS 


OR  THE  RIVAL  LOVERS 


THIS  beautiful  work  attracted 
notice  at  the  time  of  its  first 
production,  not  simply  for  its 
inherent  charm,  but  for  its  promise  of 
greater  things  to  come.  Enrique 
Granados  was  known  only  to  a  few 
as  a  promising  composer,  some  piano 
works  of  his  having  attracted  the 
attention  of  the  pianist  Ernest  Schell- 
ing,  who  made  them  public.  The 
scenes  as  well  as  the  ideas  for  the  four 
principal  characters  were  taken  from 


famous  paintings  by  Goya,  the  Spanish 
painter.  The  composer  reproduced 
some  of  the  vivacity  and  fire  of  that 
great  human  satirist  and  much  was 
expected  of  him.  Such  expectations, 
however,  but  served  to  intensify  the 
tragedy  of  his  loss  when  he  and  his 
wife,  on  their  return  journey,  loaded 
with  honors  and  happy  with  the 
promise  of  a  brilliant  future,  went 
down  with  the  ill-fated  Sussex,  tor- 
pedoed by  a  German  submarine. 


TH  E    OPERA 


^  I AEXT  by  Fernando  Periquet; 
_L  music  by  Enrique  Granados.  The 
work  was  accepted  for  the  Paris 
Opera,  but  war  prevented  a  production, 
so  Senor  Granados  brought  it  to 
America,  personally  supervising  the 
premiere.  It  was  produced  for  the 
first  time  on  any  stage  at  the  Metro- 
politan, New  York,  January  28,  1916, 
and  is  the  first  grand  opera  to  be  sung 
in  the  United  States  at  a  first-class 
opera  house  in  the  Spanish  language. 

CHARACTERS  AND  ORIGINAL 
CAST 

ROSARIO,  a  lady  of  rank  (Ro- 

zah'-ree-oh} .  •.' Anna  Fitziu 

FERNANDO,  her  lover  (Fare- 

'     nahn'-doh}. .  .Giovanni  Martinelli 
PEPA,    a    notorious    "maja" 

(Pay1 -pah) Flora  Perini 

PAQUIRO,  a  toreador  (Pah-kee1- 

roh) Giuseppe  de  Luca 

A  PUBLIC  SINGER Max  Bloch 

Conductor— Gaetano  Baragnali 
(The    name    of   the    opera    is    pro- 
nounced Go-yes' -kahs}. 

Time  and  Place:    Outskirts  of  Madrid, 
about  1800. 


SCENE  I 

opera  is  divided  into  three 
JL  scenes  or  "pictxires";  the  first 
shows  a  gay  festival  in  a  village  near 
Madrid.  The  people  of  the  village  are 
making  a  good  deal  of  Paquiro,  the 
toreador,  a  swaggering  ruffian.  Chief 
among  those  who  adore  him  is  Pepa, 
one  of  the  "majas, "  or  a  gay  young 
woman  of  the  village;  but  Paquiro's 
head  is  filled  with  memories  of  Rosario, 
a  lady  of  high  rank  who  has  conde- 
scended to  dance  with  him  at  thebai/e 
de  candil  (a  low  ball  given  in  a  lantern 
lighted  barn),  the  lady  having  gone 
slumming  in  quite  the  modern  fashion. 
Rosario  arrives  to  keep  a  rendezvous 
with  her  lover,  Fernando,  and  Paquiro 
audaciously  invites  her  again  to  dance 
with  him  at  the  ball-room.  She  refuses, 
but  she  is  overheard  by  Fernando,  a 
young  military  officer  of  jealous  dis- 
position. He  insists  that  she  accept 
Paquiro's  invitation  but  that  she  shall 
dance  with  himself  alone.  The 
toreador  is  affronted  at  this  insult 
before  all  his  admirers.  Rosario  tries 
to  retreat,  but  Fernando  is  firm.  Pepa, 
noting  her  toreador-admirer's  angry 


145 


VICTROLA     BOOK     OF     THE      OPERA 


face,  admits  that  the  young  soldier  has 
courage  to  take  the  risk  of  meeting 
Paquiro  on  his  own  ground. 

SCENE   II 

THE  ballroom  is  a  cheap,  boisterous 
place,  lighted  by  gaudy  lanterns 
and  decorated  with  flaring  colors.  Out 
of  place  in  such  surroundings,  the  aris- 
tocratic Fernando  and  Rosarioare 
jeered  by  the  crowd.  In  insulting 
language,  Paquiro  congratulates  Fer- 
nando on  his  choice  of  a  sweetheart. 
He  provokes  a  quarrel,  and  the  two 
men  agree  to  meet  in  a  duel  at  ten 
o'clock  that  night  at  the  Prado,  near 
Rosario's  home. 

SCENE  III 

RDSARIO  sits  in  the  moonlit  garden 
listening  to  the  nightingale,  her- 
self   singing    a    passionate    love-song. 
Fernando  arrives  and  they  renew  their 
vows.     The  clock  strikes  ten,  and  the 


officer  strives  to  leave  her.  She  begs 
him  to  stay;  but  unknown  to  her  he 
sees  the  cloaked  figure  oiPaquiro 
slipping  by  in  the  street.  Pepa  fur- 
tively follows.  Fernando  finally  leaves; 
but  with  trembling  steps,  and  as 
though  conscious  of  some  unnameable 
evil,  Rosario  trails  behind.  In  im- 
passiveness  too  deep  even  for  contempt 
of  the  human  drama,  the  moon  looks 
down  upon  the  trees.  Soon  comes  the 
sound  of  clashing  steel;  then  shrieks — 
one  from  Rosario  arid  one  from  Fer- 
nando, mortally  wounded.  Pepa  and 
the  toreador  return  and  pass  by. 
Shortly  afterward,  Rosario  staggers 
back  to  the  garden  supporting  the 
wounded  figure  of  her  lover.  In  spite 
of  her  lamentations  there  is  nothing 
she  can  do.  As  she  sees  the  light  of 
life  recede  from  Fernanda's  eyes, 
Rosario  falls  fainting  on  his  body. 

Themes  from  the  opera  are  included 
in  the  poetic  and  charmingly-colored 
intermezzo. 


DOUBLE-FACED  RECORD 

flntermezzo McKee  s  Orchestra 

\     Extase  (Ecstasy)  (Thome) .McKee's  Orchestra 


J35574     12-in.,  31.35 


THE    CHALLENGE SCENE    II 

146 


GRISELIDIS 


GRISELIDIS,  the  opera,  is  based 
on  a  modern  "mystery  play" 
produced  by  Armand  Sylvestre 
at  the  Comedie  Frangais,  1891.  The 
story  is  a  much-altered  version  of  Pa- 
tient Griselda,  a  well  known  tale  of 
Boccaccio.  As  an  opera  it  provides 
Massenet  with  one  of  those  opportuni- 
ties so  beloved  by  this  composer,  in 
which  human  love  and  religious  mysti- 
cism, as  in  "Thai's"  and  "Le  Jongleur 
de  Notre  Dame, ' '  are  combined.  The 
music  is  of  the  modern  sort,  a  structure 
of  melody,  harmony,  and  rhythm,  of 
orchestral  and  voice  material  so  closely 
cemented  to  the  dramatic  development 
that  it  does  not  lend  itself  too  readily 
to  presentation  in  separate  selections. 

THE  OPERA 

OPERATIC  miracle  play  in  three 
acts  and  a  prologue.  Poem  by 
Armand  Sylvestre  and  Eugene  Morand. 
Music  by  Massenet.  First  production, 
Opera  Comique,  Paris,  November  20, 
1901,  with  Mme.  Lucien  Breval.  Pro- 
duced at  Brussels,  March  18,  1902,  and 
Milan,  November  25,  1902.  First  pro- 
duction in  America  at  the  Manhattan 
Opera  House,  New  York,  January 
19,  1910. 

CHARACTERS 

G  RI  s  ELI  DI  s     (Gree-zay  '-leh-dees) , 

wife  of  the  Marquis Soprano 

FIAMINA     (Fya-mee'-nah),     the 

Devil's  wife Soprano 

THE  MARQUIS  DE  SALUCES  (Mar- 
kee  duh  sah-leece) Baritone 

ALAIN,  a  shepherd  (dh-lane) .  .  .  .Tenor 

THE  DEVIL Baritone 

Scene  and  Period:     Provence,  France; 
the  Thirteenth  Century 

IN  the  Prologue  of  the  opera,  the 
Marquis   de   Saluces,   lord   of   the 
region,  is  seen  walking  along  the  edge 

H7 


of  a  Provencal  forest.  Meeting  the 
beautiful  Griselidis  he  falls  deeply  in 
love  with  her.  She  is  as  pure  in  heart 
as  she  is  beautiful,  and  their  lovers' 
faith  in  each  other  is  founded  on  the 
deepest  and  truest  sentiment.  But  she 
leaves  a  disconsolate  lover  in  Alain, 
whose  air,  "Ouvres-vous  sur  mon 
front"  (Open  Now  to  My  Eyes  Portals 
of  Paradise)  is  one  of  the  best  known 
melodies  in  the  opera. 

A  year  passes,  and  in  the  first  Act, 
the  Marquis  is  about  to  depart  to  the 
war  against  the  Saracens.  In  a  room 
of  the  chateau,  standing  before  a  trip- 
tych whose  open  doors  reveal  an  image 
of  St.  Agnes  holding  in  her  arms  a 
white  lamb,  and  at  her  feet  an  image  of 
the  Devil,  the  Marquis  expresses  love 
for  his  wife.  He  will  be  willing  to 
swear  in  the  presence  of  the  Devil  him- 
self, he  declares,  that  she  will  always  be 
faithful  and  true.  No  sooner  are  the 
words  out  of  his  mouth  than  the  image 
of  the  Devil  is  seen  to  come  to  life. 
Too  confounded  to  speak,  the  Marquis 
hears  the  ghostly  apparition  offer  a 
wager  that  during  the  war  and  the  ab- 
sence of  her  husband,  Griselidis  will 
break  her  vows  of  faithfulness.  At 
first  the  Marquis  refuses  to  wager,  but 
finally  accepts,  giving  the  Devil  his 
wedding  ring  to  show  his  absolute 
trust  in  his  wife.  Such  is  the  symbolical 
temptation  of  the  Marquis  as  he 
goes  off  to  the  wars,  leaving  Griselidis 
alone  with  her  little  son  Lays. 

The  Devil  persuades  his  own  wife 
Fiamina  to  assist  in  the  temptation  of 
Griselidis,  and  in  the  next  Act  they  ap- 
pear on  the  terrace  of  the  Chateau  dis- 
guised as  a  Levantine  merchant  with 
his  Moorish  slave.  The  Devil-Mer- 
chant tells  Griselidis  that  her  husband 
has  bought  the  slave  in  the  Orient,  in- 
tending to  install  her  as  mistress  of  the 
Chateau. 


VICTROLA     BOOK     OF     THE      OPERA 


In  proof,  he  shows  the  Marquis' 
wedding  ring.  The  tempter's  expec- 
tations are  rudely  shocked  when  Grisel- 
idisy  after  a  brief  struggle  with  herself, 
patiently  submits,  declaring  she  will  in 
all  things  obey  her  husband's  orders. 
In  consternation,  the  Devil  now  has  his 
Evil  Spirits  bring  Alain  to  the  castle, 
hoping  to  tempt  the  faithful  Grisel- 
idis  to  fly  with  her  former  shepherd 
lover;  again  she  is  sorely  beset  with 
temptations,  but  little  Loys  appears  in 
time  to  save  her  from  herself.  As 
Alain  rushes  away  in  despair,  the 
Devil  returns  to  kidnap  the  child  Loys. 
•The  Act  ends  with  a  wild  search  for  the 
missing  infant.  But  with  all  their  ex- 
plorings,  Loys  is  not  to  be  found. 

Again  we  stand  before  the  triptych 
as,  in  the  third  Act,  the  Devil  once 
more  tempts  Griselidis.  He  appears  as 


an  old  man  to  tell  her  that  Loys  has 
been  kidnapped  by  a  pirate  who  de- 
mands a  kiss  from  her  as  his  price  for 
restoring  the  child.  Mother-love 
forces  her  to  yield  and  she  starts  for  the 
harbor.  Meanwhile,  the  Marquis  re- 
turns and  flatly  refuses  to  believe  in  the 
Devil's  tale  of  his  wife's  faithlessness. 
When  Griselidis  returns  to  her  hus- 
band telling  of  the  loss  of  their  child,  to- 
gether they  pray  for  help  in  their  fight 
against  the  powers  of  Evil.  As  they 
pray,  a  miracle  occurs.  The  cross  on 
the  altar  is  turned  into  a  flaming  sword, 
and  when  Griselidis  begs  of  St.  Agnes 
that  her  son  may  be  restored  to  her 
there  is  a  flash  of  lightning  and  a  clap 
of  thunder.  The  doors  of  the  triptych 
open,  revealing  St.  Agnes,  holding  in 
her  arms,  not  the  white  lamb,  but  the 
child  Loys. 


THE    MARyUlS    LEAVES    iOR    THE    WARS ACT    I 


148 


IL  GUARANY 


IL  GUARANY  contains  some  bril- 
liant music  and  many  picturesque 
effects.  The  most  famous  num- 
ber is  a  beautiful  duet  for  Pery  and 
Cecilia  in  Act  I.  It  is  coloratura  music 
of  the  most  elaborate  type,  demanding 
both  mechanical  skill  and  finesse. 
The  overture  is  characteristic,  and 
the  melodies  of  the  Amazon  Indians, 
which  Gomez  introduced  to  give  "local 
color"  to  the  work,  are  piquant  and 
effective. 

THE  OPERA 

OPERA  in  four  acts.  Text  by  An- 
tonio Scalvini;  music  by  Antonio 
Carlos  Gomez.  First  produced  at  La 
Scala,  Milan,  March  19,  1870,  and 
shortly  afterward  at  Genoa,  Florence 
and  Rome.  First  London  production, 
Covent  Garden,  July  13,  1872.  Once 
given  in  New  York. 

CHARACTERS 

DON  ANTONIO  DE  MARITZ,  a  Portu- 
guese Knight Bass 

CECILIA,  his  daughter Soprano 

PERY,  chief  of  the  tribe  of  Guarahy 

(Ga-rah' -nee) Tenor 

DON  ALVARO,  a  Portuguese  ad- 
venturer  Tenor 

GONZALES  ISpanishguests  of  (Baritone 
RUY-BENTO | Don  Antonio,  |  Tenor 
ALONSO  J  adventurers  Bass 

IL  CACICO,  chief  of  Aimore  Tribe,  Bass 
PEDRO,  service  guard  of  Antonio,  Bass 

Time  and  Place:  Brazil,  in  the  Neighbor- 
hood of  Rio  Janeiro;  1560 


DON  ANTONIO  DE  MARITZ,  an 
early  Brazilian  settler  of  noble 
birth,  is  at  war  with  the  neighboring 
Indian  tribes  of  Aimores,  who  detest 
the  European  invaders.  His  beauti- 
ful daughter  is  loved  by  Gonzales, 
a  Spanish  adventurer,  but  her  heart 
is  given  to  Pery,  chief  of  the  tribe 
of  Guarany,  a  young  man  of  lofty 
character,  for  all  his  despised  native 
birth.  The  girl  is  torn  between  duty 
to  her  father,  and  love  for  one  of 
his  bitterest  foes;  and  there  are  many 
dramatic  scenes  of  rivalry  between 
Pery  and  her  admirer  Gonzales.  During 
the  war,  it  is  brought  home  to  Don 
Antonio  that  the  wrongdoing  is  not 
wholly  on  the  side  of  the  natives, 
and  inspired  by  the  genuineness  of  the 
love  between  his  daughter  and  Pery, 
he  resolves  on  a  remarkable  sacrifice. 
The  climax  is  reached  in  the  last  act, 
when  the  Don's  castle  is  besieged  by 
the  Indians.  After  sending  Pery  and 
Cecilia  to  a  place  of  safety,  the  old 
Don  fires  the  powder-magazine,  de- 
stroying himself  and  his  enemies. 

As  the  curtain  falls,  the  united  lovers 
look  down,  from  a  lofty  headland,  upon 
the  scene  of  desolation,  the  result  of  a 
father's  self-sacrifice. 

THE  VICTOR  RECORD 

SENTO  UNA  FORZA  INDOMITA 
(An    Indomitable    Force) 

EMMV  DESTINN,  Soprano,  and  ENRI- 
CO CARUSO,  Tenor.     In   Italian 

89078  12-in.,  32.00 


DOUBLE-FACED  RECORD 


fll  Guarany  Selection Pietro,  dccordionist}*,,™     n  •       »,  ,r 

\     Tranquil/o  Overture  (Pietro) Pietro,  Accordionist]" 


149 


HAMLET 


TO  take  an  opera  from  a  Shakes- 
peare play  is  to  measure  genius 
with  the  greatest,  especially 
when  "Hamlet"  is  the  chosen  battle- 
ground. It  is  not  surprising  that  there 
are  pages  in  this  opera  which  scarcely 
"measure  up"  to  the  theme.  But 
there  are  compensations  in  the  music 
at  least,  and  we  must  be  grateful  for 
many  exquisite  melodies.  The  well- 
known"  Brindisi "  is  deserv- 
edly popular,  a  typical  flash 
of  Gallic  brilliancy.  Ham- 
let's song  of  mourning  for 
Ophelia,  in  a  directly  oppo- 
site vein,  is  no  less  worthy 
to  be  cited. 

The  task  of  the  librettists 
was  hard.  Opera  compels 
few  words,  many  tableaux 
and  little  action,  many 
changes  from  the  original 
thus  being  necessary.  The 
Shakespearian  must  there- 
fore be  prepared  to  forgive 
much,  in  a  French  perversion 
of  Shakespeare's  verse,  re- 
translated into  libretto- 
English.  He  may  find  it 
less  easy  to  forgive  the  close 
of  the  opera,  where  the 
spectre  of  the  murdered 
King  appears  before  the  RUFFO  , 
multitude,  and,  after  incit- 
ing his  son  to  kill  the  usurper,  and  com- 
mitting the  Queen  to  a  nunnery, 
vanishes  amid '  'tumultuous  applause," 
— Hamlet  meanwhile  being  placed  on 
the  throne  as  the  curtain  falls  and  a 
festive  chorus  gives  the  musical  equiva- 
lent of  three  rousing  cheers. 

Such  blemishes  as  this  account  for 
the  rare  production  of  the  work.  But 
"opera  is  opera;"  and  it  does  not, — 
and  should  not, — deter  the  world-at- 
large  from  enjoying  those  melodies 
which  have  won  their  place  in  the 


PHOTO    ERMINI 


world  of  art  through  the  unequivocable 
claims  of  aesthetic  beauty. 

THE  OPERA 

OPERA  in  five  acts.  Book  by  Bar- 
bier  and  Carre,  based  on  Shakes- 
peare's play.     Music  by  Ambroise 
Thomas.     First  production   March  9, 
1868,  at  the  Paris  Academiey  with 
Christine  Nilsson  and  Faure.    First 
London  production  June  19, 
1869,  in  Italian.     Produced 
at  the  Academy  of  Music, 
New  York,  April  20,  1872, 
with  Nilsson,  Gary,  Brignoli, 
Barre  and  Jamet;  in  1882, 
with  Gerster  and  Ciappini; 
and  in  1892,  with  La  Salle 
and    Marie    Van    Zandt. 
Revived    recently    by    the 
Chicago  Opera  Company 
for  Ruffo. 

CHARACTERS 

HAMLET Baritone 

CLAUDIUS,  King  of 

Denmark Bass 

LAERTES,  Polonius' 

son Tenor 

GHOST  of  the  dead 

King Bass 

HAMLET         POLONIUS,   Chan- 
cellor   Bass 

GERTRUDE,   Hamlet's   mother,   Queen 

of  Denmark Mezzo-Soprano 

OPHELIA,  daughter  of  Polo- 
nius   Soprano 

Lords,  Ladies,  Officers,  Pages, 
Peasants,  etc. 

Scene — Elsinore,  in  Denmark 

(In  French  the  "H"  in  Hamlet  is 
silent.  The  Italian  name  is  "Amleto," 
Ahm-let'-to). 


150 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  I 

SCENE  I  —  A  Room  of  State  in  the  Palace 

KNIGHTS  and  nobles,  Lords  and 
retainers  join  in  acclaiming  the 
new  Queen  upon  her  wedding  to 
Claudius  ',  only  two  months  after  the 
death  of  her  late  husband,  the  present 
King's  brother,  former  occupant  of 
the  throne.  The  absence  of  her  son, 
Hamlet,  from  the  festival,  occasions 
comment.  After  the  ceremonies  he 
enters,  in  bitter  mood,  solemnly  clothed 
in  black.  His  strange  mus- 
ings are  interrupted  by  the 
entrance  of  Ophelia,  his 
betrothed.  She  has  heard 
that  Hamlet,  disgusted  at 
the  early  marriage  of  his 
mother,  intends  to  leave 
the  kingdom,  and  asks  him 
if  he  has  ceased  to  love  her. 
The  "  Nega  se  puoi  la  luce" 
(Love  Duet)  is  heard. 

In  this  he  reassures  her, 
using  in  part  Shakespeare's 
own  words: 

"  Doubt  that  the  stars  are  fire, 
Doubt  that  the  sun  doth  move, 
Doubt  truth  to  be  a  liar;  CALVE  AS 

But  never  doubt  my  love." 

He  does  not  succeed,  however,  in 
wholly  convincing  Ophelia,  when  they 
are  interrupted  by  Laertes,  who  comes 
to  discover  if  Hamlet  intends  to  depart 
with  him;  but  Hamlet  refuses,  so 
Laertes  confides  Ophelia  to  his  care. 

SCENE   II  —  Esplanade   of  the   Palace. 
It  is  Night 


I 


hour  of  midnight  approaches. 
.  Hamlet  ascends  the  battlements  of 
the  castle.  Earlier  in  the  day  Horatio 
and  Marcellus,  two  officers  of  the  watch, 
have  come  to  him  with  the  strange 
story  of  a  spectral  visitant  strangely 
like  his  father,  the  late  king.  Deeply 
moved,  he  seeks  to  find  out  for  himself. 


The  clock  strikes  the  hour  of  midnight, 
and  the  ghost  appears.  Horatio  and 
Marcellus  withdraw,  leaving  Hamlet 
alone  with  his  singular  guest.  Hamlet 
hears  the  story  of  his  father's  murder, 
and  the  perfidy  of  the  present  king, 
who  is  both  his  uncle  and  his  step- 
father. The  ghost  bids  him  take 
revenge,  but  warns  him  to  leave  his 
mother's  punishment  to  God. 

ACT  II 

SCENE — Garden  of  the  Palace 

N  order  to  watch  his 
uncle  more  closely,  and 
at  the  same  time  to  avoid 
suspicious  action,  Hamlet 
decides  to  feign  insanity. 
One  of  the  first  to  suffer 
from  this  is  Ophelia.  The 
Queen  finds  the  girl  weeping 
and  she  soon  ascertains  the 
cause.  The  Queen  is  greatly 
disturbed,  and,  in  a  fine 
duet  with  the  King,  speaks 
of  a  vision  that  is  haunting 
her  too.  A  troupe  of  players 
arrives,  and  Hamlet  plans  to 
OPHELIA  present  a  play  before  the 
King,  so  nearly  in  accord- 
ance with  the  murder  as  described  by 
the  spectre  as  to  force  the  King  to 
betray  himself.  By  this  means  he 
seeks  to  verify  the  suspicions  he  has 
formed  since  seeing  the  ghost.  In  this, 
he  reckons  well. 

The  King  and  Queen  are  delighted 
at  the  prince's  reviving  interest  in  the 
festivities,  and  they  consent  to  witness 
the  play.  Calling  the  troupe  of  actors 
about  him,  he  instructs  them  in  the 
plot  he  has  conceived.  The  Prince 
then  calls  for  wine  and  makes  merry: 
The  Brindisi  is  sung,  "O  vin  discac- 
cia  la  tristezza"  (Wine,  This  Gloom 
Dispel). 

This  exceedingly  brilliant  number 
is  deservedly  popular:  its  bright  melody 


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VICTROLA     BOOK     OF     THE     OPERA 


and  vigorous  rhythm  are  especially 
attractive,  especially  the  melody,  first 
heard  as  a  solo  and  afterward  repeated 
by  the  Chorus. 

In  the  next  scene  we  are  brought  to 
the  Palace  Hall,  on  one  side  of  which 
has  been  arranged  a  stage.  The  court 
assembles  and  the  play  opens,  Hamlet 
sitting  at  Ophelias  feet,  whence  he 
can  observe  his  uncle.  As  the  play 
progresses  the  guilty  man  shows  agita- 
tion, and  finally  in  a  rage  orders  the 
play  to  stop  and  the  actors  to  begone. 
Hamlet  rushes  forward  and  denounces 
the  murderer,  but  the  Court  believes 
him  simply  a  madman.  Hamlet  has 
overplayed  his  role  of  simulated  in- 
sanity! 

ACT  III 

SCENE — The  Queen's  Apartments 

HAMLET  chides  himself  on  his 
lack  of  decision,  now  that  he  is 
indeed  convinced  of  the  Kings  guilt 
yet  has  so  far  done  nothing.  His 
thoughts  find  expression  in  the  well 
known  "  Monologo,"  or  Soliloquy. 

In  a  fine  piece  of  musical  declam- 
ation he  sings  the  well  known  pas- 
sage, rather  abridged  to  suit  operatic 
conventions,  or,  rather,  operatic  needs: 


"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." 

His  mother  and  Ophelia  enter  and 
plead  with  him  to  give  up  these  wild 
imaginings.  He  maintains  the  old 
pose,  however,  half  convinced  Ophelia 
is  involved  in  his  mother's  scheming. 
He  treats  the  girl  harshly  ("Get  thee 
to  a  nunnery,  girl "),  and  as  she  departs 
he  sternly  rebukes  his  mother.  The 
famous  scene  in  which  he  bids  her 
look  on  the  two  pictures  of  his  uncle 
and  his  father  is  not  omitted.  Finally 
the  ghost  appears  to  Hamlet,  but,  as 
it  is  invisible  to  the  Queen,  she  is 
terrified  at  what  she  simply  believes 
a  further  mark  of  the  youth's  insanity. 

ACT  IV 

SCENE — The   Willow-lined  Shore   of  a 
Lake 

HAMLET'S     pretended     madness 
and  his  harsh  treatment    have 
brought  to  Ophelia  a  madness  that  is 
real  enough.    By  the  shore  of  the  lake 


FROM  THE  PAINTING  BY  CZACKORSKI 


HAMLET   AND    THE    ACTORS- 
152 


VICTROLA     BOOK     OF     THE      OPERA 


she  plays  with  a  garland  of  flowers. 
This  developes  the  "Ballata  d'Ofelia" 
(The  Mad  Scene). 

Ophelia  turns  to  the  shepherds  and 
asks  them  to  listen  to  her  song,  a 
strange,  sad  melody  interrupted  by 
wild  laughter  and  weeping.  Presently 
she  seems  to  forget,  and  she  placidly 
weaves  wreaths  of  flowers,  until  the 
magical  siren's  song  is  heard  luring 
her  to  the  water's  edge,  and  she 
plunges  in,  singing  of  Hamlet's  vow  of 
love  as  she  floats  to  "  that  undiscovered 
country  from  whose  bourne  no  traveller 

ACTV 

SCENE — The  Churchyard 

HAMLET  watches  the  grave  dig- 
gers prepare  a  last  resting  place 
for  Ophelia  and  he  sings  his  beautiful 
song  to  her  memory,  the  ''Come  il 
romito  fior"  (As  a  Lovely  Flower). 

The  tragic  pace  of  the  rhythm  and 
the  sombre  harmonies,  the  rich  low 
tones  and  grave  dignity  of  this  number 
have  made  it  deservedly  popular. 

Presently  the  cortege  arrives  bear- 
ing the  coffin  of  Ophelia.  The  ghost 
also  appears,  looking  reproachfully 
at  Hamlet.  In  a  tremendous  scene, 
Hamlet  finally  rushes  upon  the  King  and 
stabs  him.  The  ghost  solemnly  nomi- 
nates him  successor  to  the  throne,  con- 
signs the  Queen  to  a  convent,  and  disap- 
pears as  the  crowd  acclaim  Hamlet  King. 

THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  noted) 
ACT  I 

NEGA  SE  PUOI  LA  LUCE  (Love  Duet) 
MARIA   GALVANY,   Soprano   and   TITTA 
RUFFO,  Baritone  92500     12-in.,  32.00 


ACT  II 
O   VIN   DISCACCIA   LA  TRISTEZZA 

(Brindisi)    (Wine,  This   Gloom   Dispel) 
TITTA  RUFFO,  Baritone   and  La  Scala 
Chorus  88619     12-in.,     1.75 

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! 

Yes,  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, 
Who  wisdom's  precepts  ne'er  obeys! 
(The  curtain  falls  on  a  scene  of  merriment.) 


ACT  III 


MONOLOGO 


(Soliloquy) 

TITTA  RUFFO,  Baritone 


92042     12-in.,     1.75 


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  to  seek  "  the  undiscovered  country 
From  whose  bourne  no  traveler  returns!" 
"Ay!  to  be,  or  not  to  be? 
To  die,  to  sleep;  perchance  to  dream." 

ACT  IV 
BALLATA  D'OFELIA 


(Mad  Scene) 
NELLIE    MELBA, 


Soprano.    In 
88251 


French 
12-in., 


1.75 


ACT  V 

COME  IL  ROMITO  JIOR 

(As    a   Lovely    Flower)    TITTA    RUFFO, 
Baritone  92064     12-in.,     1.75 


153 


HANSEL  AND  GRETEL 


IN  looking  at  the  score  of  "Han- 
sel and  Gretel,"  one  is  reminded 
that  Lewis  Carroll,  author  of 
"Alice  in  Wonderland,"  was  a  uni- 
versity professor  of  mathematics;  for 
Engelbert  Humperdinck  was  a  deeply 
learned  musician  whose  scholarship  is 
manifest  on  every  page  of  this  delight- 
ful ginger-bread  fairy-tale  opera.  Not 
that  the  learning  is  ponderously  dis- 
played; quite  the  contrary.  But  it  is 
there  if  you  look  for  it — good,  solid, 


workman-like  counterpoint,  melody 
and  counter-melody  flowing  along  as 
smooth  as  a  lowland  river,  yet  rich  with 
inimitable  humor^  and  at  times  ex- 
quisitely beautiful.  It  is  said  that 
Humperdinck  wrote  this  little  master- 
piece to  please  his  own  children,  with- 
out thought  of  publication;  and  it 
possesses  just  the  naive  spontaneity 
required  to  give  an  air  of  probability  to 
the  legend;  and  as  a  legend,  it  contains 
the  materials  of  delight. 


TH  E    O  PE  RA 


A  FAIRY  opera  in  three  acts.  Text 
byAdelheid  Wette.  Music  by 
Engelbert  Humperdinck.  First  pro- 
duced, December  23,  1893,  at  Weimar. 
First  American  production  at  Daly's 
Theatre,  New  York,  October  8,  1895. 
Produced  at  the  Metropolitan  1905, 
with  Homer,  Alten,  Abarbanell  and 
Goritz. 

CHARACTERS 

PETER,  a  Broom-maker Baritone 

GERTRUDE,  his  wife.  .  . Mezzo-Soprano 
HANSEL  )  (Hayn'-sel)  .  .  Mezzo-Soprano 

GRETEL  J  (Gray'-tel) Soprano 

(Their  Children) 
THE  WITCH,  who  eats  children 

Mezzo-Soprano 

SANDMAN,  the  Sleep  Fairy  ....  Soprano 

DEWMAN,  the  Dawn  Fairy.  . .  .  Soprano 

Children,  Angels,  Peasants 

ACT  I 

SCENE — House  of  the  Broom-Maker 

FATHER  and  mother  have  gone  to 
market,  leaving  Hansel  and  Gretel 
behind  to  do  their  work — Hansel  mak- 
ing brooms  and  Gretel  knitting.  But, 
as  children  will,  they  spend  their  time 
playing,  and  singing  the  old  German 
folk-song,  "Susie,  What  is  the  News?" 
with  its  nonsense  about  the  geese  going 


barefoot  for  lack  of  shoes — "Suse,  Hebe 
Suse"  (Little  Susie!) 

The  old  nursery  tune  goes  placidly 
along,  the  orchestra  carrying  on  a  gen- 
tle accompaniment  which  proves  on 
investigation  to  be  an  independent 
stream  of  melody  all  its  own,  but  ingen- 
iously derived  from  the  principal  tune. 

Hansel's  remarks  interrupt  but  do 
not  prevent  the  due  recital  of  the  story. 
Not  keenly  interested  in  the  adventures 
of  the  geese,  he  wants  to  know  when 
they  are  to  eat.  Very  soon,  however, 
the  children  grow  more  boisterous. 

In  the  midst  of  it  their  mother  re- 
turns, cross  and  tired.  She  has  not 
made  a  penny  for  all  her  work,  and 
there  is  nothing  to  eat  in  the  house — 
except  a  pitcher  of  milk.  She  turns 
loose  on  the  idle  children,  and  in  giving 
them  a  push  knocks  over  the  cream- 
pitcher.  It  is  the  last  straw !  She  sends 
them  out  into  the  woods  to  gather 
strawberries,  sinks  down  into  a  chair 
and,  praying  heaven  to  send  food  for 
her  family,  falls  asleep.  Her  husband 
Peter  returns  with  a  loaded  basket;  and 
while  they  both  have  supper  it  grows 
dark.  He  hopes  the  children  have  not 
wandered  into  the  Isenstein,  the  place 
bewitched,  where  an  old  hag  entices 
children  into  her  house,  bakes  them 
into  gingerbread  and  eats  them. 


154 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  II 

SCENE — In  the  Woods 

THE  children  have  wandered  into 
the  depths  of  the  forest,  eating  the 
berries  fast  as  they  pick  them.  Dark- 
ness soon  comes,  and  they  cling  togeth- 
er in  fright.  Finally  they  lie  down  to 
sleep,  first  singing  their  little  prayer 
that  the  fourteen  angels  may  come  and 
guard  them.  A  little  grey  man  an- 
swers. He  is  the  Sandman  who  pours 
sand  in  their  eyes  as  he  sings  his  air,  the 
beautiful  "Der  kleine  Sandman  bin  ich" 
(I  Am  the  Sleep  Fairy) 

ACT  III 

SCENE — Same  as  Act  II 
Next  morning  they  are  roused  by 
Dewman,  the  Dawn  Fairy.  A  mist 
has  swept  up  in  the  night,  but  as  it 
disperses  it  reveals  a  wonderful  ginger- 
bread house.  The  hungry  Hansel  be- 
gins to  nibble  at  it,  and  out  pops  the 
Witch,  who  does  her  crabbed  best  to 
cast  a  spell  over  them.  Here  follows 
the  "Hexenritt  und  Knusperwalzer" 
(Witches'  Dance). 

The  hag  builds  a  fire  in  the  stove  for 
roasting  Hansel,  who  is  put  in  the  barn 
and  fed  on  almonds  and  raisins  to  fat- 
ten for  the  repast.  Gretel  is  ordered  to 
stoke  the  fire  while  the  witch  rides  mer- 
rily round  the  room  to  the  mad  melody. 
Clever  little  Gretel  knows  by  now  this 
must  be  the  Isenstein,  and  pretends  she 


cannot  make  the  stove  work.  The 
witch  pauses  to  examine,  poking  her 
head  in  the  stove  for  a  better  look.  The 
little  girl  gives  her  a  good  hard  push, 
knocks  her  into  the  oven,  and  promptly 
closes  the  door.  Hansel  is  released  and 
they  dance  around  the  room  to  a  good 
old  German  waltz-tune,  whose  melody, 
for  all  its  simpleness,  really  is  a  double- 
melody  written  with  the  utmost  contra- 
puntal ease.  They  prepare  to  eat  the 
good  things  they  find  in  the  house. 
After  the  witch  is  burned,  many  chil- 
dren who  have  been  turned  into  ginger- 
bread by  the  witch's  magic,  come  to  life 
again,  and  the  opera  ends  with  a  joyous 
dance,  and  a  final  hymn  of  praise  to  the 
good  God  who  takes  care  of  little  chil- 
dren and  gives  them  food  to  eat. 

THE  VICTOR   RECORDS 

(Sung  in  German) 

ACT  I 
SUSE,  LIEBE  SUSE 

(Susy,  Little  Susy)  ALMA  GLUCK, 
Soprano  and  LOUISE  HOMER,  Con- 
tralto 89099  12-in.,  $2.00 

ACT  II 
DER  KLEINE  SANDMANN 

(I  Am  the  Sleep  Fairy)  ALMA  GLUCK, 
Soprano  and  LOUISE  HOMER,  Con- 
tralto 89100  12-in.,  2.00 

ACT  III 
HEXENRITT  UND  KNUSPERWALZER 

(Witch's  Dance)  ALMA  GLUCK,  Soprano 
and  LOUISE  HOMER,  Contralto 

87526    10-in.,    1.50 


PHOTO   WHITB 


THE    HOME     OF  THE    WITCH 
155 


THE    CHAMBER    OF    HEROD 


HERODIADE 


OPERA  in  five  acts.  Words  by 
Milliet  and  Gremont,  based  on 
Gustave  Flaubert's  novelette. 
Music  by  Massenet.  First  production 
December  19,  1881,  at  the  Theatre  de 
la  Monnaie^  Brussels.  Produced  in 
Paris  1884,  with  Jean  de  Reszke  (  his 
first  appearance  in  tenor  roles),  Maurel 
and  Devries.  Revived  at  the  Theatre 
de  la  Gaite  in  1903  with  Calve  and 
Renaud.  First  London  production 
1904,  under  the  title  Sa/ome^with 
Calve,  Kirkby  Lunn,  Dalmores  and 
Renaud,  and  with  the  locale  changed 
to  Ethiopia  by  the  British  censor's 
orders.  First  American  production 
at  the  New  Orleans  Opera  in  1892. 
Produced  by  Oscar  Hammerstein  at 
the  Manhattan  Opera,  New  York, 
November  8,  1909,  with  Cavalieri, 
Gerville-Reache,  Duchene,  Dalmores 
and  Renaud.  Revived  February,  1914, 
by  the  Philadelphia-Chicago  Opera 
Company. 

CHARACTERS 

JOHN  THE  PROPHET Tenor 

HEROD,  King  of  Galilee Baritone 


PHANUEL,  a  young  Jew Bass 

VITELLIUS,  a  Roman  procon- 
sul   Baritone 

THE  HIGH  PRIEST Baritone 

SALOME Soprano 

HERODIAS Contralto 

Merchants,  Soldiers,  Priests,  Levites, 

Seamen,   Scribes,   Pharisees, 

Galileans,  Samaritans, 

Ethiopians,  Nubians, 

Arabs,  Romans. 

The  Action  takes  place  in  Jerusalem 

Time,  about  jo  A.  D. 
(The    name    of    the    opera    is   pro- 
nounced Ay-rohd-yadd.} 

A^>  the  dawn  casts  its  light  upon 
the  courtyard  of  the  palace  of 
Herod,  the  slaves  awaken  and  unbar  the 
gates,  admitting  many  traders  and  mer- 
chants from  all  parts,  laden  with 
wares — silver  and  gold,  and  precious 
stones;  silks,  satins  and  sables,  incense 
and  perfumes, ,  pistachi  from  lumea, 
amber  from  Judea,  attar  of  roses  from 
Araby.  In  the  huckstering  that  follows, 
however,  the  jovial  spirit  soon  gives 


156 


VICTROLA     BOOK     OF     THE      OPERA 


way  to  one  of  contention;  the  Pharisees 
and  Sadducees  begin  fighting.  Phanuel, 
the  seer,  chief  adviser  of  Herod  the 
Tetrarch,  is  drawn  out  by  the  sounds 
of  conflict.  He  bids  the  people  cease 
quarreling,  and  finally  they  disperse. 
Phanuel  sadly  contemplates  the  de- 
parting caravan.  How  can  these 
weak  tribes,  everlastingly  falling  out 
among  each  other,  hope  to  cast  off"  the 
Roman  yoke  ? 

PhanueT s  musings  are  interrupted 'by 
Salome,  who  comes  from  a  doorway  of 
the  castle.  She  tells  him  she  is  seeking 
John,  the  Prophet  whose  new  gospel  so 
profoundly  affects  the  people.  In  a 
lovely  air  she  tells  how  he  has  saved 
her  from  the  desert  as  a  child,  and  how 
good  and  kind  he  is:  "II  est  doux,  II 
est  bon"  (He  is  Kind,  He  is  Good). 

Phanuel  hearkens  to  this  lovely, 
impassioned  air  with  deep  sympathy 
for  the  child, — already  a  woman  it 
seems, — who  has  given  herself  so  com- 
pletely to  one  who  has  been  to  her 
both  rather  and  brother.  He  wonders 
if  she  may  possibly  know  who  her 


COPY  T  MISHKIN 

DUFRANNE    AS    PHANUEL 


mother  is!  Just  as  she  goes  out, 
Herod  comes  in  seeking  her.  He  has 
seen  her  but  little,  yet  his  passions  are 
inflamed  by  this  new  beauty  who  lives 
so  obscurely  in  the  palace.  His  mu- 
sings are  stopped  by  Herodias  who 
comes  in  raging  and  crying  out  for 
vengeance.  She  demands  the  head  of 
John,  saying  that  he  has  insulted  her, 
calling  her  Jezebel.  Herod  listens  im- 
patiently, and  refuses.  His  former 
favorite  is  amazed,  and  reminding  him 
of  how  she  has  left  husband,  child,  all, 
for  his  sake,  she  fights  hard  for  her  old 
power.  As  she  pleads  and  scolds,  how- 
ever, John  himself  arrives,  and  de- 
nounces them  both  with  such  pro- 
phetic vigor  that  they  run  terrified  from 
his  presence.  Salome  comes  toward 
him  as  soon  as  they  have  gone,  and  she 
confesses  frankly  her  great  love  for  the 
prophet.  He  listens  to  her  kindly, 
understandingly;  but  he  bids  her  turn 
to  God,  and  dream  only  of  that  love 
whose  fulfilment  lies  in  heaven.  Sa- 
lome is  puzzled.  She  does  not  quite 
make  out  why  she  should  not  love  and 
be  loved  on  the  earth  as  well  as  in  the 
promised  Hereafter. 

ACT  II 

SCENE  I — Herod's  Chamber 

HEROD  THE  TETRARCH  lies 
restless  on  his  couch.  Before  him 
dance  the  almond-eyed  women  whose 
only  concern  is  in  his  pleasure  and  whose 
very  lives  are  at  the  mercy  of  his  up- 
lifted finger.  He  bids  them  begone: 
for  Salome  is  not  among  them.  The 
fact  that  he  has  seen  her  so  little  only 
adds  fuel  unto  flame;  he  longs  for  her 
as  only  a  man  who  has  everything 
possible  may  long  for  that  which  can- 
not be  had.  A  serving  woman  brings 
him  a  cup  containing  a  most  remark- 
able potion, — the  rays  of  Aurora,  cap- 
tured from  a  shrine  of  gold  hid  deep 
in  the  woods.  Whoever  drinks  of  it 
will  see  the  image  of  the  one  he  most 


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loves.  Herod  yearns  to  drink  deep  of 
it;  but  he  fears  a  trap — does  death 
lurk  at  the  bottom  of  the  cup?  He 
overcomes  his  fears  with  an  effort,  and, 
drinking  down  the  stuff,  he  beholds  a 
vision,  vivid,  elusive,  tantalising,  mad- 
dening. He  sings  the  "Vision  fugi- 
tive" (Fleeting  Vision). 

A  world  of  longing  lies  in  the  surging 
phrases  of  this  melody.  Softly  it 
starts,  as  a  dream  from  which  one  fears 
to  wake;  but  as  the  image  of  Salome 
takes  reality,  the  cries  of  Herod  grow 
more  frantic.  In  the  rushing,  upward- 
soaring  phrases  one  can  see  the  bony 
hands  of  Herod  stretching  out  with 
claw-like  grasp  for  the  fair  but  unat- 
tainable phantom-Salome. 

The  vision  past,  he  tosses  and  turns 
restlessly  on  his  couch,  unable  to  sleep. 
Seeing  him  there,  Phanuel  muses  for 
a  moment  on  the  man  who  rules  a 
kingdom  and  would  lose  it  all  for  a 
woman.  Phanuel  has  come  to  warn 
him  that  his  hold  upon  the  populace 
is  insecure.  But  even  as  he  speaks, 
from  without  there  is  a  great  cry  for 
Herod.  The  world  of  action  speaks. 

SCENE  II — A  Public  Square  in  Jeru- 
salem 

A  DEPUTATION  has  come  from 
JL\.  Herod's  allies,  swearing  alle- 
giance to  the  death,  and  denouncing 
the  power  of  Rome.  They  plan  an  up- 
rising, but  Herodias  mocks  their  plans, 


warning  them  that  Rome  is  fully 
awake.  Even  as  she  speaks,  the  trump- 
eters of  Vitellius  are  heard  in  the  dis- 
tance. Soon  the  legionaries  arrive, 
and  Herod  is  among  the  first  to  bow 
the  knee  to  Vitellius.  His  allies  follow 
suit;  but  there  is  one  who  does  not, 
and  one  whom  the  people  of  Herod 
greet  with  an  odd  respect.  Vitellius 
wonders  who  this  man  may  be,  this 
man  called  John.  Herod  notices 
nothing, — his  eyes  are  fastened  upon 
Salome,  following  the  prophet.  Her- 
odias sees  everything.  Though  she 
watches  Herod  and  Salome  she  warns 
Vitellius  of  the  prophet's  growing  in- 
fluence. She  has  no  need,  for  John, 
with  the  voice  of  one  inspired,  begins 
to  denounce  Rome,  fearlessly  telling 
Vitellius  his  power  is  but  for  a  day. 
The  Canaanites  surround  this  dan- 
gerously outspoken  character,  and  he 
is  lost  in  the  crowd  as  Vitellius,  Her- 
odias, and  the  courtiers  enter  the  pal- 
ace. Phanuel  follows  with  Herod,  who 
comes  unwillingly.  His  eyes  are  fixed 
upon  the  slight  figure  of  Salome.  The 
world  of  action  is  "abjured  and  forgot." 


CAUTIN  &  BERGER 


RENAUD    AS    HEROD 


CAUTIN  &  BERGER 

CALVE    AS    SALOME 


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VICTROLA     BOOK     OF     THE      OPERA 


ACT  III 

SCENE  I — PhanueV  s  House 

•«T  TNDER  a  wide  and  starry  sky," 
\*J  Phanuel  gazes  upon  the  city  of 
Jerusalem,  which  lies  at  his  feet.  He 
is  thinking  of  John.  "Is  he  man  or 
god?"  he  cries  to  the  stars,  in  the  "Air 
de  Phanuel"  (Oh  Shining  Stars). 

The  music  here  posesses  great  dig- 
nity, though  it  is  restless  too.  Phanuel 
is  stirred.  His  cry  to  the  stars  is  really 
a  prayer,  for  power  lies  within  him  to 
read  something  of  their  eternal  riddle. 
To  hear  what  they  may  declare,  even 
now,  Herodias  enters,  in  violent  agi- 
tation. She  longs  for  revenge,  and 
bids  Phanuel  read  from  the  firmament 
if  her  desire  will  be  granted.  He  reads 
her  horoscope,  and  sees  nothing  but 
blood.  To  her  star,  however,  one 
other  is  inextricably  linked,  and  it 
serves  to  remind  Phanuel  that  Herodias 
has  had  a  child  in  days  gone  by.  He 
speaks  of  it  to  the  startled  woman,  and 
strange  memories  stir  her,  for  she 
has  long  since  crushed  down  all  thought 
of  the  past.  She  longs  to  see  this 
daughter  again,  and  Phanuel  takes  her 
to  the  window,  from  which  are  seen 
the  gates  of  the  Temple.  As  they 
gaze,  Phanuel  points  to  the  figure  of 
Salome.  Herodias  is  horrified,*' My 
daughter?"  she  cries.  And  then  hat- 
red flaming  within  her,  "Never!  She 
is  my  rival!" 

SCENE  II — Inner  Court  of  the  Temple 

HALF  fainting,  Salome  falls  before 
the  entrance  to  the  temple  prison. 
She  has  learned  that  John  has  been 
captured,  and  her  heart  is  filled  with 
a  despair  that  is  only  increased  by  the 
music  of  a  chorus  sung  by  invisible 
choirs  within  the  temple.  Here  also 
comes  Herod,  considering  the  chance 
of  using  John  as  a  weapon  against  the 
Romans.  He  stumbles  on  Salome, 
and  all  thoughts  of  politics  vanish. 


He  draws  close  to  the  girl,  and  begins 
to  speak, — with  passion.  She  is  at 
first  too  sick  at  heart  to  pay  attention. 
Slowly  it  dawns  upon  her  that  here  is 
Herod,  the  all-powerful,  making  love 
to  her  before  the  very  gates  of  John's 
prison.  She  recoils  in  horror,  pushing 
him  away  as  she  might  a  beast.  She 
tells  him  she  loves  another,  and  Herod, 
enraged,  swears  to  kill  them  both. 
She  tells  the  maddened  Tetrarch  that 
she  would  as  soon  die  as  live,  and  he 
leaves  her  declaring  vengeance.  And 
Salome,  trembling,  sinks  down  before 
the  Veil  of  the  Temple  that  conceals 
the  holy  of  holies. 

ACT  IV 

SCENE  I — Prison    Cell  in  the  Temple 

AS  John  paces  up  and  down  in  prison, 
Salome  appears.  In  his  heart  the 
prophet  loves  her,  and  her  entrance 
seems  to  him  almost  the  reply  of  God 
to  his  prayer.  They  sing  a  duet  of 
infinite  tenderness,  Salome  declaring 
her  wish  to  die  with  him,  though  he 
bids  her  fly  for  her  life.  As  they  con- 
verse, the  Priests  come  to  lead  the 
prophet  to  his  death,  and  they  order 
Salome  to  the  temple.  She  resists 
desperately,  but  is  dragged  away. 

SCENE  II — Great  Hall  in  the  Temple 

SALOME  is  brought  before  Herod  at 
a  great  Festival  in  honor  of  Rome. 
Here  are  gathered  Vitellius  and  his 
centurions,  and  the  priests  and  patri- 
archs of  Jerusalem.  Perfumed  flower- 
girls  dance  to  exotic  music — women 
of  Babylon,  Phoenicia,  and  Egypt,  and 
the  fair-haired  daughters  of  Gaul. 
Before  them  Salome  is  brought  in  and 
led  to  the  steps  of  the  throne.  She 
begs  Herodias  to  help  her,  saying, 
"If  thou  wert  ever  a  mother,  pity  me!" 
The  Queen  trembles  at  the  word,  and 
is  perhaps  about  to  yield.  But  from 
the  rear  comes  an  Executioner  with 
dripping  sword,  crying  "The  Prophet 


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VICTROLA     BOOK     OF     THE      OPERA 

THE   VICTOR   RECORDS 

(Sung  in  French) 

ACT  I 
IL  EST  DOUX,  IL  EST  BON 

(He  is  Kind,  He  is  Good)  EMMA  CALVE 
Soprano  88130     12-in.,  31.75 


is  dead!"  At  the  look  on  the  face  of 
Herodias,  Salome  realizes  who  has 
caused  the  death  of  John.  Maddened 
with  fear  and  hate  she  draws  a  dagger 
and  rushes  upon  the  Queen.  "Spare 
me!"  screams  the  frightened  woman. 
"I  am  thy  mother!"  A  cry  of  aston- 
ishment goes  up  from  the  assembled 
multitude.  Salome  recoils  in  horror, 
then  crying  "If  thou  be  my  mother, 
take  back  thy  blood  with  my  life," 
the  drives  the  dagger  into  her  own 
breast.  Her  dying  body  falls  into  the 
arms  of  Herod,  the  King. 


ACT  II 
VISION  FUGITIVE 

(Fleeting  Vision)  EMILIO  DE  GOGORZA, 
Baritone  88153     12-in., 

REINALD  WERRENRATH,  Baritone 

74610     12-in., 


1.75 


1.75 


INNER  COURT   OF  THE   TEMPLE — ACT    III 


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VALENTINE:     Raoul,  they  will  kill  thee;  ah,  in  pity  stay!     (Act  IV) 


LES   HUGUENOTS 


IN  "L'Africaine"  attention  has  been 
called  to  Meyerbeer's  faculty  for 
adapting  his  technique  to  his  sur- 
roundings. The  same  faculty  enabled 
him  also  to  adapt  his  style  to  the  pe- 
culiarities of  the  opera  which  engaged 
his  interest.  In  "Les  Huguenots"  he 
had,  as  his  biographer  in  Grove's  Dic- 
tionary points  out,  to  picture  "the 
splendours  and  the  terrors  of  the  six- 
teenth century — its  chivalry  and  fa- 
naticism, its  ferocity  and  romance, 
the  brilliance  of  courts  and  the  chame- 
leon colors  of  artificial  society,  the 
sombre  fervor  of  Protestantism."  In 
this  he  was  so  completely  successful 
as  to  baffle  his  Parisian  audiences  at 
the  first  production,  giving  them  some- 
thing entirely  different  from  "Robert 
le  Diable,"  which  had  won  him  so 
brilliant  a  reputation.  It  is  hardly 
surprising  that  the  opera  was  a  failure 
at  first;  and  it  is  less  surprising  that 


"Les  Huguenots"  became  eventually 
recognized  as  Meyerbeer's  greatest 
work. 

Meyerbeer's  place  among  musicians 
is  unique.  He  developed  the  opera 
through  more  magnificent  lines  than 
any  one  had  before — in  this  respect 
being  eclipsed  by  Wagner  alone.  His 
mastery  of  the  orchestra  was  consum- 
mate; we  are  indebted  to  him  for  many 
novel  effects.  As  a  writer  of  melodies 
he  was  perhaps  less  successful,  so  many 
of  his  themes  have  magnificent  be- 
ginnings only  to  tail  off  into  insig- 
nificance. His  harmonies  are  fre- 
quently original  and  arresting — and  as 
frequently  commonplace.  These  di- 
vergences account  for  the  varied  views 
of  his  genius  during  life.  To  some  he 
appeared  a  veritable  triton  among 
minnows;  others  of  his  critics  were  less 
favorable.  Not  least  of  the  latter  was 
Wagner,  who  called  him  "  a  miserable 


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VICTROLA     BOOK     OF    THE     OPERA 


music-maker,"  and  "a  Jew  banker  to 
whom  it  occurred  to  compose  operas." 
Today  we  know  Meyerbeer  to  be  a 
unique  figure,  one  who  followed  his 
own  laws  and  left  no  disciples,  whose 


works  must  be  judged  solely  on  their 
merits;  posterity,  so  judging,  has  found 
much  that  is  worth  hearing.  And 
that  is  the  final  test.  If  there  is  any 
other,  we  do  not  know  of  it. 


TH  E    OPERA 


OPERA  in  five  acts.  Libretto  by 
Scribe  and  Deschamps.  Score 
by  Meyerbeer.  First  presented  at 
the  Academic  in  Paris,  February  29, 
1836.  First  given  in  Italy  at  Taetro 
della  Pergola^  Florence,  December  26, 
1841,  under  the  title  of  Gli  Anglicani. 
First  London  production  in  German 
in  1842;  in  Italian,  July  20,  1848.  First 
New  Orleans  performance  April  29, 
1839  (first  in  America).  Some  notable 
New  York  productions  were  in  1858, 
with  La  Grange,  Siedenburg,  Tiberini 
and  Formes;  in  1872,  with  Parepa- 
Rosa,  Wachtel  and  Santley;  in  1873, 
with  Nilsson,  Cary,  Campanini  and 
del  Puente;  in  1892,  with  Montariol, 
de  Reszke,  Lassalle,  Albani  Scalchi; 
in  1901,  with  Melba,  Nordica,  de 
Reszke  and  Plancon;  in  1905,  with 
Sembrich,  Caruso,  Walker,  Plancon, 
Scotti  and  Journet;  in  1907,  with 
Nordica,  Nielsen,  Constantino  and  de 
Segurola;  at  the  Manhattan  in  1908, 
with  Pinkert,  Russ,  Bassi  and  Ancona; 
and  at  the  Metropolitan  in  1913,  with 
Caruso,  Destinn,Hempel,Matzen- 
auer,  Braun  and  Scotti.  Revived  by 
the  Chicago  Opera  Company  1917. 

CHARACTERS 

(COUNT  OF  ST.  BRIS  (San  Bree') 
(COUNT  OF  NEVERS  (Nev-airz'} 

Catholic  noblemen Baritone 

RAOUL  DE  NANGIS  (Rah-ooV  day 

Non-zhee'),  a  Protestant 

gentleman Tenor 

MARCEL  (Mahr-cel')y  a  Huguenot 

soldier  and  servant  to  Raoul .  Bass 


MARGARET  OF  VALOIS  (Val-wah'} , 

betrothed  to  Henry  IV ...  Soprano 
VALENTINE,  daughter  of  St. 

Bris Soprano 

URBANO  (Ur-bah'-noK),  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 
(The   name   of  the   opera   is    pro- 
nounced Layz  Yoogn'-noh.) 

ACT  I 

SCENE — House  of  the  Count  of  Nevers 

A  GAY  party  of  Catholic  nobles  is 
gathered  in  the  magnificent  salon 
of  the  Count  of  Nevers.  The  Count 
seems  preoccupied;  his  guests  rally 
him,  and  he  tells  them  that  he  expects 
another  guest,  Raou/>  son  of  the  Count 
of  Nangis.  "A  Huguenot!"  they  ex- 
claim. The  Count  shrugs  his  shoulders. 
Everybody  present  knows  that  Mar- 
garet of  Valois  is  eager  to  reconcile 
Catholic  and  Protestant,  and  that 
those  who  serve  the  King's  betrothed 
are  likely  to  win  power  and  influence. 
Raoul  arrives.  He  is  received  with 
ironical  politeness,  but  he  is  far  too 
frank  and  open  by  nature  to  be  dis- 
turbed by  frigid  courtesy.  Nevers 
toasts  the  ladies,  proposing  that  each 
tell  over  some  adventure  with  the  fair 
sex.  Raoul  as  the  latest  arrival,  is 
called  upon  first,  and  he  relates  his 
rescue  of  an  unknown  beauty  from 
some  drunken  revellers  that  very 


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VICTROLA     BOOK     OF     THE      OPERA 


morning.    He  does  not  know  her,  but 
is  inflamed  by  her  beauty. 

A  short  recitative  leads  to  "Piu 
bianca — Romanza"  (Fairer  Than  the 
Lily),  a  melody  which  has  long  been 
famous  among  music-lovers.  Its  long- 
drawn  cadences  and  rich  vocal  orna- 
mentation never  fail  to  please  admirers 
of  Italian  Opera: 


The  applause  which  greets  this  ro- 
mantic recital  is  interrupted  by  Marcel, 
an  old  servant  of  Raoul.  The  rugged 
old  Protestant  makes  no  secret  of  his 
displeasure  at  sight  of  the  young  man 
in  such  company.  In  deep  distrust, 
he  sings  the  Lutheran  choral,  "A 
Mighty  Fortress  is  our  God,"  which 
already  has  played  a  prominent  part 
in  the  Overture,  and  which  runs 
through  the  work  as  a  crude  sort  of 
leit-motiv.  The  guests  accept  Raoul 's 
apologies  for  his  behavior,  and  invite 
the  old  fellow  to  sing.  He  accepts, 
and  in  sturdy  defiance  he  trolls  out  a 
vigorous  Huguenot  ditty  against  the 


"snares  of  Rome"  and  the  wiles  of 
woman.  "You,  sirs,  should  know  it 
well,"  he  says.  "It  was  our  battle- 
song:  you  heard  it  at  Rochelle."  And 
with  this  gracious  reminder  of  a  des- 
perate battle  he  sings:  "Piff!  PafF!" 
(Marcel's  Air).  It  is  almost  a  buffo 
song,  in  a  vigorous  scherzo-rhythm, 
its  warlike  quality  at  variance  with 
the  old  man's  sophisticated  Parisian 
surroundings. 

This  achievement  is  received  with 
applause  in  which  there  is  a  good  deal 
of  constraint;  but  the  matter  leaves  the 
minds  of  the  guests  when  a  servant 
announces  that  a  veiled  lady  wishes  to 
speak  to  Nevers,  who  retires  to  an  ad- 
joining room,  not  without  banter  from 
his  friends.  Much  curiosity  is  felt  a 
to  the  lady,  and  Raoul  himself  is  one 
of  those  who  do  not  disdain  to  peep 
behind  a  curtain.  It  proves  to  be  the 
fair  one  whom  that  morning  he  had 
rescued  from  ruffians.  Instantly  the 
young  man's  interest  in  her  takes  an 
opposite  turn.  The  woman  he  may 
love  is  not  likely  to  visit  the  somewhat 
unsavory  Count  of  Nevers  behind  a 
sheltering  veil. 


COPY  T   DUPONT 

PLANCON  AS  ST.  BRIS 


COPY'T   DUPONT 

HOMER  AS   THE    PAGE 


COPY  T  MISHKIN 

CARUSO   AS    RAOUL 


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VICTROLA     BOOK     OF     THE      OPERA 


Yet  another  diversion  occurs  when 
a  young  page  enters,  and  in  a  lovely 
air  known  as  the  "Page  Song,"  an- 
nounces a  message  for  one  of  the 
cavaliers.  It  proves  to  be  for  the 
highly  puzzled  Raoul.  He  has  no  idea 
who  can  have  sent  it,  especially  as  it 
bears  the  startling  request  that  he  will 
go  blindfold  in  a  carriage  wherever  his 
guide  will  take  him.  He  gallantly  ac- 
cepts the  strange  assignment,  wonder- 
ing whither  it  may  lead.  He  wonders 
also  at  the  singular  change  which 
comes  over  the  guests,  who  suddenly 
begin  to  treat  him  with  extraordinary 
respect.  He  is  not  aware  that  the  seal 
on  the  letter  is  that  of  Margaret  of 
ValoiSy  but  there  are  others  present 
who  are  not  so  ignorant. 

ACT  II 

SCENE — Castle  and  Gardens  of 
Chenonceaux 

MARGARET  OF  VALOIS  sits  on 
a  kind  of  throne,  surrounded  by 
her  maids  of  honor,  rejoicing  in  the 
sunshine  and  the  open  meads  of 
Touraine  after  the  stress  of  life  at 
court:  "O,  vago  suol  della  Turenna" 
(Fair  Land  of  Touraine),  she  sings. 
This  is  a  rich  and  lovely  melody,  a 
moment  of  welcome  calm  before  the 
storms  so  soon  to  break. 

Among  the  ladies  of  the  court  is 
Valentine,  daughter  of  the  Count  of 
St.  Bris,  who  is  rejoicing  in  the  fact 
thar  her  visit  to  the  Count  of  Nevers 
has  resulted  in  breaking  their  engage- 
ment to  marry.  The  Queen  rejoices 
too,  having  other  plans  for  the  girl. 
The  ladies  retire  as  Raoul  appears,  and 
when  the  bandage  is  withdrawn  from 
his  eyes  he  beholds  none  but  Margaret 
of  Valois.  He  offers  her  his  sword  and 
his  service  with  such  gallantry  that  she 
is  half  tempted  to  make  love  to  him 
herself,  but  she  finally  tells  him  of  her 
desire  that  he  shall  wed  Valentine. 


Possibly  aware  of  the  Queen's  ambition 
to  reconcile  the  Catholics  and  the 
Protestants  by  this  union,  he  consents. 
The  nobles  of  the  Court  are  summoned, 
including  those  whom  he  has  left  but 
a  short  while  since.  When  they  ap- 
pear, they  and  Raoul  gather  round  the 
Queen  and  solemnly  swear  they  will 
bury  their  differences  with  the  union 
of  Raoul  and  Valentine — whom  Raoul, 
be  it  remembered,  has  not  yet  seen. 
The  Count  of  St.  Bris  now  leads  in  his 
daughter,  and  Raoul  is  astonished  and 
horrified  to  discover  her  to  be  the  lady 
who  has  that  morning  visited  the  Count 
of  Nevers  under  such  equivocal  cir- 
cumstances. "Perfidy!  Treachery!" 
he  cries.  "I  her  husband?  Never, 
never!" 

A  terrible  scene  follows.  The  Catho- 
lics are  furious,  and  Valentine  is  over- 
come with  shame.  Margaret  does  her 
best  to  smooth  matters  over,  but  her 
plan  to  unite  Catholic  and  Protestant 
is  ruined  forever.  Marcel,  the  crusty 
old  soldier-servant,  alone  is  pleased, 
and  as  the  curtain  falls,  the  Lutheran 
hymn  rises  from  the  orchestra  with 
ominous  power. 

ACT  III 

SCENE — A  Square  in  Paris 

NEAR  the  entrance  to  a  chapel  on 
the  Seine  banks,  a  group  of  Cath- 
olic students  has  gathered  about  *:he 
doors  of  an  inn;  and  at  another  inn 
across  the  way  some  Huguenot  sol- 
diers are  drinking  and  playing  dice. 
All  manner  of  people  are  passing  to 
and  fro,  their  variegated  costumes 
adding  color  to  the  scene  in  the  bright 
sunlight.  The  soldiers  sing  the  lively 
"Coro  di  Soldati"  (Soldiers'  Chorus — 
Rat-a-plan)  in  which  the  chorus  main- 
tains a  drum-like  "rat-a-plan,  rat-a- 
plan,  rat-a-plan-plan-plan "  against  a 
fine  sustained  melody,  with  singularly 
brilliant  effect. 


164 


VICTROLA     BOOK     OF     THE      OPERA 


This  is  interrupted  by  the  arrival  of 
a  bridal  procession.  Valentine  and  the 
Count  of  Nevers  are  to  be  married. 
Marcel  appears  with  a  letter  from 
Raoul  to  St.  Bris,  who  is  not  to  be 
disturbed,  being  in  the  church.  Pres- 
ently the  wedding  is  over,  and  the 
Count  of  Nevers  appears  alone,  Valen- 
tine having  desired  to  spend  the  day 
in  prayer  before  surrendering  herself 
to  a  man  she  cannot  love.  After  the 
Count  of  Nevers  has  passed  on,  Marcel 
presents  his  note  to  St.  Bris.  It  proves 
to  be  a  challenge.  The  nobles  then 
enter  the  chapel. 

Gradually  the  long  day  closes,  but 
it  is  night  when  Valentine  comes  from 
the  church.  She  is  in  deadly  terror, 
earnestly  seeking  Marcel.  During  her 
watch  in  the  chapel  she  has  heard  the 
nobles  plotting  to  slay  Raoul.  Here  fol- 
lows the  "  Nella  notte  lo  sol  qui  veglio  " 
(Here  By  Night  Alone  I  Wander). 

In  this  lovely  number,  Valentine  not 
only  warns  Marcel  of  the  plot  to  slay 
Raoul,  but  shows  plainly  how  deeply 


she  loves  the  youth,  despite  his  recent 
action.  Marcel  hurriedly  gathers 
friends  and  proceeds  to  the  rescue. 
The  two  parties  prove  to  be  evenly 
matched,  and  a  serious  fray  is  threat- 
ened. It  is  prevented  by  the  arrival 
of  Margaret  of  Valois,  who  appears 
just  in  time.  She  also  tells  Raoul  that 
he  has  deeply  wronged  Valentine,  the 
girl  having  visited  Nevers  merely  to 
break  off  her  engagement.  Raoul  is 
overcome  with  remorse.  Too  late! 
For  already,  as  he  gazes  toward  the 
river,  a  boat  approaches  decorated 
with  lanterns,  and  gay  with  music. 
Count  of  Nevers  and  his  bride  enter 
the  vessel  and  are  borne  away,  while 
Raoul  overcome  with  grief,  seeks  sup- 
port in  Marcel's  arms. 

ACT  IV 

SCENE — A  Room  in  Nevers'  Castle 

>~p HOUGH     married    to    Count   of 

JL     Nevers,   Valentine  can   think  of 
none  but  Raoul.    Brought  on  the  barge 


THE   FINAL  TRAGEDY 
165 


VICTROLA     BOOK     OF     THE      OPERA 


to  Nevers'  palace,  we  find  her  brooding 
over  her  sorrows,  for  which  even 
prayer  can  offer  no  comfort,  "for 
while  I  pray  I  do  but  love  him  more." 
Suddenly  Raoul  himself  appears,  hav- 
ing entered  the  palace  at  risk  of  his 
life.  She  warns  him,  but  he  insists  on 
remaining,  and  he  has  only  time  to 
hide  behind  the  tapestry  before  St. 
Bris,  Nevers,  and  others  of  the  Catho- 
lic leaders  arrive.  Thus  the  young 
Protestant  overhears  the  whole  ghastly 
plot  for  the  massacre  of  the  Huguenots. 
Among  them  all,  Nevers  alone  objects 
to  the  proposal,  and,  refusing  to  be- 
come an  assassin,  he  breaks  his  sword 
and  is  led  away  by  the  guards.  The 
conference  closes  with  the  famous 
"Benediction  of  the  Swords." 

The  number  begins  with  the  pas- 
sage sung  by  St.  Bris,  the  father  of 
Valentine,  as  he  outlines  his  murderous 
schemes  against  various  enemies: 

1^1,,  ,  r    r'  a  It.  <-g   g'flrj^rlJ  JJ>JJI  J  <  »  •  fr  I  "  =1 


This  is  followed  by  the  noble  strain 
of  the  Benediction,  a  broad  flowing 
melody  of  impressive  character: 


D'un  »  .  cro  ztl     I'.r    do  .re 
On  eem'tt'tjutl  ctuuc  rt-ly  -  inf. 


e  sol  •  <H    I'll  -  in. 
u  race  dt  •  /y  -  inf. 


Then  comes  a  furious  and  sweeping 
chorus  of  priests  and  lords. 

After  the  nobles  have  departed, 
Raoul  slowly  lifts  the  tapestry,  looks 
cautiously  about  him,  then  runs  swiftly 
to  the  door,  hoping  for  time  to  warn 
his  friends.  On  his  way,  however,  he 
meets  Valentine,  who  stops  him.  She 
cannot  let  him  go  when  it  may  mean 
the  death  of  her  own  father.  But  she 
forgets  even  this  as  love  overcomes 
her,  and  he,  too,  is  enraptured  at  dis- 
covering that  her  heart  is  his.  Valen- 
tine's avowal  of  love  is  one  of  the  finest 
of  Meyerbeer's  melodies,  the  "Dillo 
ancor"  (Speak  Those  Words  Again). 

Scarcely  has  the  last  cadence  of  this 


lovely  number  died  away  than  the 
great  bell  of  St.  Germain  sounds  the 
preliminary  signal  for  the  slaughter, 
and  Raoul  makes  a  fresh  effort  to  go 
to  the  aid  of  his  people.  Valentine 
clings  to  him,  but  he  rushes  to  the 
window  and  shows  her  that  the  mas- 
sacre has  already  begun.  He  tears 
himself  from  her  arms  and  leaps 
through  the  window,  while  she  falls 
fainting. 

In  American  productions,  because  of 
the  great  length  of  Meyerbeer's  work, 
the  opera  usually  ends  with  the  shoot- 
ing 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,  re- 
nouncing her  faith  is  united  to  Raoul 
by  Marcel.  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 
discovers  that  he  has  murdered  his 
own  daughter. 

THE  VICTOR    RECORDS 

(Sung  in  Italian  except  as  noted) 

ACT  I 
PIU  BIANCA— ROMANZA 

(Fairer  Than  the  Lily)  ENRICO  CARUSO, 

Tenor  88210    12-in.,  31.75 

ENRICO  CARUSO,  Piano  Accompaniment 

85056     12-in.,     1.75 
RAOUL: 

Fairer  far  e'en  than  fairest  lily, 

Than  spring  morn  more  pure  and  more 

lovely  and  bright, 
Art  angel  of  Heaven  born  beauty 
Burst  upon  my  ravish'd  sight. 
Sweetly  she  smiled  as  I  stood  by  her  side, 
Sighing  the  love  which  e'en  her  tongue  to 

speak  denied; 

And  in  her  eyes  the  love-light  gleamed, 
Bidding  me  hope  her  love  to  gain. 

PIFF!  PAFF! 

(Marcel's  Air)  MARCEL  JOURNET,  Bass 

In  French  74156     12-in.,     1.75 

MARCEL: 

Old  Rome  and  her  revelries, 

Her  pride  and  her  lust,  boys, 

The  monks  and  their  devilries, 

We'll  grind  them  to  dust,  boys! 


166 


VICTROLA     BOOK     OF     THE      OPERA 


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  Delilah's  fair, 
Who  men's  souls  are  seeking! 

Refrain 
Piff,  paff,  piff;  slay  them  all, 


Piff,  paff,  piff,  ev'ry  soul! 
Piff,  paff,  piff;  paff;  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! 

ACT  IV 

BENEDICTION  OF  THE  SWORDS 
MARCEL    JOURNET,    Bass,    and    Opera 
Chorus  74275     12-in.,  31.75 


DOUBLE-FACED  RECORDS 

/Coro  di  Soldati  (Soldiers'  Chorus)  ..............  Metropolitan  Opera  Chorus\ 

\    Magic  Flute—  O  his  .........................  Metropolitan  Opera  Chorus  I 


in  •  i 

ln'» 


[Nella  notte  lo  sol  qui  veglio  (Here  By  Night  Alone  I  Wander) 

Maria  Grist,  Soprano,  Perello  de  Segurola,  Bass  \  63404     10-in.,      .85 
I    Lucrezia  Borgia  —  Vieni  la  mia  vendetta  ................  Giulio  Rossi,  Bass) 


COPY  T  MISHKIN 

scorn  AS  NEVERS 


167 


COPY  T    WHITE 


IRIS     FATHER  CURSES  HER 


IRIS 


EfHT  is  the  language  of  the  eternal 
ones,"  cries  Illica  the  librettist, 
in  his  foreword.  "Hear  it!"  The 
work  opens  with  a  solemn  orchestral 
picture  of  the  dawn.  Softly,  almost 
inaudibly,  the  basses  are  answered  by 
mellifluous  general  harmonies  leading 
up  to  a  climax  as  the  sun  appears  to 
claim  dominion  over  the  earth  in  the 
choral  proclamation,  "I  am!  I  am  life! 
I  am  Beauty  Infinite!"  And  an  echo 
of  this  trembles  throughout  the 
whole  of  the  work. 

THE  OPERA 

OPERA  in    three    acts.      Text   by 
Luigi    Illica;    music    by    Pietro 
Mascagni.    First  production,  Cos- 


tanzi  Theatre,  Rome,  November 
22,  1898.  Revised  by  the  composer 
and  produced  at  La  Scala,  Milan, 
January,  1899.  First  American  pro- 
duction, Philadelphia,  October  14, 
1902,  during  the  tour  of  Mascagni's 
own  company.  Two  days  later  New 
York  heard  the  same  organization  give 
the  opera,  but  the  production  by  the 
Metropolitan  Opera  Company  did  not 
occur  until  1908,  with  a  cast  including 
Caruso,  Eames,  Scotti  and  Journet. 
Revived  April  3,  1915,  with  Bori, 
Scotti  and  Botta  in  the  principal  roles. 

CHARACTERS 

CIECO,  the  blind  man  (Tchay1- 

koh} Bass 

IRIS,  his  daughter  (Re-reece) . .  .Soprano 


168 


VICTROLA     BOOK     OF     THE      OPERA 


OSAKA  (Oh-sah-kah) Tenor 

KYOTO,  a  takiomati  (Kyoh-toh) 

Baritone 

Ragpickers,  Shopkeepers, 
Geishas,  Mousme,  Laundry 
Girls,  Citizens,  Strolling 
Players 

ACT  I 

SCENE — The  Home  of  Iris  near  the  City 

BENEATH  the  shadow  of  Fujiyama, 
the  Wistaria  mountain,  to  which 
all  Japanese  pay  that  respect  which  is 
the  truest  reverence,  Iris  plays  with 
her  dolls  among  the  flowers.  Here 
this  lovely  Japanese  girl  with  the  Greek 
name, — literally  "  Rainbow,"  lives  with 
her  father  //  Cieco.  She  adores  him. 
Though  she  is  woman  grown,  we  find 
her,  after  the  manner  of  her  people, 
delighting  in  the  sun,  the  semblances 
of  living  children  and  the  exquisitely 
tender  flowers.  As  the  dawn  wins, 
Iris  turns  the  arms  of  her  doll  upward 
in  salutation  to  the  sun.  She  is  noted 
by  Osaka,  dissolute  nobleman,  who 
has  become  enamoured  with  her  beauty. 
He  plots  with  Kyoto,  a  pander,  how 
he  may  obtain  her.  They  devise  a 
doll  show,  intending  to  steal  her  away 
as  she  watches.  "Mousmes,"  young 
girls,  come  to  the  river,  and  Iris  sings 
her  joyous  song,  "In  pure  stille"  (Life 
is  Gaily  Passing). 

While  she  thus  greets  the  flowers 
in  the  garden,  the  puppet  show  arrives. 
She  is  interested,  and  joins  the  group 
of  girls  who  surround  it.  She  follows 
closely  the  serenade,  sung  by  Osaka 
for  one  of  the  puppets — "Apri  la  tua 
finestra"  (Open  Thy  Lattice  Window). 

As  she  listens  to  the  song,  three 
geisha  girls  or  professional  entertainers, 
come  dancing  toward  her,  their  skirts 
flying  higher  and  higher  until,  beneath 
their  cover,  Iris  is  carried  off.  Osaka 
leaves  money  to  pay  the  blind  old 
father,  thereby,  according  to  Japanese 


custom,  leading  him  to  believe  the 
girl  has  gone  voluntarily  to  the  Yoshi- 
wara.  So  to  that  singular  quarter  of 
the  ancient  Japanese  city,  the  incensed 
old  man  follows  her,  securing  two 
peddlers  to  help. 

ACT  II 

SCENE — Interior  of  a  House  in 
Yoshiwara 

THE  drugged  Iris  awakens  be- 
wildered, half  believing,  from  her 
luxurious  surroundings,  that  she  must 
be  dead;  but  dead  she  cannot  be,  for 
death  brings  knowledge  and  Paradise 
joy,  while  Iris  is  weeping.  Kyoto  brings 
in  Osaka,  who  does  not  quibble  over  the 
high  price  set  upon  her  by  Kyoto,  but 
sends  for  adornment.  Osaka  praises 
her  eyes,  her  form,  her  hair,  her  loveli- 
ness. She  listens,  thinking  him  to  be 
the  godly  offspring  of  Amaterasu,  the 
sun  goddess.  But  he  says  his  name  is 
Pleasure,  and  she  shrinks  away,  a 
priest  having  told  her  that  pleasure  and 
death  are  one.  She  tells  Osaka  of  a 
certain  vision  of  these  things  which 
came  to  her  as  a  child  in  the  Temple: 
this  is  the  "  Un  di  al  tempio  "  (One  Day 
at  the  Temple).  The  nobleman  pro- 
ceeds, but  she  is  utterly  innocent,  and 
when  at  last  he  seizes  her  passionately, 
she  weeps  and  asks  for  her  father. 
Half  weary,  half  afraid,  Osaka  gives 
her  up;  but  Kyoto  clothes  her  in  richer 
robes,  magnificent  kimono  and  obi, 
placing  her  on  the  caged  balcony  of  the 
Yoshiwara  so  that  her  beauty  is 
visible  to  the  pleasure-seeking  passers- 
by  in  the  street.  Once  more  Osaka 
returns,  to  plead  vainly  for  her  love. 
"Iris!"  It  is  the  cry  of  her  bind 
father,  and  wild  with  joy,  she  rushes 
to  the  edge  of  the  balcony.  But  he 
gathers  a  handful  of  mud  from  the 
street  throwing  it  in  the  direction  of 
her  voice.  "There!  In  your  face! 
In  your  forehead!  In  your  mouth! 
In  your  eyes!  Fango!"  The  girl  is 


169 


VICTROLA     BOOK     OF     THE     OPERA 


first  dismayed,  then  alarmed  In 
terror  she  rushes  along  a  passage  and 
casts  herself  from  a  window,  falling 
into  the  open  drain  beneath. 

ACT  III 

SCENE — A  Waste  Space  outside 
the  City 

FROM  the  bitter  world  of  reality 
we  pass  to  the  realms  of  allegory 
and  symbolism.  By  the  light  of  the 
waning  moon,  just  before  the  dawn, 
ragpickers  are  searching  in  the  filth 
of  the  sewer.  A  ray  of  light  from 
Fujiyama,  the  Wistaria  mountain, 
gleams  on  something  white  in  the 
tainted  stream.  Once  more  it  flashes, 
and  the  ragpickers  pull  forth  the  body 
of  Iris.  They  begin  to  strip  the  body 
of  its  finery  but  she  moves,  and  they 
flee  in  terror.  She  gazes  dreamily 
about  her  while  voices  from  the  in- 
visible tell  her  of  the  world  and  fate. 


Osaka's  baffled  desire;  Kyoto's  slavery 
to  pleasure;  her  father's  dependence 
upon  his  child, — such  is  life!  Such  is 
fate!  Death  comes  softly  as  the  girl 
hearkens.  The  sky  turns  rosy,  and 
brings  remembrance;  she  stretches  out 
her  arms  to  the  sun  with  whose  growing 
light  a  field  of  blossoms  spreads  about 
her.  Into  the  soft  depths  of  the  flowers 
her  body  sinks  as  once  more  the  song 
of  the  sun  rises  to  blazing  triumph,  as 
in  the  beginning.  "I  am!  lamlife! 
I  am  Beauty  Infinite!" 

THE   VICTOR  RECORDS 

(Sung  in  Italian) 
IN  PURE  STILLE 

(Life  is  Gaily  Passing)  LUCREZIA  BORI, 
Soprano    '  87219     10-in.,  31.25 

APRI  LA  TUA  FINESTRA 

(Open  Thy  Lattice  Window)  GIOVANNI 
MARTINELLI,  Tenor      64652     10-in., 


64652 
BENIAMINO  GIGLI,  Tenor 

64959 


1.25 
10-in.,     1.25 


cory  T  WHITE 

IRIS    IN    HER    GARDEN    (MME*    BORl) 


170 


JEWELS  OF  THE  MADONNA 


EJRETTO  by  C.  Zangarini  and 
E.Golisciani;  music  by  Ermanno 
Wolf-Ferrari.  First  performed 
as  Der  Schmuck  der  Madonna  at  the 
Kurfuersten  Oper,  Berlin,  December 
23,  1911.  First  American  production 
at  the  Auditorium  Chicago,  January 
16, 1912.  First  New  York  performance 
March  5,  1912.  Later  included  in  the 
repertoire  of  the  Century  Opera  Com- 
pany. 

CHARACTERS 
GENNARO,      in      love      with 

Maliella  (Jen-nah'-roh) Tenor 

MALIELLA,     in     love     with 

Rafaele  (Mah-lee-el' -lah) ,  Soprano 
RAFAELE,  leader  of  the  Cam- 

orrists  (Rah-f ay-el' -leh) .  .  Baritone 


CARMELA  (Kar-may-lah) Soprano 

BIASO  (Byas-sci) Tenor 

CICCILLO  (Tchee-chee-loh) Tenor 

STELLA Soprano 

CONCETTA Soprano 

SERENA Soprano 

GRAZIA Dancer 

Rocco Bass 

Vendors,  Monks,  People  of 
the  Streets,  etc. 

Time  and  Place:     The  Scene  is  laid  in 
Naples,  at  the  Present  Time. 

(The  original  Italian  name  of  the 
opera  is  "I  Giojelli  della  Madonna," 
pronounced  Ee  Joh-yel'-lee  del-lah  Mah- 
don-nah) . 


TH  E    O  PE  RA 


NAPLES,  that  city  of  sunshine  and 
loveliness  under  the  flaming  shad- 
ow of  Vesuvius,  has  among  many  for- 
tunate inhabitants  its  own  share  of  the 
less  fortunate, —  those  who  live  in 
squalor  and  in  misery  yet  perpetually 
long  for  better  things.  As  is  usual  with 
such  people,  wrongdoing  and  super- 
stition walk  hand  in  hand.  There  are 
many  too,  whose  desperate  courage 
exceeds  their  wisdom.  In  surroundings 
of  this  character,  secret  societies  abun- 
dantly flourish.  The  Camorristi  are 
perhaps  the  wildest  of  them  all.  And 
of  the  Camorrista,  few  are  bolder, 
more  attractive  to  the  eye  of  a  pretty 
girl  than  Rafaele.  Small  wonder  that 
Maliella  finds  him  more  to  her 
romantic  liking  than  her  foster- 
brother,  GennarOy  in  whom  honesty  is 
united  with  simplicity  to  the  general 
effect  of  dullness.  Rafaele  has  boasted 
that  he  will  stop  at  nothing  to  prove 
his  love  for  Maliella.  He  will  even 
steal  for  her  the  jewels  which  deck  the 
image  of  the  Virgin!  Annoyed  by 


Gennaro' s  attentions,  the  girl  taunts 
him  with  his  lack  of  enterprise,  and 
she  repeats  the  boast  of  Rafaele.  To 
Gennaro  the  taunt  is  a  challenge. 
After  a  struggle  with  his  conscience 
the  young  man  summons  up  courage 
and  in  the  dead  of  night  he  enters  the 
church,  seizes  the  jewels  and  lays  them 
at  Mali  ell  a' s  feet.  At  first  she  is 
fascinated;  but  she  soon  realizes  the 
enormity  of  the  sacrilege.  In  terror 
she  flies  to  Rafaele  at  the  inn  of  the 
Camorristi.  But  Rafaele,  too,  is  shocked. 
He  is  not  only  shocked  but  jealous, 
and  he  spurns  her,  avowing  she  has 
sold  herself  for  the  jewels.  So  strangely 
are  passion  and  superstition  interwoven 
in  the  girl's  mind  that  she  believes 
herself  accursed.  In  a  moment  of  mad- 
ness she  returns  the  jewels  to  Gennaro 
and  drowns  herself.  The  unlucky 
youth,  having  naught  else  to  live  for, 
makes  what  atonement  is  possible,  by 
restoring  the  jewels  to  the  altar,  pray- 
ing for  mercy,  and  stabbing  himself 
with  a  dagger.  As  the  outraged  pop- 


171 


VICTROLA     BOOK     OF    THE     OPERA 


ulace  burst  into  the  chapel  to  claim  their 
vengeance  they  find  his  dead  body 
lying  at  the  feet  of  the  Madonna. 

The  two  intermezzi  are  delightful 
examples  of  the  music  Wolf-Ferrari 
has  written  for  this  rather  sordid 
story.  One  is  the  waltz  intermezzo 
between  the  second  and  third  acts,  a 
study  in  chromatics.  The  violins  with 
their  chatterings  high  in  the  treble  are 
the  voice  of  irresponsible  gaiety,  and 
in  fine  contrast  is  the  lovely  song  of 
the  'cellos.  The  other,  chiefly  for 
harp,  flute  and  strings,  is  played  be- 
fore Act  II.  The  Serenade  occurs  in 
the  second  act.  The  scene  is  laid  in 


the  garden  of  Maliellas  house.  It  is 
evening,  and  from  the  distance  are 
heard  the  strains  of  an  old  Neapolitan 
folk  ballad,  sung  by  a  chorus  afloat  on 
the  bay.  This  is  succeeded  by  the 
tinkling  of  mandolins  and  guitars 
behind  the  wall  in  Maliellas  garden. 
It  is  here  that  Rafaele  and  his  com- 
panions come,  and  the  reckless 
camorrist  sings  his  Serenade,  begin- 
ning "Apri  la  bella  la  fenestrella. " 

THE  VICTOR  RECORD 
RAFAELE'S  SERENADE 

PASQUALE  AMATO,  Baritone  with 
METROPOLITAN  OPERA  CHORUS  In 
Italian  87193  10-in.,  31.25 


DOUBLE-FACED  RECORDS 

/Intermezzo  (Second  Entr'acte)  ...........................  Vessellas  Ban 

\    Lucia  Sextette  (Donizetti)  ...............................  Vessellas 


f  Intermezzo    (Second    Entr'acte)  ........................  Victor   Orchestra\^,~*f.    1  9  •         ,  ,  , 

I    Merry  Wives  of  Windsor  Overture  (Nicolai)  New  Symphony  Orchestra  of  London)  m-> 

/Intermezzo    1    (First   Entr'acte)  ........................  Victor  Orchestra\?r™. 

\     Danse  Macabre  (Saint-Saens,  Op.  40)  ..............  Vessellas  Italian 


SCENE    FROM   JEWELS    OF    THE    MADONNA 


172 


LE  JONGLEUR  DE  NOTRE 

DAME 

(THE  JUGGLER  OF  NOTRE  DAME) 


THIS  opera  is  said  to  owe  its  exist- 
ence to  the  fact  that  a  certain 
concierge,  or  hall  porter,  in  Paris 
fell  ill  and  took  a  "day  off";  thereby 
obliging  M.Massenet  to  collect  his  own 
mail.  Otherwise,  thelibretto  would  have 
gone  the  way  of  hundreds  of  libretti 
continually  showered  upon  the  suc- 
cessful composer.  It  is  a  unique  work, 
an  experiment.  It  is  written  for  men's 
voices  only.  Mr.  Henry  T.  Finck  sug- 
gests that  Massenet  was  piqued  be- 


cause his  critics  complained  of  the  long 
line  of  Massenet's  heroines — Thais, 
Salome,  Manon — and  wished  to  show 
he  could  write  an  opera  omitting  the 
"fair  sex."  If  so,  there  is  irony  in  the 
fact  that  Mr.  Hammerstein  assigned 
the  role  of  Jean  to  Mary  Garden  at  the 
Manhattan  production.  Incidentally, 
the  work  reveals  Massenet's  extraordi- 
nary technical  skill,  reminding  one  that 
for  many  years  he  was  professor  of  com- 
position at  the  Paris  Conservatoire. 


TH  E    OPE  RA 


Ei  JONGLEUR  DE  NOTRE 
DAME,  miracle  play  in  three  acts, 
text  by  Maurice  Lena,  from  a  mediaeval 
miracle  play,  Etui  de  Nacre,  by  Anatol 
France.  Music  by  Jules  Massenet.  First 
production  at  Monte  Carlo,  February 
18,  1902,  with  Renaud.  First  Paris  pro- 
duction May,  1904,  and  afterward  given 
in  all  the  principal  cities  of  Europe.  First 
American  production,  Manhattan 
Opera,  New  York,  November  27,  1908, 
with  Garden,  Renaud  and  Dufranne. 

CHARACTERS 

JEAN  (Zhahri),  a  Juggler Tenor 

BONIFACE,   (Boh-nee-fass)   cook 

of  the  Abbey Baritone 

PRIOR  OF  THE  MONASTERY Bass 

Angels,  Virgin,  Monks,  Cavaliers, 
Citizens 

Time  and  Place:  Cluny,  near  Paris;  Six- 
teenth  Century. 

(The  name  of  the  opera  is  pronounced 
Luh  Zhong-glur  duh  Noh-tr  Dahm). 


ACT  I 

IT  is  May  Day  in  Cluny,  and  a  merry 
crowd  is  gathered  before  the  gates 
of  the  monastery,  "laughing  and  yell- 
ing, buying  and  selling,"  drinking  a 
little  too,  and  at  times  getting  into  a 
fight.  Jean,  "King  of  the  Jugglers," 
haggard  and  worn  from  illness,  and 
weak  from  lack  of  food,  begs  leave  to 
entertain  them.  They  scoff  at  his 
sorry  appearance,  but  insist  on  hearing 
"The  Hallelujah  of  Wine,"  a  sacrileg- 
ious mock-litany  for  which  the  juggler 
is  noted.  He  "obliges,"  regretting 
that  his  stomach  is  pagan  while  he  can 
boast  of  a  Christian  heart.  At  the 
height  of  the  performance,  the  Prior  of 
the  monastery  appears  and  disperses 
the  crowd  in  wrath.  After  threatening 
Jean  with  the  torments  of  Hell,  he  sug- 
gests that  the  mountebank  enter  the 
monastery.  Jean  dislikes  to  give  up 
his  freedom,  but  the  sight  of  Boniface, 
leading  home  a  mule  heavily  laden  with 
good  things  destined  for  the  table  of  the 
brothers,  is  too  much  and  he  is  directly 


173 


VICTROLA     BOOK     OF     THE      OPERA 


converted.  He  enters  the  monastery 
with  the  Prior  and  Boniface,  con- 
triving to  smuggle  in  with  him  the 
soiled  fineries  and  the  battered  tools  of 
his  extraordinary  trade. 

ACT  II 

E?E  in  the  Abbey  agrees  with  him 
physically;  but  Jean's  perpetual 
quips  and  quirks  and  his  gross  delight 
in  the  things  of  the  table,  scandalize 
even  while  they  amuse  his  fellow-monks. 
He  strives  to  sing  with  the  choir,  re- 
hearsing a  Latin  hymn,  but  the  foreign 
language  puzzles  him.  What  should  a 
poor  juggler  know  of  that  chosen  lan- 
guage of  the  saints  of  God  ?  He  has  no 
sense  of  art,  neither  in  painting  nor 
sculpture,  and  when  the  monkish  pro- 
fessors of  these  occupations  try  to  teach 
him  they  quarrel  among  themselves  as 
to  which  is  the  greatest  of  the  arts,  and 
the  good  Prior  is  obliged  to  convey 
them  off  into  the  chapel  to  study  art  in 
a  spirit  of  prayer  and  contemplation. 
Poor  Jean,  only  too  conscious  of  his 
lack  of  all  gifts  but  the  despised  art  of 
jugglery,  is  grieved  by  his  ignorance; 
and  to  console  him  the  good  cook  Boni- 
face  tells  him  that  anything  done  well 
is  good  in  the  sight  of  the  Lord.  To  con- 
vince him  Boniface  sings  the  "Legende 
de  la  Sauge"  (Legend  of  the  Sagebrush). 
The  eyes  of  the  old  monk  soften  as  he 
tells  the  quaint  story  of  the  rose  that 
refused  to  shelter  the  little  child  Jesus 
from  the  wrath  of  Herod  for  fear  of 
staining  its  lovely  petals,  and  the  hum- 
ble sage-flower  that  undertook  the  task 
so  cheerfully  and  became  blessed  among 
flowers.  Jean  listens  open  mouthed. 
Is  it  possible  that  even  the  low  gift  of 
the  juggler  may  be  acceptable  in  the 
eyes  of  the  Blessed  Virgin  ? 

ACT  III 

IN  the  dimlit  chapel,  Jean  appears  in 
his  juggler's  costume  before  the  pic- 
ture of  the  Virgin.    To  the  horror  of  the 


Prior  and  his  monks,  he  begins  to  per- 
form his  tricks  and  sing  his  villainous 
songs  in  the  holy  place.  Boniface, 
noting  the  feverish  intensity  of  earnest- 
ness in  the  juggler's  manner,  prevents 
interruption.  Soon,  however,  Jean 
breaks  into  a  wild  dance.  The  Prior 
and  his  monks  are  outraged,  and  just  as 
Jean  collapses  in  prayer  before  the  pic- 
ture of  the  Virgin  above  the  altar,  the 
monks  strive  to  rush  upon  him.  But 
Boniface  points  to  a  strange  glow  of 
light  upon  the  face  of  the  Virgin,  who 
slowly  stretches  forth  her  hands  in  ben- 
ediction. "A  miracle!"  cries  Boniface, 
and  the  others  echo  his  cry  and  sink  to 
their  knees.  They  beg  the  wondering 
Jean  to  intercede  for  them;  but  he  can 
scarcely  understand.  Now  the  chapel 
becomes  illuminated  with  a  mystic 
glow,  and  the  face  of  Jean,  the  humble 
juggler,  is  transfigured.  The  monks 
pray  for  the  passing  of  a  soul,  and  from 
above  comes  the  choiring  of  the  angels 
chanting  the  Kyrie  eleison.  "At  last," 
cries  the  dying  juggler;  "at  last  I  can 
understand  Latin!" 

THE  VICTOR   RECORD 
LEGENDE  DE  LA  SAUGE 

(Legend    of    the    Sagebrush)    MARCEL 
JOURNET,  Bass    In  French 

74123     12-in.,    31.75 

L'OpEXft  ComjQui-: - 


FRENCH    POSTER 

DEATH    OF   THE   JUGGLER 


174 


LAKME 


OF  the  French  composers  of  the 
late  nineteenth  century,  Leo 
Delibes  was  one  of  the  most 
charming.  He  was  born,  1836,  at  St, 
Germain  du  Val,  and  he  died  in  Paris, 
where  he  lived  most  of  his  life,  in  1891. 
He  came  beneath  Wagnerian  influence, 
and  the  shifting  tonalities,  brilliant  or- 
chestrations,— married  to  vivid  rhythm 
and  charming  melodies, — which  consti- 
tute his  best  gifts,  reveal  plainly 
his  susceptibilities  in  this  direction. 
Charm  he  possessed  aplenty;  but 


dramatic  power  seemed  in  great  meas- 
ure denied  him;  hence  his  best  work 
is  found  in  his  admirable  ballets, — 
"Sylvia,"  "Naila,"  "Coppelia."  These 
survive,  while  his  operas,  all  save 
"Lakme,"  are  dead.  "Lakme"  survives 
by  its  melodies;  the  plot  is  unconvinc- 
ing, and  it  obviously  is  indebted  to 
"L'Africaine"  for  its  climax.  Yet  the 
strangely  exotic  beauty  of  the  music, 
during  its  really  lyric  moments,  never 
is  merely  theatrical  and  never  seems 
to  lose  its  effect. 


TH  E    O  PE  RA 


OPERA  in  three  acts.  Book  by 
Goudinet  and  Gille,  taken  from 
the  story,  Le  Mariage  de  Loft. 
Music  by  Leo  Delibes  (Deh-leeb'). 
First  production  Paris,  April  14,  1883. 
First  London  production  at  the  Gaiety 
Theatre,  June  6,  1885.  First  Ameri- 
can performance  in  1883,  by  the  Emma 
Abbot  Opera  Company,  a  version 
that  can  hardly  be  taken  seriously. 
First  adequate  production  March  1, 
1886,  at  the  Academy  of  Music,  by  the 
American  Opera  Company,  under 
Theodore  Thomas,  with  Pauline  L'- 
Allemand  in  the  title  role.  Produced 
at  the  Metropolitan  Opera  House, 
April  2,  1890,  with  Patti;  and  again  on 
April  22,  1892,  with  Marie  van  Zandt 
and  de  Reszke.  Revived  in  1906  for 
Sembrich;  in  1910  by  the  Chicago  Op- 
era Company,  for  Tetrazzini;  in  1916 
at  the  Metropolitan,  with  Barrientos, 
Martinelli  and  de  Luca;  and  in  1917, 
at  Chicago  for  Galli-Curci. 

CHARACTERS 

GERALD       1    officers  of  the    JTenor 
FREDERIC         British  army       Baritone 

J         in  India         I 
NILAK.ANTHA    (Nee-la-kun-thaK) 

a  Brahman  priest Bass 


HADJI  (Hud-jee))  a  Hindoo  slave  Tenor 
LAKME  (Lak-may)^  daughter  of 

Nilakantha Soprano 

Hindoos,  English  Officers  and  Ladies, 

Sailors,  Bayaderes,  Chinamen,  etc. 

Scene  and  Period:    India  at  the 
Present  Time 

ACT  I 
SCENE — A  Garden  in  India 

IN  a  flower-decked  garden  of  India 
there  stands  a  small  temple,  half 
concealed  by  the  trees.  The  figure  of 
the  Lotus  is  sculptured  over  the  door, 
and  nearby  is  a  statue  of  Ganesa,  the 
God  of  Wisdom,  a  creature  with  a  hu- 
man body  and  the  head  of  an  elephant. 
Behind  the  temple,  the  light  of  dawn 
reveals  a  small  river,  forming  a  barrier 
on  one  side  of  the  garden,  which  is  en- 
closed otherwise  in  a  light  fence  of  bam- 
boo. Near  this  sacred  spot  lives  Nila- 
kantha^ its  Brahmin  guardian.  Before 
the  shrine  are  gathered  many  Hindoo 
worshippers,  and  Nilakantha  exhorts 
them  to  have  courage  and  await  the 
day  when  the  English  invaders  shall  be 
driven  from  their  land.  Even  as  he 
speaks,  the  voice  of  a  maiden  is  heard 
in  prayer,  "O  Durga!  O  Shiva!  Mighty 


175 


GALLI-CURCI 

AS  LAKME 


VICTROLA     BOOK     OF     THE      OPERA 


Ganesa,  created  by  Brahma!"  it  runs, 
and  the  worshippers  echo  it  devoutly. 
Lakme  is  praying,  the  daughter  of  Nila- 
kantha, so  lovely  she  is  regarded,  even 
by  her  father,  with  a  sort  of  dread. 
To-day  Nilakantha  has  to  go  on  a  jour- 
ney, and  he  leaves  Lakme  in  charge  of 
her  attendants,warning  them  that  if  any 
foreigner  dares  trespass  within  the  holy 
garden,  his  life  is  forfeit. 

Lakme  and  her  attendant  sing  a 
lovely  greeting  to  the  flowers — the  jas- 
mine and  roses — which  cluster  about 
the  temple,  before  leaving  in  the  little 
boat  that  has  been  kept  among  the 
reeds  by  the  river.  As  they  float  away 
the  sounds  of  light  laughter  and  con- 
versation are  heard.  A  party  of  Eng- 
lish officers  and  ladies  are  sight-seeing 
and  they  have  wandered  hither. 
Against  the  advice  of  an  officer,  Fred- 
eric^ they  break  down  the  frail  fence 
and  make  a  way  into  the  garden. 
Gerald,  another  officer,  is  charmed  by 
the  spot,  and  he  is  disposed  to  belittle 
the  danger — of  which  his  friend  is  more 
conscious.  "These  trees  and  lovely 
flowers  can  hide  no  harm,"  avows  one 
of  the  girls,  gathering  a  white  blossom. 
"Those  are  daturas"  answers  Frederic, 
"they  are  dazzlingly  beautiful — and 
deadly  poisonous!"  Frederic  tells 
them  of  Nilakantha  and  his  daughter, 
Lakme,  and  the  romantic  Gerald  is 
much  interested — despite  the  presence 
of  his  fiance,  Ellen,  daughter  of  the 
English  Governor.  Presently  they  come 
on  some  jewels  left  by  Lakme,  and 
decide  to  leave  a  spot  where  they 
are  so  obviously  trespassing.  Frederic, 
however,  insists  on  sketching  the  de- 
sign of  the  jewels,  which  has  caught  his 
fancy.  Left  alone,  he  contemplates 
them  with  pleasure  in  the  "Fantasie 
aux  divins  mensonges"  (Idle  Fancies). 
It  is  a  charming  melody,  its  interjectu- 
ral  phrases  highly  typical  of  a  poet's 
wayward  fancy. 

Despite  his  happiness,  he  is  subtly 


aware  of  danger.  He  decides  to  leave 
without  completing  the  sketch,  and  he 
is  about  to  depart  when  he  hears  the 
voice  of  Lakme  from  the  approaching 
boat.  He  conceals  himself,  and  watches 
her  and  her  attendants  place  votive 
blossoms  at  the  foot  of  the  image  of 
Ganesa.  Her  attendants  go  into  the 
stream  to  bathe,  but  Lakme  hesitates — 
conscious  of  a  strange  sense  of  rapture, 
singing  the  "Pourquoi  dans  les  grands 
bois"  (Why  Love  I  Thus  to  Stray?). 

Suddenly  she  beholds  Gerald.  She 
knows  he  is  one  of  the  race  she  is  sworn 
to  hate,  but  she  cannot  dislike  this 
good-looking  stranger.  She  knows 
perfectly  well  that  a  word  from  her 
would  bring  guards  from  the  temple, 
but  she  is  powerless  to  utter  the  sum- 
mons that  would  mean  instant  death 
to  the  youth,  so  frankly  charmed  at  her 
presence.  Dismayed,  she  bids  him  be- 
gone. His  answer  is  a  rhapsody  of  love, 
which,  far  from  arousing  fury,  affects 
her  deeply.  But  she  remembers  that 
at  any  moment  her  father  may  return. 
Finally  she  does  get  rid  of  Gerald,  just 
as  Nilakantha  comes  back,  to  find  the 
fence  broken  where  the  strangers  have 
entered.  He  declares,  before  the  ter- 
rified Lakme,  the  intruder  must  die. 

ACT  II 

SCENE — A  Street  in  an  Indian  City 

IN  the  bazaar,  the  native  shopping 
district,  of  an  Indian  town  may  be 
discovered  people  of  many  races,  of  all 
ages  and  both  sexes,  official  and  non- 
official,  rich,  poor,  and  those  indiffer- 
ently blessed  with  wealth.  In  the 
crowd,  Nilakantha  and  Lakme  are  free 
to  mingle  with  little  chance  of  recog- 
nition by  any  but  their  friends.  The 
Brahmin  knows  that  in  the  bazaar  to- 
day are  the  same  English  people  who 
wandered  into  his  grounds  so  recently, 
and  he  is  determined  to  single  out  the 
man  who  has  dared  address  himself  to 
Lakme.  It  does  not  occur  to  the  man, 


177 


VICTROLA     BOOK     OF     THE      OPERA 


a  high-caste  Brahmin,  of  the  old  school, 
that  she  herself  may  not  desire  ven- 
geance upon  the  intruder.  He  con- 
ceives that  if  the  stranger  should  see 
Lakme  or  hear  the  priestess's  voice  he 
could  not  fail  to  betray  himself.  He 
orders  her,  therefore,  to  sing  the  legend 
of  the  Pariah's  daughter,  the  well- 
known  "Ou  va  la  jeune  Indoue"  or 
"Bell  Song." 

The  music  of  this  is  in  one  sense  that 
of  a  coloratura  air — certainly  it  makes 
most  exacting  demands  upon  the  voice; 
but  its  peculiar  oriental  quality,  the  use 
of  bells,  the  appropriateness  of  the  con- 
text to  the  situation,  give  it  an  emo- 
tional quality  far  beyond  that  of  most 
such  arias.  The  classical  story  of  the 
Indian  maid  beloved  by  a  god  is  so 
much  like  Lakme's  own  that  the  effect 
is  strangely  moving. 

A  crowd  gathers,  but  Gerald  is  not 
among  those  present.  The  disappointed 
Nilakantha  thereupon  orders  her  to 
sing  it  a  second  time;  and  scarcely  has 
she  begun  when  Gerald,  attracted  by 
her  singing,  draws  near  and  betrays 
himself  by  his  expression.  Nilakantha 
now  is  convinced  that  the  gods  have 
made  his  daughter  the  divine  instru- 
ment of  the  officer's  doom.  He  ac- 
cordingly contrives  to  have  him  cut  off 
from  his  friends.  But  Lakme  manages 
to  warn  him,  and  bids  him  flee.  Gerald 
will  not  go — he  feels  this  to  be  un- 
worthy of  his  rank  as  an  officer.  She 
pleads  in  vain,  for  they  are  surrounded, 
and  Nilakantha  himself  rushes  up, 
drives  a  knife  into  the  soldier,  and 
makes  his  escape.  Lakme  is  in  despair, 
but  soon  finds  that,  although  her  lover 
who  lies  at  her  feet,  has  swooned  away, 
he  is  not  mortally  hurt. 

She  has  him  taken  to  a  hut  in  the 
forest  where  she  may  nurse  him  back 
to  safety  and  perhaps  win  his  love! 
Torn  between  this  hope  and  her  sacred 
duty,  she  chooses,  womanlike,  with 
unwisdom.  Time  will  show! 


ACT  III 

SCENE — An  Indian  Forest 

GERALD  lies  on  a  bed  of  leaves, 
Lakme  watching  over  him  with 
loving  care.  He  wakes  and  greets  her 
with  rapture,  in  the  "  Vieni  al  contento 
profondo"  (In  Forest  Depths). 

His  awakening  consciousness  recalls 
the  events  of  the  past,  and  his  eyes 
fasten  upon  Lakme  in  adoration.  As 
Gerald's  strength  steals  back,  he 
appears  to  forget  all  else  but  his  love 
for  Lakme,  who  is  deliriously  happy. 

One  morning  a  group  of  young  men 
and  maidens  pass  on  their  way  to 
drink  at  a  sacred  spring.  Lovers  who 
drink  thereof  may  be  sure  of  retaining 
one  another's  love,  for  they  are  blessed 


PHOTO    WHITE 

MARTINELLI    AND    DE    LUCA    IN    LAKME 

of  the  gods.  Gerald  questions  Lakme 
and  eagerly  she  consents  to  go  and 
bring  some  of  the  water.  While  she  is 
away,  Frederic,  who  has  followed  the 
trail  of  blood  into  the  forest,  appears, 


178 


VICTROLA     BOOK.     OF     THE     OPERA 


and  reminds  the  wounded  man  of  his 
duty.  Gerald  agrees  to  go  back  when 
he  hears  that  the  troops  have  been 
ordered  out  to  put  down  an  uprising 
but  he  secretly  dreams  of  remaining 
with  Lakme.  After  Frederic 's  de- 
parture, the  girl  returns,  quick  to  dis- 
cover a  subtle  change  in  her  lover. 
With  sickening  dread  she  notes  how 
Gerald  starts  at  the  sound  of  a  distant 
bugle.  She  drinks  some  of  the  sacred 
water,  and  gives  some  to  her  patient. 
As  he  drinks  it  down,  Gerald  hears  the 
sound  of  drums  and  fifes,  and  the  song 
of  soldiers  on  the  march.  He  starts  up 
eagerly,  and  Lakme  knows  now  that 


her  hold  is  broken.  Unobserved  she 
gathers  some  of  the  datura  stramonium 
flowers  whose  innocent  milky-white 
petals  conceal  a  rank  poison. 

Nilakantha  suddenly  appears  in  rage 
at  finding  them  both  together.  But 
the  now  dying  Lakme  warns  her  father 
that  Gerald  has  drunk  from  the  sacred 
spring,  and  is  therefore  blest  of  the 
gods;  to  harm  him  would  be  sacrilege. 
Thus  Lakme  saves  his  life  once  more. 
With  her  last  breath  she  thanks  her 
lover  that  he  has  given  her  that  inter- 
mingled agony  and  delight  which  the 
heart  of  humanity  calls  love.  She  dies 
in  his  arms,  and  the  curtain  descends. 


THE  VICTOR  RECORDS 


ACT  II 


OU  VA  LA  JEUNE  HINDOUE 

(Bell  Song)  MABEL  GARRISON,  Soprano 

In  French  74491     12-in.,  31.75 

LUISA  TETRAZZINI,  Soprano  In  Italian 

88297     12-in.,     1.75 


GALLI-CURCI,    Soprano      In 

74510     12-in.,    1.75 


AMELITA 

Italian 
LAKME: 

Down  there,  where  shades  are  glooming, 

What  trav'ler's  that,  alone,  astray? 

Around  him  flame  bright  eyes,  dark  depths 

illuming, 

But  on  he  journeys,  as  by  chance,  on  the  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! 
(She  imitates  the  bell) 
Ah!  Ah!  Ah  Ah! 
While  the  stranger  regards  her 
Stands  she  dazed,  flush'd  and  glowing, 
More  handsome  than  the  Rajahs,  he! 

And  to  heaven  she  soars  in  his  holding, 


It  was  Vishnu,  great  Brahma's  son! 
And  since  the  day  in  that  dark  wood, 
The  trav'ler  hears,  where  Vishnu  stood, 
The  sound  of  a  little  bell  ringing, 
The  legend  back  to  him  bringing. 
DANS  LA  FORE*T 

(In  the  Forest)  FRANCES  ALDA,  Soprano 
In  French  64715     10-in.,  31.25 

ACT  HI 

VIENI  AL  CONTENTO  PROFONDO 
(In  Forest  Depths)  JOHN  MCCORMACK, 

Tenor  In  Italian  64171     10-in.,     1.25 

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! 


DOUBLE-FACED  RECORD 

(Pourquoi  dans  les  grands  bois  (Why  Love  I  Thus  to  Stray?)  (In  French)     } 

Alice  I'erlet,  Soprano  [45006     10-in.,  31.00 
,    Mignon— Polonaise    (In  French) Mile.  Korsoff,  Soprano] 


179 


THE  LILY  OF  KILLARNEY 


K)M ANTIC  opera  in  three  acts. 
Text  by  Oxenford  and  Boucic- 
ault,  founded  on  the  latter's  ro- 
mantic drama,  "The  Colleen  Bawn." 
Music  by  Sir  Julius  Benedict.      First 
production  at  Covent  Garden,  London, 
February  8,  1862. 

Time  and  Place:     Killarney,  Ireland; 
Nineteenth  Century 

IN  the  hall  of  Tore  Cregan  a  wed- 
ding party  is  held  to  celebrate  the 
forthcoming  union  of  Hardress  Cregan 
with  Anne  Chute,  the  lovely  heiress. 
The  party,  as  might  be  expected, 
ends  in  a  wager  concerning  two 
horses.  The  guests  issue  forth  to  run 
the  race  by  moonlight,  and  no  sooner 
are  they  gone  than  Corrigan  appears. 
He  is  a  smooth  adventurer,  who,  by 
mortgage,  holds  the  Cregans  in  his 
power.  To  ensure  payment  he  asks 
either  that  a  written  guarantee  shall  be 
given  that  Hardress  will  marry  Anne 
Chute,  or  else  that  Mrs.  Cregan  shall 
herself  become  Mrs.  Corrigan.  Mrs. 
Cregan  is  somewhat  puzzled  by  the  first 
of  tehes  conditions  until  she  learns  that 
Hardress  is  secretly  married  to  Eily 
O'Connor,  the  "Colleen  Bawn."  In 
proof  of  this,  he  and  Mrs.  Cregan  con- 
ceal themselves  and  watch  Hardress 
signal  across  to  an  island  in  the  lake, 
where  Eily  is  concealed. 

On  the  island  itself  Eily  awaits  her 
husband;  but  he  comes  only  to  beg  her 
to  give  him  up.  Her  old  adviser  Father 
Tom,  however,  makes  her  promise 
not  to  part  with  her  "lines,"  and  a  for- 
mer lover  of  hers,  Myles  Na  Coppaleen, 
keeps  faithful  watch  over  her.  In  the 
meantime,  Hardress  Cregan  learns  of 
Corrigan  s  alternative,  and  he  longs  to 
be  rid  of  Eily.  His  hunchback  boat- 
man, Danny  Mann,  offers  to  do  away 
with  her  if  he  will  but  let  him  have  his 
glove  to  lure  her  away  from  the  cottage. 


This,  of  course,  Hardress  refuses,  but 
the  boatman,  bent  on  murder,  goes  to 
Mrs.  Cregan  and  without  giving  a  rea- 
son, he  secures  from  her  one  of  her  son's 
gloves.  This  he  presents  to  Eily,  de- 
claring her  husband  wishes  to  see  her  at 
a  cave  in  the  "Divil's  Island."  Danny, 
fortified  with  drink,  is  a  bad  guide,  but 
Eily  s  faith  in  her  husband  is  strong 
and  she  goes.  At  the  cave,  however, 
Danny  demands  her  marriage  certifi- 
cate; refused,  he  throws  her  into  the 
water.  Myles,  her  former  lover,  who 
is  in  the  habit  of  shooting  otters  for  a 
living,  takes  a  pot-shot  in  the  darkness 
at  what  he  believes  to  be  legitimate 
prey.  In  reality  it  is  Danny,  who  is 
mortally  wounded.  Myles  comes  for- 
ward in  time  to  rescue  Eily,  clinging  to 
a  rock.  He  conveys  her  to  his  cabin. 

Word  having  gone  out  that  both 
Eily  and  Danny  are  dead,  Hardress  is 
stricken  with  remorse.  On  the  very 
day  of  his  wedding  to  Anne  Chute  he 
confesses  his  marriage  with  Eily.  No 
sooner  has  he  done  so  than,  at  Corri- 
gan s  instigation,  Hardress  is  arrested 
as  an  accessory  to  the  murder  of  Eily. 
When  he  denies  «the  charge,  his  glove  is 
offered  in  proof.  His  mother  screams 
at  the  sight  of  it,  insisting  that  she 
alone  is  guilty.  Just  then,  however, 
matters  are  set  right  by  the  appearance 
of  Eily  herself.  Hardress  is  overjoyed 
to  see  her,  and  we  are  led  to  infer  that 
the  generous  Anne  Chute  comes  to  his 
aid  with  money  and  eliminates  Corri- 
gan. 

The  best-known  melody  is  the  duet 
sung  by  Hardress  and  Danny  Mann, 
"The  Moon  Has  Raised  Her  Lamp 
Above." 

THE  VICTOR  RECORD 

THE   MOON   HAS   RAISED   HER   LAMP 
ABOVE 

JOHN   MCCORMACK   and   REIKALD 
WERRENRATH  In  English 

64440    10-in.,  $1.25 


180 


LINDA  DI  CHAMOUNIX 


OPERA  in  three  acts.  Words 
by  Rossi;  music  by  Donizetti. 
First  production  in  Vienna, 
May  19,  1842;  in  Paris,  November  17 
1842;  in  London,  June,  1843;  in  New 
York,  at  Palmo's  Theatre,  January  4, 
1847,  with  Clotilda  Barili.  Given  at 
the  Academy  of  Music,  March  9, 
1861,  with  Clara  Louise  Kellogg. 
Revived  April  23,  1890,  at  the  Metro- 
politan, with  Patti,  Fabbri,  Bauer- 
meister,  Marescalchi  and  Carboni. 
A  gala  performance  was  given  several 
years  ago  in  Milan  before  the  King  and 
Queen  and  a  distinguished  audience, 
including  Adelina  Patti.  Mr.  de  Luca 
was  specially  engaged  for  the  role  of 
Boisflcury. 

CHARACTERS 

MARQUIS     DE     BOISFLEURY 
(Mar-kee  duh  Bwah-flur- 
ee) Baritone 

CHARLES  DE  SIRVAL,  his  son 

(Sharl  duh   Sur-vahl) Tenor 

THE  PARISH  PRIEST Bass 

ANTONIO  LOUSTOLOT,  a  farm- 
er    (Loos-toh-loh) Bass 

MADELINE,  his  wife    (Mad-a- 

layri) Mezzo-Soprano 

LINDA,  their  daughter     (Lin- 

dah  de   Sha-moo-nee) ....  Soprano 

Time  and  Place — Chamounix  and 
Paris,  /7<50,  during  the  reign  of 
Louis  XV 
i 

IN  the  valley  of  Chamounix,  beneath 
the  shadow  of  the  French  Alps,  live 
the  aged  couple  Loustolot  and  Madeline 
with  their  daughter  Linda.  They  are 
heavily  in  debt,  but  the  Marquis  de 
Boisfleury  assures  them  he  will  not  • 
press  the  mortgage.  His  secret  object, 
in  this  unusual  kindness,  is  to  possess 


himself  of  Linda,  who  is  very  much  in 
love,  however,  with  a  young  painter, 
Charles.  Her  affection  is  charmingly 
expressed  in  a  well  known  air,  the  "O 
luce  di  quest'anima"  (Guiding  Star 
of  Love). 

Their  love  is  a  charming  idyl,  but 
it  is  soon  to  be  interrupted.  The 
Prefect  of  the  village  afcquaints  the 
girl's  parents  of  the  Marquis's  designs 
against  her,  and  Linda  is  sent  off  to 
Paris,  to  live  with  the  Prefect's  brother. 
On  arriving  she  learns  this  personage 
is  dead,  and  she  soon  is  in  difficulties. 
Charles  has  followed  her.  He  tells  her 
he  is  in  reality  the  Marquis's  own 
nephew  and  the  son  of  the  Marchioness 
de  Sirval.  He  installs  her  in  a  palatial 
house  of  her  own,  and  he  then  goes  off 
to  ask  his  mother's  consent  to  marry 
her.  While  he  is  away,  the  girl's 
father  arrives,  having  been  compelled 
by  the  extortionate  Marquis  to  give 
up  his  farm.  Finding  Linda  in  sus- 
piciously fine  circumstances,  he  leaps  to 
the  worst  possible  conclusion  and  he 
curses  his  own  daughter.  In  the 
meantime,  the  Marchioness  has  refused 
consent  to  the  wedding,  and  threatens 
to  put  Linda  in  prison  unless  Charles 
proves  willing  to  marry,  instead,  a 
lady  of  her  own  choice.  The  young 
man  consents — temporarily.  But  as 
Linda  knows  nothing  of  his  secret 
intention  to  be  true  to  her  alone,  she 
accepts  his  denial  as  final;  and  this, 
added  to  her  father's  cruelty,  drives 
her  insane. 

In  the  last  act  we  are  back  in  Rome, 
Linda  having  gone  to  friends.  At 
last  winning  the  consent  of  the 
Marchioness,  Charles  comes  in  pursuit 
of  her.  He  sings  to  her  the  old  song 
of  their  early  courtship,  and  by  this 
means  restores  her  mental  balance. 
The  blissful  couple  are  thus  united. 


181 


FERD.    LF.EKE 


LOHENGRIN: 
Thy  life  I  spare: 
May'st  thou  in  peace  repent! 

(Lohengrin,  Act  I) 


182 


LOHENGRIN 


WAGNER  completed  the  score 
of  "Lohengrin"  in  Dresden,  in 
1847,  the  year  he  was  banished 
from  Germany  for  complicity  in  the 
popular  uprising.  Before  his  ten  years  of 
exile  he  had  heard  only  the  last  chorus 
of  the  first  act  in  his  new  opera,  which 
he  rightly  believed  to  be  his  greatest 
achievement  to  that  time.  In  his  ex- 
tremity, he  turned  to  Liszt,  and  to  that 
musician  of  genius  and  man  of  pro- 
found generosity  he  owed  the  first  pro- 
duction of  "Lohengrin."  No  one  at 
the  present  time  can  imagine  the  moral 
courage  necessary  for  a  man  like  Liszt 
to  sponsor  a  work  of  Wagner's.  Liszt 
was  courted  of  kings,  the  greatest  liv- 
ing pianist,  acknowledged  on  all  sides, 
and  as  usual  in  such  cases,  the  target  of 
endless  criticism.  Wagner  was  a  polit- 
ical exile,  and  practically  unknown. 
The  letters  he  and  Wagner  exchanged 
during  the  period  of  preparation  and 
rehearsal  are  worth  reading.  Liszt's 
respect  for  the  work  was  profound, 
and  he,  the  foremost  musical  power 
of  his  day,  sits  at  the  feet  of  Wagner 
like  a  disciple  before  his  master. 

By  this  means  "Lohengrin"  was  not 
only  launched,  but  given  the  proper 
artistic  attention  its  undoubted  beauty 
warranted. 


In  the  days  of  its  production,  "Lo- 
hengrin" was  at  once  over-  and  under- 
estimated. In  these  days  we  need  do 
neither.  As  music,  it  contains  some  of 
Wagner's  finest  inspirations,  some  of 
the  greatest  music  of  all  time.  This  is 
true,  for  instance,  of  the  Prelude  with 
its  ethereally  divided  strings.  The 
"Swan"  music,  Elsds  "Dream,"  and 
many  other  lovely  passages  are  unsur- 
passably  beautiful.  Generations  of 
couples  seem  unwilling  to  proceed 
down  the  nuptial  aisle  to  any  music  but 
the  "Lohengrin  Wedding  March."  To 
us  the  beauty  of  this  music  is  familiar 
enough,  but  in  the  day  of  its  origin  it 
must  have  seemed  like  a  new  language. 
To  the  musty  academics  Wagner  was 
an  iconoclast;  to  men  of  younger  blood 
he  was  a  prophet,  a  guiding  star.  He 
was  a  little  or  both,  like  all  men  of  true 
genius.  And  no  one  better  realized  it, 
perhaps,  than  W7agner  himself. 

If  your  heart  is  still  young  enough 
to  accept  a  fairy  story  of  a  shining 
prince  and  a  golden-haired  princess;  if 
you  would  permit  the  intoxication  of 
sweet  sounds  to  possess  your  very  soul, 
then  by  all  means  see  and  hear  "Lohen- 
grin" as  it  really  is — one  of  the  most 
beautiful  of  all  operas,  and  one  of  the 
most  inspired. 


THE    O  PE  RA 


OPERA  in  three  acts.  Words  and 
music  by  Richard  Wagner. 
First  produced  at  Weimar,  Ger- 
many, August  28,  1850,  under  the  di- 
rection orLiszt.  Produced  at  Wies- 
baden, 1853;  Munich  and  Vienna, 
1858;  Berlin,  1859;  Bologna,  1871. 
First  London  production  in  German, 
1875,  and  also,  in  Italian,  at  Covent 
Garden,  the  same  year.  First  produc- 
tion in  English  at  Her  Majesty's,  in 
1880.  Given  at  St.  Petersburg,'  1875; 


Paris,  1887.  First  American  produc- 
tion in  German  at  Stadt  Theatre,  in 
New  York,  April  3,  1871;  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.  First 
New  Orleans  production,  in  Italian, 
December  3,  1877;  in  French,  March  4, 
1889.  More  frequently  given  since 
than  any  other  opera  of  Wagner's. 


183 


VICTROLA     BOOK     OF     THE      OPERA 


CHARACTERS 

HENRY  THE  FOWLER,  King  of 

Germany Bass 

LOHENGRIN  (Lo '-hen-grin) Tenor 

ELSA  OF  BRABANT Soprano 

DUKE  GODFREY,  her  brother 

Mute  Personage 

FREDERICK.  OF  TELRAMUND  (Tel'- 
rah-moond),  Count  of  Brabant 

Baritone 
ORTRUD  (Ohr' '-  (rood) ,  his  wife 

Mezzo-Soprano 

THE  KING'S  HERALD Bass 

Saxon,    Thuringian    and    Brabantian 

Counts  and  Nobles,  Ladies  of  Honor, 

Pages,  Attendants 

ACT  I 

SCENE — Banks  of  the  Scheldt,  near 
Antwerp 

ON  the  green*  banks  of  the  river, 
seated  upon  a  raised  throne  beneath 
the  Oak  of  Justice,  sits  Henry  the  Fow- 
ler, King  of  Germany.  On  one  side  of 
him  are  gathered  the  knights  and 
nobles  of  the  Saxon  Arriere-ban.  Oppo- 
site to  them  are  the  Counts  and  Nobles 
of  Brabant,  headed  by  Frederick  of 
Telramund,  his  wife  Ortrud  beside  him. 


The  King  has  come  to  gather  an  army 
together  but  he  finds  the  people  of 
Brabant  torn  in  dissension.  The  trou- 
ble is  due  to  the  disappearance  of  young 
Duke  Godfrey  of  Brabant,  who  with  his 
sister  Elsa,  lived  under  the  charge  of 
Telramund,  who  was  to  have  married 
the  girl.  Telramund,  however,  charges 
that  Elsa  herself  has  killed  the  boy, 
hoping  to  succeed  to  his  estates.  Tel- 
ramund has  been  led  to  believe  this  by 
Ortrud,  whom  he  has  married  after  be- 
ing assured  of  Elsa 's  guilt.  Ortrud  is 
the  daughter  of  Radbod,  the  last  of  her 
race,  and  her  faith  is  still  with  the  an- 
cient gods,  Wotan  and  Freia.  She  prac- 
tices the  black  art  of  magic,  and  it  is 
she,  in  fact,  who  has  caused  Godfrey's 
disappearance. 

Telramund  is  a  knight  of  proven 
courage.  Indeed,  he  has  saved  the  life 
of  the  King  himself  in  a  fight  against 
the  Danes.  Yet  Henry  the  Fowler  is 
loth  to  believe  the  monstrous  charge  of 
fratricide  against  the  girl  Elsa.  He 
commands  that  she  shall  be  brought 
before  him.  She  approaches  as  one  in 
a  dream,  a  mystic  look  in  her  deep  blue 
eyes,  the  pale  gold  of  her  hair  gleaming 
in  the  sunlight.  Her  women  attend- 


COPY  T    DUPONT 

HOMER    AS    ORTRUD 


COPY  T    DUPONT 

EAMES    AS    ELSA 


COPY'T  DUPONT 

SCHUMANN-HEJNK.    AS 
ORTRUD 


184 


VICTROLA     BOOK     OF     THE      OPERA 


ants  accompany-  her,  but  remain  re- 
spectfully at  the  outer  edge  of  the  circle 
of  justice.  Telramund  makes  his  charge 
in  a  clear,  ringing  voice,  and  the  King 
declares  that  justice  shall  be  done 
through  the  ancient  ordeal  by  battle. 
Elsa  is  asked  to  name  her  champion, 
but  she  at  first  declines.  When  pressed 
she  tells  of  a  dream  she  has  had,  in 
which  a  knight  in  shining  armor  comes 
to  protect  her.  This  is  the  wonderful 
f'Elsa's  Traum"  (Elsa's Dream).  The 
soft,  ethereal  music  of  the  Grail  suf- 
fuses this  lovely  number,  its  shifting 
harmonies  seeming,  in  their  visionary 
coalescence,  to  be  of  the  very  texture 
or  dreams. 

The  King  is  greatly  moved,  and  he 
invokes  the  judgment  of  God.  Four 
trumpeters  blow  a  summons  to  the  four 
points  of  the  compass,  and  the  Herald 
calls,  "Who  will  do  battle  for  Elsa  of 
Brabant?  Let  him  appear."  There  is 
no  answer,  and  Elsa  sinks  to  her  knees 
in  fervent  prayer.  A  second  call  is 
sounded  and  a  challenge  given.  This 


time  the  men  nearest  the  river  bank 
suddenly  descry  a  strange  figure.  Lo! 
a  knight  in  shining  armor,  such  as  Elsa 
described,  approaches  in  a  boat  drawn 
by  a  swan,  to  whose  neck  is  attached  a 
long  golden  chain.  The  nobles  crowd 
to  the  river  bank.  The  knight  arrives 
and  is  greeted  warmly  by  the  crowd. 
He  pauses,  however,  to  bid  farewell  to 
the  swan  which  has  brought  him  here. 
"Nun  sei  bedankt,meinlieberSchwan"! 
(My  Trusty  Swan!)  sings  he.  The  mys- 
tical beauty  of  this  number,  its  exquis- 
ite tenderness,  its  mood  of  profound, 
almost  religious  reverence,  give  it  a 
unique  place  in  the  field  of  opera  music. 
The  King  offers  to  this  mysterious 
champion  a  grave  and  lordly  welcome, 
saying  he  believes  he  may  know  from 
whence  he  arrives.  Elsa  welcomes  him 
with  shy,  adoring  eyes.  He  tells  her 
that  he  has  dome  at  her  summons,  and 
he  asks  if  she  will  accept  him  as  her  Be- 
trothed. When  she  humbly  accepts 
him  he  offers  to  fight  for  her  and  wed 
her,  insisting,  however,  upon  one  thing. 


COPY  T    MISRKIN 
WITHERSPOON    AS    THE    KING 


COPY   I     MISHKIN 

DALMORES  AS  LOHENGRIN 


GADSKI  AS  ELSA 


185 


VICTROLA     BOOK     OF     THE      OPERA 


PANEL    BY   HUGO    BRAUNE 

ELSA    RELATING    HER    DREAM 

On  no  account  must  she  ask  his  name, 
rank  or  station.  Her  trust  must  be 
absolute.  Twice  he  repeats  the  con- 
dition, and  Elsa  wholeheartedly  ac- 
cepts. 

Then  the  King  summons  the  knights 
to  combat,  first  calling  solemnly  upon 
heaven  to  judge  the  right.  This  is  the 
famous  "Mein  Herr  und  Gott — Kon- 
igs  Gebet"  (King's  Prayer). 

There  are  few  bass  airs  in  opera 
which  have  the  majestic  breadth  and 
stateliness  of  this  fine  inspiration.  The 
broad,  full,  opulent  harmonies  of  the 
accompaniment  are  typically  Wagner. 

The  nobles  warn  Telramund  that  he 
may  not  hope  to  break  such  a  heaven- 
protected  champion,  but  the  knight's 
courage  is  more  commendable  than  his 
judgment.  He  elects  to  fight.  A  field 
of  battle  is  measured  off  by  three  Sax- 
ons for  the  stranger  and  by  three  Bra- 
bantians  for  Telramund.  They  solemnly 
stride  forward  and  plant  their  spears, 


FROM    AN    OLD    PRINT 

ORTRUD    KNEELING    TO    ELSA 

to  form  a  complete  circle.  The  King 
beats  three  times  with  his  sword  upon 
his  shield,  which  hangs  upon  a  tree,  and 
the  fight  begins. 

The  innocence  of  Elsa  is  soon  proven. 
The  white  knight  strikes  Telramund  to 
earth,  but  mercifully  spares  his  life. 
Amid  cheering  crowds  Elsa  plights  her 
troth  to  the  stranger.  Telramund 
drags  his  stricken  body  to  the  feet  of 
Ortrud,  in  whose  deep  eyes  gleams  a 
light  that  promises  harm  to  the  inno- 
cent. 

ACT  II 

SCENE — Court  of  the  Palace 

IT  is  night.  The  moon  precipitates 
gloomy  shadows  off  the  battlements 
of  the  great  castle  in  Antwerp.  On  the 
steps  of  the  chapel,  Telramund  and 
Ortrud  crouch  dejectedly,  clad  in  the 
habiliments  of  disgrace.  Outcasts  both, 
they  suffer  each  in  some  individually 
poignant  way.  Telramund  is  querulous, 


186 


VICTROLA     BOOK.     OF     THE      OPERA 


irritably  blaming  his  wife  for  mislead- 
ing him.  Ortrud  is  defiant.  She  is  the 
stronger  of  the  two,  and  she  skilfully 
works  upon  his  superstitious  feelings. 
This  strange  knight,  she  claims,  has 
won  by  magic;  if  he  could  be  compelled 
to  divulge  his  name  and  state,  his 
power  would  cease.  Elsa  alone  has  the 
way  to  compel  that  secret!  Possessed 
of  it,  Telramund  can  freely  fight  him 
again,  for  the  first  loss  of  blood  will 
weaken  him  for  ever.  Telramund  lis- 
tens breathlessly.  All,  then,  is  not  lost. 

Presently  Elsa  comes  to  the  window, 
to  sing  to  the  wandering  breezes,  be- 
neath the  white  moon,  the  new  joy  of 
her  life.  In  a  rapturous  soliloquy  she 
pours  out  her  love  for  the  stranger  and 
her  gratitude  for  her  own  vindication. 
But  she  hears  her  name  called  in  the 
darkness  and  she  ceases  in  wonder. 
Telramund  has  spoken,  but  Ortrud  bids 
him  begone.  Then,  with  smooth  guile 
the  witch-woman,  called  to  Elsa 's  side, 
first  feigning  repentance,  implants  in 
the  girl's  heart  the  insidious  seeds  of 
doubt.  She  hints  of  mystery  and  magic 
— things  easily  believed  in  in  the  cir- 
cumstances of  the  case.  Outwardly 
Elsa  rejects  all  suspicion.  'Her  song  of 
faith  in  her  lover  and  defender  uprises 
in  pure  triumph.  But  Ortrud  has  ac- 
complished her  work,  nevertheless. 

The  light  of  day  is  welcomed  by  a 
castle  trumpeter,  his  ringing  dawn- 
call  answered  by  another  trumpeter 
from  a  distant  turret.  It  is  Elsa's 
wedding  day.  Servitors  pass  to  and  fro 
in  the  bustle  of  preparation.  Knights 
and  nobles  cross  the  court,  arrayed  in 
festive  attire,  the  sharp  glitter  of  their 
steel  accoutrements,  and  the  blaze  of 
their  multi-colored  robes  making  brave 
their  pageantry  in  the  clear  sunlight. 
A  Herald  proclaims  the  banishment  of 
Telramund,  the  recreant  knight,  and 
the  leadership  of  the  mysterious  cham- 
pion who  will  not  accept  the  Dukedom, 
but  calls  himself  the  "Guardian  of  Bra- 


bant." The  wedding  procession  com- 
mences; ere  long  Elsa  herself  appears, 
marching  in  stately  fashion  across  the 
courtyard.  Just  as  she  is  about  to  enter 
the  chapel,  however,  Ortrud  springs  up 
before  her — a  very  different  Ortrud 
from  the  suppliant  of  the  night  before, 
now  demanding  priority  over  the  bride- 
elect  of  a  nameless  knight.  Her  stormy 
harangue  raises  some  commotion,  and 
soon  the  King  and  Elsa  s  champion 
appear.  Telramund  steps  out  from  be- 
hind a  buttress,  and  a  stormier  scene 
ensues.  The  beaten  man  charges  the 
knight  with  sorcery,  demanding  his 
name  and  station,  claiming  his  myster- 
ious arrival  upon  the  swan-drawn  boat 
as  evidence  of  magic.  But  the  King 
will  not  listen,  the  couple  are  ignomin- 
iously  driven  forth,  and  the  procession 
is  continued  after  Elsa  has  renewed  her 
vows  of  faithfulness.  Her  mind  is  filled 
with  questionings,  nevertheless. 

ACT  III 

SCENE  I — The  Bridal  Chamber  in  the 
Palace 

BEFORE  the  opening  of  this  Act 
the  orchestra  plays  the  gorgeous 
"Epithalamium"  prelude  so  beloved  of 
concert-goers.  The  joyous  burst  of 
strings,  wood-wind  and  brass,  the 
crash  of  cymbals,  the  masculine 
strength  of  the  tremendous  theme  for 
trombones  are  familiar  to  all  music 
lovers,  noless  than  the  charming 
feminine  grace  of  the  middle  section. 
Never  has  wedding  festival  been  more 
happily,  riotously  expressed  in  music! 

As  the  curtain  rises  upon  the  bridal 
chamber,  the  strains  of  the  wedding 
music  continue,  but  in  softer  mood. 
The  great  doors  at  the  rear  fly  open, 
and  the  bridal  procession  enters — the 
ladies  leading  Elsa  and  the  King,  the 
nobles  conducting  the  bridegroom. 
They  sing  the  familiar  "Bridal  Chorus." 

As  this  comes  to  an  end  the  King, 
nobles  and  ladies  retire,  leaving  the 


187 


VICTROLA     BOOK     OF     THE      OPERA 


bride  and  bridegroom  together.  Then 
it  is  that  Elsa  first  shows  the  doubt 
that  is  in  her  heart. 

'How   sweet  my  name   as   from  thy  lips  it 

glided! 
Canst  thou  deny  to  me  the  sound  of  thine?" 

The  stranger  knight  reproves  her 
with  gentleness.  He  sings  his  beauti- 
ful air  reminding  her  of  her  faith  in  the 
vision,  the  "Atmest  du  nicht  mir  sus- 
sen  Diifte?"  (Dost  Thou  Breathe  the 
Incense  Sweet?)  It  is  an  exquisite 
Melody,  familiar  to  music  lovers. 

Eh  a  scarcely  hears;  the  poison  in- 
jected into  her  mind  by  Ortrud  is  work- 
ing and  fermenting  there.  She  grows 
more  and  more  insistent,  her  curiosity 
strengthening  by  her  lover's  own  pro- 
tests. As  the  scene  moves  to  a  climax 
Telramund  suddenly  leaps  into  the 
chamber,  close-followed  by  four  asso- 
ciates with  drawn  swords.  Elsa  swiftly 
hands  her  husband  his  own  sword, 
and  with  the  weapon  he  strikes  the 
assassin  dead.  The  four  men  promptly 
kneel  at  the  champion's  feet.  But 
the  noise  of  the  fight  brings  others  to 


the  chamber,  and  the  victor  commands 
that  the  dead  body  of  Telramund  be 
carried  to  the  Oak  of  Justice.  He  may 
no  longer  keep  his  identity  secret,  and 
he  is  going  to  yield  to  Elsa 's  demand. 

SCENE  II — Same  as  Act  I 

STRANGELY  perturbed,  the  King 
waits  beneath  the  Oak  of  Justice. 
Soon  he  beholds \Elsay  pale  asone  already 
dead;  behind  her  is  the  stranger  knight, 
his  countenance  drawn  and  stern.  He 
easily  justifies  the  slaying  of  Telramund 
and,  in  a  few  words,  he  reveals  how 
Elsa  has  broken  her  promise.  Then 
comes  one  of  the  most  touching  of 
scenes,  in  which  the  stranger  knight 
proclaims  himself  to  be  none  other  than 
Lohengrin,  the  son  of  Parsifal  of  Mon- 
salvat,  a  knight  of  the  Holy  Grail. 

After  the  amazing  "Lohengrin's 
Narrative"  (In  Distant  Lands), whichis 
received  in  sad  wonder,  Elsa  is  deeply 
affected.  '" 'Tis  dark  around  me!  Give 
me  air!  Oh,  help,  help!  oh,  me,  most 
wretched!"  During  her  lamentations 
the  swan  is  seen  approaching  and  Lo- 
hengrin prepares  to  go.  He  bids  an  af- 


THE    KING    DENOUNCING    TELRAMUND — ACT    II 
188 


VICTROLA     BOOK     OF     THE      OPERA 


fecting  farewell  to  his  bride,  saying 
that  had  she  trusted  him  for  a  year,  her 
vanished  brother  Duke  Godfrey  would 
have  been  returned  to  her.  He  leaves 
behind  his  horn,  his  sword,  and  his  ring 
to  be  given  to  the  boy  should  he  ever 
return.  Meantime  the  swan  with  the 
boat  has  reached  the  river  bank.  And 
Lohengrin  steps  aboard.  No  sooner 
has  he  done  so  than  a  sudden  cry  of 
triumph  is  heard.  It  is  Ortrud,  who 
claims  that  after  all  her  magic  is  supe- 
rior. '  'Twas  I  that  wound  the  golden 
band  around  the  neck  of  yonder  swan; 
he  is  the  true  heir  of  Brabant!"  But 
Ortrud  speaks  prematurely.  Her  words 
are  heard  by  Lohengrin,  who  is  seen  by 
the  excited  onlookers  to  be  kneeling  in 
the  boat,  and  earnestly  praying.  All 


eyes  are  fixed  upon  him.  The  white 
dove  of  the  Holy  Grail  flutters  down 
from  above.  Lohengrin  perceives  it, 
and  with  a  grateful  look  rises  swiftly 
and  loosens  the  chain  from  the  swan, 
which  immediately  sinks.  From  the 
depths  of  the  water  Lohengrin  then 
raises  Godfrey,  a  fair  boy  in  shining  sil- 
ver raiment,  and  lifts  him  to  land. 
"Behold  the  ruler  of  Brabant!"  cries  he. 
The  boy  rushes  into  E/sa's  arms,  while 
the  dove  mysteriously  draws  the  boat 
on  its  course  to  Monsalvat.  Lohen- 
grin is  seen  once  more  ere  he  is  lost  to 
view,  with  head  bent  sorrowfully,  lean- 
ing upon  his  shield.  "My  husband! 
My  husband!"  cries  E/sa,  sinking  life- 
less to  the  ground.  But  Lohengrin  is 
gone  forever. 


THE   VICTOR   RECORDS 

(Sung  in  German  except  as  noted) 


ACT  I 
ELSAS  TRAUM 

(Elsa's      Dream)      JOHANNA      GADSK.I, 

Soprano  88038     12-in.,  £1.75 

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; 

Away  my  words  were  wafted, 

I  dreamt  not  help  was  nigh, 

But  One  on  high  vouchsaf'd  it, 

While  I  in  sleep  did  lie. 

(with  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, 

He  leant  upon  his  sword, 

His  words  so  low  and  tender, 

Brought  life  renew'd  to  me. 

(with  rapture) 

My  guardian,  my  defender, 

Thou  shalt  my  champion  be. 
NUN  SEI  BEDANKT,  MEIN  LIEBKR 

SCHWAN! 

(My  Trusty  Swan)  LEO  SLEZAK,  Tenor 

61203     10-in.,     1.25 
LOHENGRIN: 

I  give  thee  thanks,  my  faithful  swan! 

Turn  thee  again  and  breast  the  tide, 

Return  unto  that  land  of  dawn 


Where  joyous  we  did  long  abide, 

Well  thy  appointed  task  is  done! 

Farewell!  farewell!  my  trusty  swan! 

(to  the  King ) 

Hail,  gracious  sov'reign! 

Victory  and  honor  be  thy  valor's  meed! 

Thy  glorious  name  shall  from  the  land 

That  chose  thee  ruler,  ne'er  depart. 

MEIN    HERR    UND    GOTT— KONIGS 

GEBET 

(King's  Prayer)  MARCEL  JOURNET,  Bass 

64013     10-in.,     1.25 
KING  HENRY: 

O  King  of  kings,  on  Thee  I  call; 

Look  down  on  us  in  this  dread  hour! 

I>et  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! 

ACT  III 

PRELUDE— THE  WEDDING  MARCH 
BOSTON  SYMPHONY  ORCHESTRA 

64744     10-in.,     1.25 

ATMEST  DU  NICHT  MIT  MIR  DIE  SOS- 
SEN  DOFTE? 

(Dost  Thou  Breathe  the  Incense  Sweet?) 
CHARLES  DALMORES,  Tenor 

87088     10-in.,     1.25 


189 


VICTROLA     BOOK     OF     THE      OPERA 


LOHENGRIN'S  NARRATIVE 
(In  Distant  Lands)  EVAN  WILLIAMS, 

Tenor  In  English          74130     12-in.,  31.75 
LOHENGRIN: 

In  distant  land,  by  ways  remote  and  hidden, 
There  stands  a  mount  that  men  call  Monsal- 

vat; 

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  descend- 

eth, 

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  com- 
mands. 

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  disdain- 
eth, 

The  Grail  sent  me  to  right  yon  lady's  name; 

My  father,  Percival,  gloriously  reigneth, 

His  knight  am  I,  and  Lohengrin  my  name! 


DOUBLE-FACED  RECORDS 

/Bridal  Chorus  (In  English) Victor  Opera  Chorus)^ r AQ t 

\    Flying  Dutchman — Spinning  Chorus  (In  English) ....  Victor  Women's  Chorus) 

(Introduction   to  Act  III   (Bridal  March) Herbert's  Orchestral 

\     Wedding  March  (Mendelssohn) Herbert's  Orchestra] 

fCoro  delle  nozze  (Bridal  Chorus)   (In  Italian) La  Sea/a  Chorus) , 

\     Tannhauser — Pilgrims'  Chorus,  r Pryor's  Band] 

i Lohengrin  Fantasie Rosario  Bourdon,  'Cellist\ 

\     Souvenir  (Drdla) Maximilian  Piker,  Violinist^ 

/Selection,  No.  1 Sousa's  Band\*r, ,. 

\    Flower  Song  (Blumenlied)  (Lange) Rosario  Bourdon,  'Cellist] 


12-in, 
12-in, 
10-in 
12-in, 
12-in 


,  J1.3S 
,  1.50 
,  .85 
,  1.35 


FRAGMENT  OF  THE  BRIDAL  CHORUS  IN 
WAGNER'S  OWN  HANDWRITING 

190 


I   LOMBARDI 

(THE    LOMBARDS) 


IL O  M  B  A  R  D I  is  one  of  Verdi's 
earlier  operas.    It  is  rarely  heard, 
though    it   contains   some   lovely 
music,  which  Verdi  afterwards  used  to 
some  extent  in  his" Jerusalem/'  brought 
out  at  the  Academic,  Paris,  November 
26,  1847.    It  is  typically  Verdian. 

THE  OPERA 

OPERA  in  four  acts;  words  by 
Solera.  Music  by  Verdi.  First 
produced  at  La  Scala,  Milan,  Feb- 
ruary 11,  1843.  Produced  in  London, 
at  Her  Majesty's  Theatre,  March 
3,  1846;  Paris,  Theatre  Ita/ien,  January 
10,  1863.  First  New  York  production 
March  3,  1847,  by  an  Italian  Opera 
Company,  under  the  management  of 
Signer  SanguinicoPatti  (fat her  of 
Adelina  Patti),  and  Signer  Pogliani. 


CHARACTERS 
PAGANO  (Pah-gah'-noh),  a  bandit, 

brother  to  Arvino Bass 

ARVINO  (Ar-veef -noh) ,  a  nobleman 

of  Lombardy Tenor 

PIRRO  (Pee'-roh),  an  accomplice  of 

Pagano Bass 

ACCIANUS  (At-chan-nus),  King  of 

Antioch Tenor 

ORONTES    (Oh-ron'-tayz),    son    of 

Accianus Tenor 

VICLINDA,  wife  of  Arvino Soprano 

GISELDA  (Jfc-ZeF-JaX),  her  daugh- 
ter  Soprano 

SOPHIA,  mother  of  Orontes.  .Contralto 
Time  and  Place:  Lombardy  and  Anti- 
och in  the  Holy  Land,  Eleventh  Century 

(The  name  of  the  opera  is  pronounced 
Ee  Lorn-bar' -dee) . 


191 


VICTROLA     BOOK     OF     THE      OPERA 


BEFORE  the  risingof  the  curtain,  Pa- 
gano  and  Arvino,  sons  of  Folco,  the 
Lombard,  have  fallen  in  love  with  Vic- 
linda.  Pagano  is  a  man  of  storms  and 
passions,  and  his  hatred  is  awakened 
when  the  girl  prefers  his  younger 
brother,  and  marries  him.  Pagano 
then  attempts  to  kill  Arvino,  and, 
compelled  to  fly  for  his  life,  becomes 
leader  of  a  gang  of  brigands.- 

The  opera  begins  in  the  square  in 
front  of  the  Cathedral  Church  of  St. 
Ambrose  at  Antioch.  Arvino  has  been 
elected  a  captain  in  the  first  Crusade 
against  the  Saracens.  The  seemingly 
repentant  Pagano  has  returned  and 
been  forgiven,  but  the  air  is  dark  with 
suspicion,  and  justly;  for  with  the  aid 
of  Pirro  he  again  attacks  Arvino  and 
attempts  to  kidnap  Viclinda.  By  mis- 
take, however,  he  slays  his  father,  Fol- 
co, and  in  despair  he  then  flies  to  the 
wilderness. 

After  many  years  we  find  Viclinda 
dead,  and  her  daughter  Giselda  a  cap- 
tive of  the  Saracens.  Giselda  has  been 
placed  in  the  harem  of  a  Saracen  prince, 
Orontes,  who  loves  her  and  whom  she 
loves  dearly.  Orontes,  however,  obeys 
his  mother's  command  that  they  shall 
not  marry  until  both  are  of  the  same 
religion.  Arvino,  meanwhile,  with  a 
Crusaders'  company,  seeks  a  hermit 
who  dwells  in  a  cave  above  Antioch, 
hoping  to  .learn  from  him  the  where- 
abouts of  his  daughter.  The  repentant 
Pirro,  who  aided  Pagano  in  the  attack 
on  Arvino,  is  now  in  Antioch  with  the 
Saracens.  Through  him  the  myste- 
rious Hermit  contrives  to  have  a  gate- 
way left  open  by  night.  The  Cru- 
saders enter  the  city,  and  Arvino  rescues 


his  daughter.  But  Giselda,  almost  in- 
sane, believing  Orontes  dead,  is  so  pal- 
pably distressed  at  sight  of  her  father 
that  he  becomes  greatly  angered.  Oron- 
tes, however,  is  not  dead,  and  he  soon 
comes  to  her  at  risk  of  his  life.  She 
flees  with  him,  but  he  is  wounded,  and 
the  pair  find  refuge  in  the  cave  of  the 
Hermit.  Through  his  influence,  the 
dying  Orontes  becomes  a  Christian. 
The  remarkable  trio  at  this  point  has 
been  recorded,  the  "Qual  volutta" 
(With  Sacred  Joy).  Comparatively 
little  else  is  heard  today,  from  this 
opera. 

Orontes  begins  the  trio  with  a  lovely 
flowing  melody,  and  this  is  followed  by 
duet  passages  between  Giselda  and  the 
priest  and  later  with  her  wounded 
lover.  The  terzetto  grows  more  im- 
passioned as  it  proceeds,  the  three 
voices  combining  into  a  splendid  cli- 
max at  the  end. 

After  the  death  of  Orontes,  the  Her- 
mit conveys  Giselda  to  her  father,  and 
by  his  inspiration  enables  her  to  find 
happiness  in  the  religious  life.  For 
this  both  father  and  daughter  are  pro- 
foundly grateful.  The  Hermit  takes  a 
highly  active  part  in  the  fighting 
against  the  Saracens,  and  is  mortally 
wounded.  Almost  with  his  last  breath 
he  confesses  to  Arvino  and  Giselda  that 
he  is  none  other  than  Pagano.  He  dies 
forgiven  by  the  brother  whom  he  twice 
has  tried  to  kill. 

THE   VICTOR   RECORD 

QUAL  VOLUTTA 

(With  Sacred  Joy)  FRANCES  ALDA, 
Soprano,  ENRICO  CARUSO,  Tenor  and 
MARCEL  JOURNET,  Bass.  In  Italian 

95211     12  in.,    3250 


192 


LOUISE 


OPERA  in  four  acts.  Words 
and  music  by  Gustave  Char- 
pentier.  First  presented  at  the 
Opera    Comique,    Paris,    February    2, 
1900.     First  American  production  at 
the  Manhattan  Opera,  1908. 

CHARACTERS 

LOUISE Soprano 

HER  MOTHER Contralto 

HER  FATHER Baritone 

JULIEN,  an  artist • Tenor 

Girls  at  the  Dressmaking  Establish- 
ment, Street  Peddlers,  People,  etc. 
Scene  and  Period:  the  Present  Time 

/^HARPENTIER'S  first :  opera, 
\^A  "Louise,"  is  a  romance  of  Bohemian 
Paris.  The  story  tells  of  Louise, 
a  beautiful  young  girl  employed  in  a 
dressmaking  establishment.  Julien, 
a  romantic  artist,  falls  in  love  with  the 
maiden,  and  soon  finds  his  love 
returned.  The  mother  and  father  of 
Louise  disapprove  of  the  gay  young 
artist,  but  Julien  will  not  give  up 
his  sweetheart,  and  he  implores  her 
to  leave  her  hard  work  and  go  with 
him  to  a  little  home.  Louise  at  first 
refuses,  knowing  how  her  parents 
would  grieve,  but  Julien  persists.  He 
tempts  her  with  visions  of  a  bright 
future,  and  at  last,  unable  to  resist,  the 
young  girl  consents. 

She  falls  in  with  a  merry  company 
of  true  Parisian  Bohemians,  who 
crown  her  as  the  Queen  of  Revels. 
In  the  midst  of  a  gay  party  her 
mother  appears,  begging  her  to  return 
to  her  father,  who  is  ill.  Louise  is  filled 


with  remorse  and  returns  to  her  home, 
trying  all  the  while  to  forget  the  gay, 
happy  life  she  has  left  at  Montmartre. 
Her  father  reproaches  her  for  her  con- 
duct, and  Louise  remembering  only  the 
kindness  and  tenderness  of  Julien, 
rushes  out  into  the  night  and  hastens 
back  to  the  protection  of  her  lover. 

The  lovely  "Depuis  le  jour,"  is  sung 
by  Louise  in  the  garden  at  Montmartre 
in  Act  III.  The  young  girl  tells  Julien 
how  happy  she  has  been  since  they 
have  come  to  the  cottage,  comparing 
her  life  with  the  dreary  one  she  has 
left. 

The  melody  of  this  number,  one  of 
the  most  beautiful  in  the  whole  range 
of  modern  opera,  is  so  simple  that 
almost  anyone  might  have  written  it. 
But  it  only  occurred  to  Charpentier. 
It  is  a  remarkable  instance  of  the  fact 
that  a  composer  of  creative  power  may 
be  able  to  weave  the  simplest  melodic 
forms  into  a  thing  of  beauty  far  out- 
ranking the  more  ambitious  works  of 
an  inferior  mind.  The  "Depuis  le 
jour"  is  probably  the  most  popular 
lyrical  number  in  any  French  opera  of 
a  generation  younger  than  Gounod, 
Bizet  and  Saint-Saens. 

THE   VICTOR   RECORDS 

(Sung  in  French) 

DEPUIS  LE  JOUR 

(Ever  Since  the  Day)  NELLIE  MELDA, 

Soprano  88477     12-in.,  31.75 

ALMA  GLUCK,  Soprano  74252  12-in.,  1.75 
DEPUIS  LONGTEMPS 

(For  a  Long  Time)  ORVILLE  HARROLD, 
Tenor  and  EVA  GAUTHIER,  Soprano 
74716    12-in., 


1.75 


DOUBLE-FACED  RECORD 


fDepuis  le  jour  (Ever  Since  the  Day) Florence  Hinkte,  Sof>rano\ee,(v-     17  •       «, 

{    Good-Bye    (Tosti) Florence  Hinkle,  Soprano}^          U  m"  M' 


193 


THE    SEXTET 


LUCIA  DI  LAMMERMOOR 


ACOTCHMAN  named  Izett, 
wandering  afield  in  search  of 
fortune,  discovered  it  in  Italy, 
where  he  took  to  himself  the  prefix 
of  "Don,"  thus  acquiring  for  his  chil- 
dren the  name  "Donizetti."  Such 
was  the  ancestry,  according  to  report, 
of  Gaetano  Donizetti,  composer  of 
"Lucia  di  Lammermoor,"  and  some 
sixty-two  other  operas.  Donizetti  was 
born  at  Bergamo,  November  25th 
(Dr.  Hugo  Riemann  says  November 
29th),  1797,  and  he  died  there  April  8, 
1848,  much  taking  place  in  the  inter- 
vening half  century.  His  father  in- 
tended he  should  become  a  teacher, 
and  to  avoid  this  he  enlisted  in  the 
army,  where,  if  history  serves,  he  spent 
most  of  this  time  writing  music — which 
art  he  had  studied  in  Naples  and 
Bologna.  His  first  opera,  "Enrico  di 
Borgogna,"  was  produced  in  Venice, 
1818,  while  he  was  quartered  there, 


and  two  others  followed.  But  his 
"Nozze  in  Villa,"  Rome,  1822,  won 
military  exemption  with  honors,  for 
he  was  carried  through  the  streets  in 
triumph  and  crowned  at  the  citadel. 
From  that  time  on  he  devoted  himself 
to  music,  more  particularly  to  opera. 
He  was  a  prolific  and  a  rapid  worker. 
In  1836,  while  he  was  in  Naples,  a 
certain  theatre  was  in  imminent  risk 
of  bankruptcy,  and  the  prima  donna 
came  to  him  for  help.  He  had  no 
libretto,  but  one  was  gotten  somehow, 
and  in  nine  days,  it  is  said,  "the  li- 
bretto was  written,  the  music  com- 
posed, the  parts  learned,  the  opera 
performed,  and  the  theatre  saved." 
He  is  also  said  to  have  composed  the 
whole  of  the  last  act  of  "La  Fille  du 
Regiment"  (Act  IV),  except  the  aria, 
"Ange  si  Pur,"  and  the  slow  part  of 
the  duet,  in  three  or  four  hours.  Not 
only  could  Donizetti  boast  great 


194 


VICTROLA     BOOK.     OF     THE      OPERA 


musical  ability,  but  also  considerable 
literary  skill.  He  is  known  to  have 
designed  and  written  the  last  acts  of 
both  "La  Favorita"  and  "Lucia  di 
Lammermoor." 

Donizetti's  musical  career,  which 
began,  so  far  as  a  reputation  was  con- 
cerned, with  "Anna  Bolena,"  produced 
at  Milan,  1830,  and  which  later  gave 
the  world  such  masterpieces  as  "Lucia 
di  Lammermoor,"  "Daughter  of  the 
Regiment, ""Linda  di  Chamounix," 
"La  Favorita,"  "Lucrezia  Borgia" 
and  "Elixir  d'Amore,"  ended  some- 


what sadly.  During  his  last  years 
Donizetti  was  subject  to  fits  of  melan- 
cholia. In  1845  he  had  a  stroke  of 
paralysis,  and  in  1847  he  returned  to 
Bergamo  in  time  to  die.  He  was  buried 
some  little  distance  outside  the  town, 
and  lay  in  peace  until  September  12, 
1875,  when  his  body  was  disinterred 
and  given  the  belated  distinction  of 
burial  in  the  church  of  Santa  Maria 
Maggiore,  where  a  monument  by 
Vincenzo  Vela  does  honor  to  his  mem- 
ory. He  has  not  been  forgotten,  how- 
ever, elsewhere.  For  his  works  live. 


THE    OPERA 


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,  at  Her  Majesty's,  April  5, 
1838;  Paris,  1839;  New  Orleans,  De- 
cember 28,  1841;  New  York,  in  Eng- 
lish, at  the  Park  Theatre,  November 
17,  1845;  and  in  Italian,  November  14, 
1849.  Notable  revivals  occurred  April 
7,  1890,  at  the  Metropolitan,  with 
Patti;  April  26,  1894.  at  the  Metro- 
politan, with  Melba;  November  20, 
1900,  American  Theatre,  with  Yvonne 
de  Treville. 

CHARACTERS 

HENRY  ASHTON,  of  Lammer- 
moor  Baritone 

LUCIA,  his  sister  (Loo-chee'-ah) 

(Lucy) Soprano 

SIR  EDGAR,  of  Ravenswood.  .  .  .Tenor 

LORD  ARTHUR  BUCKLAW Tenor 

RAYMOND,  chaplain  to  Lord 

Ashton Bass 

ALICE,  companion  to  Lucy 

Mezzo-Soprano 

NORMAN,  Captain  of  the  Guard 

at  Ravenswood.  .  .Tenor 


Ladies  and  Knights  related  to  the 

Ashtons;  Pages,  Soldiery,  and 

Domestics  in  the  Ashton 

Family 

Scene   and  Period:    The    Action  takes 

Place  in  Scotland,  close  of  the 

Sixteenth  Century 

ACT  I 

SCENE  I — A  Wood  near  Lammermoor 

\  STRANGER  is  seen  lurking  about 
/\.the  grounds  of  Lammermoor. 
This  is  disquieting,  for  Sir  Henry 
Ashton,  who  through  black  treachery 
has  recently  acquired  the  neighboring 
Ravenswood  estates,  has  many  ene- 
mies, not  least  of  them  Sir  Edgar  of 
Ravenswood.  When  the  curtain  rises, 
therefore,  we  find  Norman,  Sir  Henry 
Ashton 's  Captain  of  the  Guard,  direct- 
ing his  men  to  search  the  vaults  be- 
neath the  ruins  of  the  old  Ravenswood 
tower,  whose  grey  battlements  are 
visible  above  the  tree-tops.  Hardly 
have  the  men  gone  than  Sir  Henry  him- 
self appears,  followed  by  the  chaplain, 
Raymond.  He  is  troubled  over  the 
strange  visitant,  troubled  over  his  own 
fate,  and  troubled  over  his  sister  Lucy, 


195 


VICTROLA     BOOK     OF     THE      OPERA 


who  has  been  behaving  curiously  since 
her  mother's  death,  and  who  has  formed 
the  habit  of  going  daily  to  visit  her 
grave.  From  Norman,  Sir  Henry 
learns  that  on  these  visits,  Lucy  has 
been  meeting  the  stranger,  and  further- 
more, that  this  mysterious  personage 
has  rescued  her  from  an  angry  bull  by 
shooting  the  beast.  As  they  speak  of 
these  things,  the  retainers  come  back, 
telling  of  a  man  who  has  met  them 
near  the  ruined  tower,  "pale  and 
mute,  with  aspect  daring,"  clad  in 
black  and  mounted  upon  a  black 
charger.  This  is  Edgar  of  Ravenswood. 

SCENE  II — A  Park  near  the  Castle 

AC  the  daily  trysting  place  near  a 
fountain  in  -the  park  Lucy  waits 
for  Edgar.  She  is  accompanied  by 
her  maid,  Alice.  Lucy  is  pale  and 
distraught.  She  looks  with  dread  at 
the  fountain,  and  she  tells  Alice  a 
gruesome  legend  of  a  Ravenswood 
who  stabbed  his  sweetheart  beside  it. 


She  vows  that  she  herself  has  seen,  in 
the  dark  waters,  an  apparition  of  the 
murdered  woman,  who  has  warned  her 
against  her  present  lover.  This  is  told 
in  the  "Regnava  nel  silenzio"  (Silence 
O'er  All). 

There  is  probably  more  of  wistful- 
ness  than  fear  in  this  pathetic  melody, 
which  clearly  foreshadows  the  mood 
of  Lucy's  tragic  "Mad  Scene"  at  the 
end. 

Meanwhile  she  turns  away  from 
these  memories  to  the  anticipations 
of  happier  things,  and  in  the  second 
part  of  the  aria,  "Quando  rapida  in 
estasi"  (Swift  as  Thought),  she  chants 
the  ecstasy  of  love. 

This  number  is  bright  and  joyous 
as  anyone  might  wish — a  loving  wo- 
man's dreams  of  a  love  that  shall  be 
"all  in  all." 

Edgar  arrives,  a  sombre  figure  with 
his  melancholy  attire,  his  black-plumed 
cavalier  hat,  his  cloak  of  sable.  It  is 
to  tell  her  that  this  is  their  last  meeting, 


PHOTO   WHITE 


ACT    II,    SCENE    II,    AT   THE    METROPOLITAN    OPERA 
196 


VICTROLA      BOOK     OF     THE      OPERA 


for  he  has  been  ordered  to  France.  He 
begs  permission  to  go  to  her  brother, 
to  volunteer  to  forget  and  forgive,  and 
to  claim  her  hand  in  marriage;  but 
Lucy  knows  this  impossible.  And  why  ? 
he  asks,  answering  himself;  because 
her  brother  still  nourishes  hatred  in 
his  bosom,  even  though  he  has  killed 
Edgar  s  father  and  usurped  his  estates. 
Lucy's  lover  is  inflamed  with  passion, 
and  she  tries  vainly  to  check  it;  but 
he  tells  how  his  love  for  her  has  made 
him  give  up  all  dreams  of  vengeance. 
The  two  of  them  chant  their  lovers' 
litany,  the  "Verrano  a  te  sull'aura" 
(Borne  on  the  Sighing  Breeze). 

The  swaying  rhythm  of  this  melody 
lends  a  swift  glint  of  sunshine  and  a 
breath  of  summer  wind  to  a  soon- 
developing  tragedy. 

Edgar  tears  himself  from  Lucy's 
arms,  leaving  the  half-fainting  girl  to 
be  consoled  by  the  sympathetic  Alice. 

ACT  II 

SCENE   I — An  Anteroom  in  the  Castle 

IN  supposing  that  Henry  Ashton  s 
opposition  is  a  matter  of  hatred, 
Edgar  is  wrong.  As  a  matter  of  fact, 
Henry  Ashton  is  in  desperate  straits 
because  of  the  part  he  has  taken  in  a 
rebellion  against  King  William  I.  His 
only  chance  of  escape  is  to  wed  Lucy 
to  Lord  Arthur  Buck/aw,  beneath 
whose  domination  he  now  lives.  To 
make  Lucy  break  off  her  connection 
with  Ravenswood  he  has  resorted  to 
guile.  He  reads  all  the  correspondence 
that  passed  between  the  lovers,  and 
he  now  has  a  letter  forged  in  Ravens- 
wood's  hand-writing  which  seems  to 
prove  beyond  doubt  that  Lucy  is  be- 
trayed, her  lover  having  deserted  her. 
The  girl  is  almost  dumbstricken. 
And  Henry  then  tells  her  he  will  be 
disgraced  and  ruined  unless  she  con- 
sents to  wed  Lord  Arthur.  The  dis- 
cussion between  them  takes  the  form 


of  a  highly  dramatic  duet,  the  "Se  tra- 
dirmi,  tu  potrai"  (I'm  Thy  Guardian). 
The  unequal  struggle  between  them 
is  the  more  unequal,  because  with 
Henry  Ashton  haste  is  necessary. 
Preparations  for  the  wedding  ceremony 
are  already  made,  Lord  Arthur  ap- 
proaching while  Lucy  is  kept  helpless 
by  reason  of  the  forged  note.  She 
miserably  consents  to  the  sacrifice. 

SCENE  11—7^  Great  Hall  of  the  Castle 

IN  a  great  hall  of  the  castle,  where 
walls  are  hung  with  the  trophies  of 
hunt  and  battle,  a  great  concourse  of 
people  is  assembled  to  witness  the 
wedding  of  Lucy  of  Lammermoor  with 
Lord  Arthur  Buck/aw.  The  knights 
and  ladies  sing  a  gay  chorus  of  welcome 
but  the  bride  is  so  pale  and  agitated 
that  their  gaiety  rings  false.  Sir  Henry 
excuses  her  conduct  to  Lord  Arthur  on 
the  ground  that  she  still  mourns  for 
her  mother.  Lucy  is  escorted  to  a  table 
where  the  notary  is  preparing  the  mar- 
riage papers.  Pale  to  the  lips  and  al- 
most fainting,  she  is  supported  by  her 
maid,  A/ice,  and  the  chaplain,  Ray- 
mond. With  trembling  hand  she  signs 
the  document  which  makes  her  Lady 
Arthur  Bucklaw.  No  sooner  has  she 
set  down  the  pen,  than  a  stranger 
enters  the  room.  All  eyes  are  turned 
upon  him,  in  fear  and  amazement. 
Edgar  of  Ravenswood,  sword  in  hand, 
pistol  in  belt,  stalks  boldly  toward  the 
table. 

Such  a  dramatic  moment  might  have 
inspired  a  far  less  powerful  composer 
than  Donizetti  to  produce  a  master- 
scene,  but  he  has  made  it  ever-memor- 
able with  his  immortal  sextette,  "Chi 
me  frena"  (What  Restrains  Me). 

To  attempt  to  describe  this  Sextette 
is  superfluous;  only  music  may  express 
music.  Its  flowing  melody,  majestic 
rhythm  and  gorgeous  harmonies  and 
soaring  climax  are  known  to  all;  but 
few  realize  how  magnificently  it  ex- 


197 


VICTROLA     BOOK     OF     THE      OPERA 


presses  in  sound  the  conflicting  emo- 
tions of  this  dramatic  scene. 

After  it  reaches  its  climax  and  dies 
out  in  lingering  tones,  others  find 
voice,  and  many  bid  the  stranger 
begone.  There  follows  the  quartet, 
"T"  allontana,  sciagurato"  (Get  Thee 
Gone !) 

Henry  Ashton  faces  his  enemy  with 
drawn  sword,  and  the  two  are  ready 
for  life  or  death.  Raymond  restrains 
them,  bidding  both  in  Heaven's  name 
sheathe  their  weapons.  Coldly  Ashton 
asks  Ravenswood  the  reason  of  the 
visit,  and  he  displays  the  marriage 
contract.  Ravenswood,  refusing  to 
believe  his  senses,  then  turns  to  Lucy 
for  confirmation.  With  her  eyes  fixed 
upon  him  she  tremblingly  nods  her 
head  in  assent.  In  a  furious  rage, 
Edgar  of  Ravenswood  seizes  the  paper, 
tears  it  to  pieces,  flings  it  at  the  horror- 
stricken  girl,  and  rushes  from  the 
castle.  Lucy  stares  after  him  with 
unseeing  eyes.  What  is  left  the  girl? 


ACT  III 

SCENE  I — The  Tower  of  Ravenswood 

Castle 

^  I AHAT  night  as  poor  Ravenswood 
A  broods  over  his  misfortunes,  a 
horseman  rides  up,  dismounts  and 
enters  the  tower.  It  proves  to  be  Sir 
Henry ,  who  brings  a  challenge.  They 
agree  to  fight  to  the  death  when  morn- 
ing arrives,  and  in  a  duet  they  pray 
that  the  night  may  hasten  away,  and 
the  dawn  bring  vengeance.  This  is 
"O  sole  piu  rapido"  (Haste,  Crimson 
Morning). 

Henry  Ashton  departs,  and  Ravens- 
wood  wanders  to  the  burial  ground  of 
his  ancestors,  where,  beside  the  grave 
of  his  murdered  father,  he  finds  con- 
solation in  the  thought  that  death,  on 
the  morrow,  may  claim  him,  too. 

SCENE  II — Hall  in  Lammermoor  Castle 

MEANTIME    at    the    castle,    the 
lights  burn  in  the  windows,  and 
the    peasants    and    domestics    make 


RAYMOND  ANNOUNCING  THE  TRAGEDY ACT  HI 

198 


VICTROLA      BOOK     OF     THE      OPERA 


merry.  Suddenly  the  laughter  ceases 
and  the  song  dies  upon  their  lips. 
Raymond  tells  them  that  Lucy  has 
gone  insane,  and  that  she  stands  in 
the  bridal  chamber  with  a  bloody 
sword  above  the  corpse  of  her  husband. 
"O  qual  funesto  avvenimento"  (Oh! 
Dire  Misfortune),  sing  they.  Scarcely 
has  the  full  story  been  heard  by  the 
guests  when  Lucy  herself  appears,  pale 
and  lovely,  robed  in  white,  her  hair 
loose  upon  her  shoulders.  In  her  eyes 
there  is  seen  a  strange  unnatural  light, 
and  her  face  wears  the  tender,  half- 
puzzled  expression  of  one  who  strives 
to  recall  a  dream.  Exactly  as  the 
nerves  become  paralyzed  when  pain 
is  inflicted  beyond  the  bearing  point, 
so,  too,  the  tortured  brain  refuses  to 
suffer  an  agony  too  prolonged.  Lucy 
is  mad  indeed,  but  she  is  happy  in  her 
madness,  for  she  believes  herself  with 
her  lover.  Then  comes  the  famous 
"Mad  Scene." 

Heard  apart  from  the  opera,  this 
number  seems  hardly  more  than  an  un- 
usually brilliant  coloratura  aria.  But  in 
its  proper  setting,  carolled  out  by  the 
demented  Lucy  amid  the  startled  re- 
tainers, it  takes  on  an  ironic  character 
quite  its  own.  The  scales  and  fiorituri 
seem  what  they  are,  the  audible  wan- 
derings of  a  mind  distraught.  The 
very  happiness  of  the  music  adds  only 
to  its  grim  pathos.  Lucy,  in  this  strain, 
reenacts  the  wedding-scene  of  the  day 
before,  and  the  memories  come  flood- 
ing back.  She  falls  insensible,  and  is 
carried  to  her  room  by  Alice  and  Ray- 
mond^ as  the  curtain  descends. 

SCENE  III— The  Tombs  of  the 
Ravenswoods 

BUT  as  the  night  wears  on,  the  lights 
still  winking  gaily  from  the  castle 
at  Lammermoor,  convey  to  the  silent 
watcher  who  stands  amid  the  graves 
of  the  Ravenswoods,  no  knowledge 
of  these  tragic  events.  The  young 


man's  despair  is  revealed  in  a  lovely 
number,  the  "Fra  poco  a  me  ricovero" 
(Farewell  to  Earth). 

The  tragic  pathos  of  the  situation 
have  penetrated  through  the  conven- 
tional form  of  the  opera.  The  "dulcet 
strains"  of  the  music  move  like  the 
clock,  and  as  inexorably.  Time  will 
neither  postpone  the  end,  nor  hasten  it. 
The  set  musical  speech  of  the  stage — 
Edgar,  if  it  is  not  Life,  it  is  Fate. 

Edgar  s  only  desire  is  to  find  peace 
in  the  grave,  and  he  calls  upon  "that 
faithless  woman"  to  give  it  a  thought 
as  she  passes  by  leaning  on  the  arm  of 
her  husband.  Yet  even  as  he,  in  self- 
pity,  heaps  reproaches  upon  the  absent 
Lucy,  he  remarks  a  train  of  mourners 
coming  from  the  castle.  His  intention 
had  been  to  cast  himself  upon  his  ad- 
versary's sword,  but  he  soon  learns 
that  Henry,  filled  with  remorse,  has 
left  Scotland  never  to  set  foot  again 
upon  its  unhappy  shores.  Then  he  is 
told  of  Lucy's  madness  and  of  her  love 
for  himself.  She  lies,  they  tell  him,  in 
the  castle,  at  the  point  of  death.  And 
even  as  they  rehearse  the  story,  the 
sound  of  a  tolling  bell  brings  word  that 
Lucy's  gentle  soul  has  passed.  As  the 
dawn  comes,  Edgar  of  Ravens  wood  sings 
hisowndyingprayer — that  his  soul  may 
join  that  of  his  beloved  in  realmsremote 
from  the  gloomy  halls  of  Lammermoor. 
"Tu  che  a  Dio  spiegasti  1'ali"  (Thou 
Has  Spread  Thy  Wings  to  Heaven), 
sings  he,  in  a  melody  of  wonderful 
pathos,  which  deepens  as  it  proceeds. 

There  is  none  of  that  momentary 
hope, that  disbelief  in  misfortune, which 
withholds  many  a  man,  similarly  cir- 
cumstanced, from  putting  hands  to  his 
life.  The  tolling  bell  has  not  lied. 

Edgar  Ravenswood  draws  a  dagger 
from  his  belt,  and  despite  the  efforts 
of  Raymond  to  prevent  him,  stabs  him- 
self, and  so  speeds  forth  his  soul  to 
that  eternity  from  whence  beckons  his 
beloved  Lucy. 


199 


VICTROLA     BOOK     OF     THE      OPERA 


THE   VICTOR   RECORDS 

(Sung  in  Italian  except  as  noted) 

ACT  II 
SEXTETTE— CHI  MI  FRENA 

(What   Restrains   Me)   SEMBRICH,   CA- 
RUSO, Scorn,  JOURNET,  SEVERINA 
and  DADDI  96200     12-in.,  33.50 

TETRAZZINI,  CARUSO,  AMATO,  JOURNET, 

JACOBY  and  BADA         96201     12-in.,     3.50 
GALLI-CURCI,     EGENER,     CARUSO,     DE 
LUCA,    JOURNET    and    BADA 

95212     12-in.,     3.50 

ACT  III 
IL  DOLCE  SUONO 

(Mad   Scene)    (With   Flute  Obbligato) 
LUISA  TETRAZZINI,  Soprano 

88299     12-in.,     1.75 
MARCELLA  SEMBRICH,  Soprano 

88021     12-in.,     1.75 

NELLIE  MELBA,  Soprano  88071     12-in.,     1.75 
AMELITA  GALLI-CURCI,  Soprano 

74509     12-in.,     1.75 
LUCY: 

I  hear  the  breathing  of  his  tender  voice, 

That  voice  beloved  sounds  in  my  heart  forever. 

My  Edgar,  why  were  we  parted? 

Let  me  not  mourn  thee; 

See,  for  thy  sake,  I've  all  forsaken! 

What  shudder  do  I  feel  thro'  my  veins? 


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! 

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  are  shining, 

The  priest  awaits  us, 

Oh!  day  of  gladness! 

Thine  am  I  ever,  thou  mine  forever! 

FRA  POCO  A  ME  RICOVERO 

(Farewell  to  Earth)  JOHN  McCoRMACK, 

Tenor  74223     12-in.,     1.75 

GIOVANNI  MARTINELLI,  Tenor 

74483     12-in.,     1.75 

TU  CHE  A  DIO  SPIEGASTI  L'ALI 
(Thou    Hast    Spread    Thy    Wings    to 
Heaven)      GIOVANNI      MARTINELLI, 
Tenor  74537     12-in.,     1.75 

JOHN  MCCORMACK,  Tenor 

74224     12-in.,     1.75 


DOUBLE-FACED   RECORDS 

[Mad  Scene  (In  Italian) Olive  Kline,  Soprano\ 

\    Dinorah — Shadow  Song  (In  Italian) Olive  Kline,  Soprano) 

{Sextette  (In  Italian) Victor  Opera  Sextette\,-rr.f:f- 
Rigoletto  Quartet  (In  Italian) Victor  Opera  ? *~ 


[Mad  Scene  (In  English) Edith  Helena,  Soprano\->r*>-i. 

\     Trovatore— Peaceful  Was  the  Night  (In  English) Edith  Helena,  Soprano) 

[Sextette  (Trancription)   Pianoforte Himmehreuh\*c~~« 

\     Caprice    Espanol     (Moszkowski)    Pianoforte Charles  G.  Spross) 

[Sextette Vessellas  Italian  ^"^35356 

I     Jewels  of  the  Madonna — Intermezzo Vessellas  Italian  Band] 

{Sextette Hurtado  Bros.  Marimba  Band\  ^crrg 
Aida  Selection  (Verdi) Hurtado  Bros.  Marimba  Band) 

{Verranno  a  te  sull'aura  (In   Italian) Pereira  and  Sa/vati] 
Quartette,  T'allontana,  sciagurato  (Get  Thee  Gone!)  (In  Italian)  168454 

Pereira,  Maggi,  Bettoni  and  de  Gregorio} 

[Prelude  (Act  I,  Scene  II) Francis  Lapitino,  Harpist}  ^j^jo 

\    Norma — Fantasie Francis  Lapitino,  Harpist) 


12-in., 

$1.50 

12-in., 

1.50 

12-in., 

1.35 

12  in., 

1.35 

12-in., 

1.35 

12-in., 

1.35 

12-in., 

1.35 

10-in., 

.85 

200 


LUCREZIA    BORGIA 


OPERA  in  three  acts;  text  by 
Felice  Romani,  from  Victor 
Hugo's  novel.  Music  by  Doni- 
zetti. First  production  La Scala,  Milan, 
1834;  given  at  the  Theatre  Italien, 
Paris,  October  27,  1840.  First 
London  production,  June  6,  1839;  in 
English,  December  30,  1843.  Pro- 
duced in  New  Orleans,  April  27,  1844; 
in  New  York,  Astor  Place  Opera  House, 
1847,  and  September  5,  1854,  with 
Maria  Grisi;  given  in  1855  at  the 
Boston  Theatre,  with  Grisi  and  Mario, 
this  being  the  first  Italian  Opera  Com- 
pany to  sing  at  the  present  Boston 
Theatre;  in  May,  1855,  Steffanone, 
Brignoli  and  Vestvali  appeared  in  the 
opera  at  the  Boston  Theatre;  and  later 
a  long  list  of  popular  singers  appeared 
in  Boston  as  Lucrezia,  among  them  La 
Grange, Parodi,  Medori,  Carozzi- 
Zucchi,  Parepa  Rosa,  Lavielli,  Tietjiens 
and  Pappenheim;  given  in  New  York 
in  1876,  with  Tietjiens  and  Brignoli, 
and  not  again  until  Colonel  Mapleson 
gave  a  production  at  the  Academy  of 
Music,  October  30,  1882.  The  next 
production  did  not  occur  until  1904 
with  Caruso,  de  Macchi,  and  Scotti. 

CHARACTERS 

LUCREZIA  BORGIA  (Loo-kray- 

tz-yah  Bor-jah) Soprano 

MAFFIO   ORSINI    (Maf'-fee-oh 

Or-see'-nee) Contralto 

GENNARO  (Jen-nah'-roh) Tenor 

IL  DUCA  ALFONSO  (Eel  Doo'- 

kah  Al-Jon'-soK). .  .  .Baritone 

LlVEROTTO,      VlTELLOZZO,       PETRUCCI, 

GAZELLA,  Young  noblemen 
.  Scene  and  Period:  Italy;  the  Beginning 
oj  the  Sixteenth  Century 

ACT  I 

SCENE — -In  Venice 

T  UCREZIA  BORGIA,   now  Duchess 
.L/  of 'Ferrara,  has  had  a  son  by  a 

former  marriage,  but  has  concealed  the 


fact  from  her  husband,  the  child  having 
been  raised  by  a  fisherman  without 
knowledge  of  his  parents, — save  that 
good  fortune  has  attended  him  through 
the  mysterious  influence  of  a  mother 
unknown  to  him,  yet  whom  he  adores. 
Overcome  by  a  desire  to  see  her  son, 
Lucrezia  has  secretly  come  from  Fer- 
rara  to  Venice,  is  followed,  unsuspect- 
ing, by  her  husband's  spies. 

At  the  rise  of  the  curtain,  Gennaro, 
with  his  sworn  friend  Orsini,  are 
among  those  of  a  merry  party. 
Gennaro  however,  is  tired,  and  when 
Orsini  begins  to  express  hatred  and 
dread  of  the  Borgias,  he  drops  off 
asleep.  The  others  depart,  and  as 
they  do,  Lucrezia  herself  appears,  and 
gazes  upon  the  slumbering  Gennaro. 
She  kisses  his  hand  and  thus  awakes 
him.  He  makes  love  to  her  but, 
moved  by  impulse,  tells  her  of  his  love 
for  his  unknown  mother.  Lucrezia 
listens,  deeply  touched,  until  unknown 
to  her,  Orsini  and  his  companions 
have  returned.  Lucreziaweeps, — 
withdrawing  the  mask  from  her  face 
to  dry  her  eyes.  She  is  recognized  by 
Orsini  as  the  dreaded  Borgia,  the 
poisoner  of  his  brother,  who  has 
murdered  his  brother's  sister.  All, 
including  Gennaro,  though  powerless 
to  harm  a  woman  of  her  rank  de- 
nounce her.  She  is  maddened  at  their 
insults,  and  plans  revenge  upon  all 
save  her  son. 

ACT  II 
SCENE — In  Ferrara 

ORSINI,  Gennaro  and  their  com- 
panions are  part  of  an  embassy 
appointed  from  Venice  to  Ferrara. 
They  hate  the  Borgias.  Don  Alfonso, 
Duke  of  P'errara,  is  aware  of  his  wife's 
interest  in  Gennaro  without  divining 
the  cause,  and  he  is  naturally  jealous. 
Unhappily,  Gennaro  in  his  contempt  for 
the  Borgias  deletes  the  letter  B  from 


201 


VICTROLA     BOOK     OF     THE      OPERA 


the  name  above  the  palace  gate,  and 
Lucrezia,  stung  by  the  insult,  demands 
instant  death  for  the  miscreant.  This 
furnishes  the  Duke  opportunity  for  ven- 
geance. The  bitterness  of  his  feeling 
is  expressed  in  a  well  known  aria: 
"Vieni,  la  min  vendetta"  (Haste  Thee, 
for  Vengeance). 

The  Duke  has  Gennaro  arrested,  and 
great  is  Lucrezia' s  horror  on  discover- 
ing that  the  man  whose  death  she 
commands  is  her  own  son.  She  pleads 
with  the  Duke,  but  only  to  learn  of  his 
jealousy.  She  is  told  Gennaro  must  die 
by  dagger  or  by  the  famous  Borgia 
wine,  a  poisonous  vintage.  She  selects 
the  wine,  and  she  is  compelled  to 
administer  it  while  the  Duke  offers 
Gennaro  his  liberty  with  fair  promises. 
Secretly,  however,  she  gives  him  an 
antidote  which  counteracts  the  poison 
and  permits  him  to  escape. 

ACT  III 

Scene — In  Venice 

RELEASED  from  the  grip  of  the 
Borgia,  Gennaro  returns  to  his 
own  home.  Around  the  gates  are  a 
group  of  bravos  who  have  been  set  to 
watch  for  him.  They  make  merry 
while  they  wait,  singing  the  chorus, 
"Rischiarata  e  la  finestra"  (Yonder 
Light  is  the  Guiding  Beacon). 

Unexpectedly,  however,  Gennaro 
falls  in  with  his  friend  Orsini,  who  per- 
suades him  that  the  attempt  on  his  life 
is  a  trick  of  Borgia's  to  win  his  grati- 
tude and  so  make  him  her  tool.  Against 
his  better  judgment,  Gennaro  is  also 
persuaded  to  attend  a  banquet  that 
night.  Once  there,  all  is  gaiety. 


Wine  is  handed  round  to  the  guests  and 
made  the  subject  of  the  fine  Brindisi,  or 
drinking  song,  "It  is  Better  to  Laugh." 
While  the  feast  is  at  its  height,  a  bell 
tolls,  and  there  is  heard  the  sound  of  a 
chant  for  the  dead.  The  lights  fade 
out.  Hooded  monks  file  into  the  room 
and  behind  them  a  company  of  armed 
men  followed  by  Lucrezia  Borgia.  She 
reminds  them  of  their  deadly  insults  in 
Venice,  and  she  informs  them  they 
have  made  merry  on  Borgia  wine.  As 
a  reminder  of  its  potency,  curtains  are 
flung  back,  disclosing  five  narrow  cof- 
fins. To  her  horror,  however,  Gennaro 
steps  forward  and  demands  a  sixth.  As 
the  dying  guests  leave  to  enter  the  cur- 
tained room,  Lucrezia  desperately  of- 
fers her  son  the  phial  with  the  last  drop 
of  the  antidote.  Not  being  enough  to 
save  his  friends  also,  he  refuses,  even 
though  she  makes  known  to  him  that 
she  is  his  mother.  It  is  but  to  accord 
him  the  privilege  of  dying  in  her  arms. 
When  the  Duke  enters  a  few  moments 
later  it  is  to  find  that  she  also  has  taken 
the  fatal  draught,  and  lies  beside  her  son. 

THE  VICTOR  RECORDS 
BRINDISI 

(It  Is  Better  to  Laugh)  ERNESTINE 
SCHUMANN-HEINK,  Contralto.  In 
German  88188  12-in.,  31.75 

SOPHIE     BRASLAU,     Contralto.       In 

Italian  64468     10-in.,     1.25 

It  is  better  to  laugh  than  be  sighing. 

When  we  think  how  life's  moments  are  flying; 

For  each  sorrow  Fate  ever  is  bringing, 

There's  a  pleasure  in  store  for  us  springing. 

Tho'  our  joys,  like  to  waves  in  the  sunshine, 
Gleam  awhile,  then  are  lost  to  the  sight, 

Yet,  for  each  sparkling  ray 

That  so  passes  away, 

Comes  another  as  brilliant  and  light. 


LADY  MACBETH:  Come,  gentle  my  lord, 

Sleek  o'er  your  rugged  looks! 
(Macbeth— Act  III.) 

MACBETH 


OPERA  in  four  acts.  Text  by 
Piave  and  Andrea  Maffei,  after 
Shakespeare;  music  by  Verdi. 
First  produced  at  the  Pergola,  Florence, 
March  17,  1847.  This  version  was 
given  in  New  York  in  1848.  The  opera 
was  revised  by  the  composer,  trans- 
lated into  French  by  Nuitter  and 
Beaumont,  and  given  at  the  Theatre 
Lyrique^  Paris,  April  21,  1865,  with 
Ismae'l  as  Macbeth. 

The  opera,  which  received  scant 
praise  in  Italy,  and  still  less  in  other 
countries,  follows  closely  the  familiar 
Shakespeare  tragedy.  One  of  the 
most  interesting  airs  is  the  "Paterna 
Mano"  (My  Paternal  Hand).  This 
however,  is  one  of  the  numbers  written 
for  the  Paris  version,  as  the  original 
work  had  no  part  for  the  tenor. 

THE  VICTOR  RECORD 

AH,  LA  PATERNA  MANO 

(My  Paternal  Hand)  ENRICO  CARUSO, 
Tenor  In  Italian  88558     12-in.,  ?1.75 

203 


O  figli,  o  figli  miei! 

Da  quel  tiranno  tutti  uccist  voi  foste 

E  insiem  con  voi  la  madre  sventurata! 

Ah,  la  paterna  mano 

Non  vi  fu  scudo,  o  cari, 

Dai  perfidi  sicari 

Che  a  morte,  a  morte  vi  ferir! 

E  me  fuggia-sco  occulto, 

Voi  chiamavate,  voi  chiamavate  invano 

Coll'ultimo  singulto, 

CoH'ultimo,  coll'ultimo  respir. 

Ah!  Trammi  al  tiranno  it  faccia, 

Signore,  e  s'ei  mi  sfugge, 

Possa  a  colui  le  braccia 

Del  tuo  perdono  aprir! 

My  children!  Oh  ye,  my  children! 
By  what  a  tyrant  were  ye  murder'd? 
With  your  hapless  mother  also! 
Ah!  my  paternal  hand 
Could  no  assistance  yield  ye. 
Nor  from  the  murd'rers  shield  ye, 
Who  at  your  lives  did  aim! 
Your  voices  still  were  calling 
While  I  to  hide  was  flying 
With  your  last  sobs  and  sighing 
They  call'd  upon  my  name! 
Ha!  bring  me  before  the  tyrant, 
My  Lord,  and  should  he  'scape  me, 
He  may  your  pardon  claim! 

Copy't  G.  S.  Schirmer  1904 


PINKERTON  S    JAPANESE    HOME 


204 


MADAME   BUTTERFLY 


EARLY  in  1900,  an  American  pro- 
ducer needed  a  play  with  which 
to  save  a  rather  disastrous 
season,  and  finding  possibilities  in  the 
story,  fashioned  "Madame  Butterfly" 
in  considerable  haste.  It  was  a  success. 
The  all-night  vigil  was  especially  attrac- 
tive. The  play  then  went  to  London, 
where  it  was  seen  by  the  stage  manager 
of  the  Covent  Garden  Opera.  Knowing 
Puccini  needed  a  successor  to  "La 
Tosca,"  he  wired  the  Italian  composer, 
who  came  on  immediately,  and  fell  in 
love  with  "  Madame  Butterfly,"  though 
he  did  not  at  this  time,  it  is  said, 
understand  a  word  of  English. 

The  opera,  "Madame  Butterfly" 
was  produced  at  La  Scala,  February  17, 
1904.  Strange  to  say  it  was  a  fiasco. 
It  is  hard  to  account  for  this  save  on 
the  ground  that  Italian  audiences  are 
notoriously  parochial  in  operatic  mat- 
ters. They  did  not  seem  to  have 
relished  the  Japanese  setting.  Viva 
Italia!  The  opera  was  withdrawn, 


and  Puccini  made  a  few  changes, 
notably  omitting  the  all-night  vigil 
which  had  been  so  successful  in  the 
play.  Three  months  later,  the  work 
was  given  a  new  production  at  Brescia, 
this  time  with  success.  After  a  trial 
performance  in  Washington,  D.  C., 
an  English  version  ran  for  several 
months  at  the  Garden  Theatre,  New 
York,  under  the  management  of  the 
Savage  Opera  Company,  and  a  Metro- 
politan  performance,  of  course  in 
Italian,  was  given  February  11,  1907. 
Since  then  it  has  become  one  of  the 
most  popular  of  all  operas. 

While  much  of  this  success  is  due  to 
the  dramatically-conceived  play,  much 
more  is  due  to  Puccini's  music,  which 
attains  a  quality  not  exceeded  by  any 
of  this  composer's  works,  and  perhaps 
equalled  only  in  "La  Boheme."  The 
composer  makes  free  use  of  Japanese 
themes,  but  he  is  frankly  Italian,  as  a 
rule,  in  the  emotional  parts.  And  in 
these  he  is  more  than  successful. 


TH  E    OPERA 


OPERA  in  two  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)  oc- 
curred in  October,  1906,  in  Washing- 
ton, D.  C.,  by  Savage  Opera  Company. 
Produced  in  English  at  the  New  Orleans 
Opera,  January  9,  1907,  and  in  French 
January  6,  1912.  First  representation 
in  Italian  at  Metropolitan  Opera 
House,  February  11,  1907,  with  Farrar, 
Caruso,  Homer  and  Scotti,  and  from 
six  to  eight  performances  have  been 
given  each  season  since  that  time. 


CHARACTERS 

MADAME  BUTTERFLY  (Cho- 

Cho-San) Soprano 

SUZUKI,  Cho-Cho-San's 

servant Mezzo-Soprano 

B.  F.  PINKERTON,  Lieutenant  in  the 

United  States  Navy Tenor 

KATE  PINKERTON,  his  American 

wife Mezzo-Soprano 

SHARPLESS,  United  States  Consul 

at  Nagasaki Baritone 

GORO,  a  marriage  broker Tenor 

PRINCE  YAMADORI,  suitor  for 

Cho-Cho-San Baritone 

THE  BONZE,  Cho-Cho-San's 

uncle Bass 

TROUBLE,  Cho-Cho-San's  child 

Cho-Cho-San's  relations  and 

friends — Servants 
At  Nagasaki,  Japan — Time,  the  Present 


205 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  I 

SCENE — Exterior  of  Pinkerton's 
House  at  Nagasaki 

IT  is  all  vastly  amusing !  This  match- 
box of  a  house  and  its  sliding  panels, 
convertible  rooms,  neat  and  ingenious 
devices;  and  ridiculously  inexpensive! 
Pinkerton  is  charmed  and  amused  as 
the  self-important  Goro  shows  him  over 
the  little  house  he  is  to  share  with  his 
"Japanese  wife"  during  a  not-too- 
prolonged  stay  in  Japan.  Presently 
Sharp/ess,  United  States  Consul,  turns 
up.  Pinkerton  tells  him  delightedly 
about  the  whole  thing  and  plans  the 
"wedding."  The  consul  has  a  dim 
suspicion  that  the  experiment  may  turn 
out  more  seriously  than  the  sailor  an- 
ticipates, but  Pinkerton  will  not  listen 
to  hints  of  tragedy.  They  argue  the 
matter  in  a  magnificent  duet;  the 
"Amore  o,grillo"  (Love  or  Fancy?) 

Pinkerton 's  share  of  this  music  is  a 
splendid  melody  which  grows  in  life 
and  energy  until  a  sudden  modulation 
shifts  the  tonality  from  B  flat  to  D 
flat,  and  it  is  repeated  a  minor  third 
higher  in  pitch,  in  a  region  calling  for 
the  most  brilliant  of  tenor  tones. 
Sharp/ess,  as  becomes  his  greater  age 
and  dignity,  is  given  a  more  dignified 
part.  The  voices  combine  at  the  end 
for  a  brilliant  climax,  when,  having 
filled  their  glasses,  they  drink  to  "folks 
in  America,"  and  to  the  time  when 
Pinkerton  will  have  a  "real"  wedding 
back  there  in  "God's  country." 

As  the  two  men  are  looking  out  over 
the  glorious  scenery,  they  see  a  group 
of  girls  approaching.  Among  them  is 
Cho-Cho-San  -  "Madame  Butterfly" 
herself. 

The  warmth  and  freshness  of  her 
first  melody,  the  entrance  of  Cho-Cho- 
San,  fully  express  the  girl's  youth  and 
the  awakening  of  springtime  in  her 
heart.  Curious  successions  of  har- 
monies (mostly  augmented  fifths)  lead 


to  a  melody  which  is  to  be  heard  again 
in  the  finale  of  the  act,  in  much  nobler 
form.  The  throbbing  of  the  orchestra 
perfectly  symbolizes  her  meaning  as 
she  tells  her  girl  companions  how  she 
has  hastened  here  at  the  call  of  her 
own  beating  heart. 

Madame  Butterfly  is  duly  introduced. 
She  vastly  entertains  her  American 
lover  with  the  stories  of  her  relations; 
an  awkward  moment  is  achieved  when 
she  speaks  of  her  dead  father  and  the 
grinding  poverty  of  her  lot  since  the 
misfortune  of  his  loss.  A  very  pathetic 
melody  used  here  is  heard  in  "leri  son 
salita',"  in  a  beautifully  augmented 
form. 

Swarms  of  relatives  now  arrive  and 
the  amused  Pinkerton  signs  the  wed- 
ding papers — by  which,  for  the  paltry 
sum  of  one  hundred  yen,  he  acquires 
the  deliciously  attractive  little  maiden 
who  has  come  to  him,  arrayed  in  white 
like  a  real  American  bride.  During 
the  formalities  she  entertains  him  by 
withdrawing  from  her  capacious  sleeves 
her  small  possessions — -silk  handker- 
chiefs, a  pipe,  a  tiny  silver  buckle,  a 
fan,  a  jar  of  carmine,  and — with  great 
solemnity — the  sheath  of  a  dagger. 
The  laughing  Pinkerton  is  slightly 
puzzled  by  the  last,  and  seeing  that  it 
is  evidently  of  great  importance  to  the 
girl  he  asks  Goro  for  information.  It 
had  contained  a  knife  sent  to  her 
father  by  the  Mikado.  Something  in 
Goro  s  manner  induces  Pinkerton  to 
pursue  the  topic.  "And  her  father?" 

"  Was  obedient ! "  is  the  grim  answer. 
Pinkerton  is  thus  suddenly  reminded 
that  he  is  in  a  land  given  to  seppuku, 
or  "hara-kiri,"  a  condemned  gentle- 
man's privilege  to  die  by  his  own  hand. 
Not  all  is  tea  and  incense  and  chrys- 
anthemums. 

The  girl  also  brings  from  her  capa- 
cious sleeves  her  ottoke — images  of  her 
forefathers — which  the  young  officer 
examines  curiously.  He  does  not  take 


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PHOTO  HALL 


THE  MARRIAGE  SCENE — ACT  I- 


them  very  seriously.  It  is  then,  how- 
ever, that  the  girl  confides  in  him  the 
fact  that  she  has  been  to  the  Mission 
and  has  adopted  the  Christian  religion. 

This  is  the  "leri  son  salita"  (Hear 
Me).  The  melodv  is  an  expanded  form 
of  that  which  is  Heard  softly  and  ten- 
derly during  her  mention  of  her  father. 
In  it  she  pours  out  from  her  full  heart, 
her  confession  of  surrender  to  her 
American  lover.  She  promises  him, 
with  infinite  pathos,  that  she  will  "try 
to  be  frugal,"  remembering  that  he  has 
paid  for  her  the  vast  sum  of  a  hundred 
yen.  Almost,  she  declares,  she  can 
forget  her  own  race  and  kindred  for 
his  dear  sake. 

Pinker/on,  we  cannot  help  observing, 
does  not  realize,  even  remotely,  the 
power  of  her  devotion.  To  him  it  is 
simply  a  charming  if  casual  adventure. 
His  chief  concern  is  to  get  rid  of  the 
relatives,  for  which  purpose  he  plies 
them  with  saki  and  cakes.  As  they 
are  about  to  leave,  however,  Madame 
Butterfly's  uncle  rushes  in,  violently 
enraged.  He  asks  Madame  Butterfly 
what  she  has  been  doing  at  the  Mission. 
Guessing  that  she  has  forsworn  her 
religion,  he  and  her  relatives  are  in- 
dignant beyond  measure.  Her  mother 
intervenes,  but  is  pushed  angrily  aside. 


Finally  they  disown  her  altogether. 
The  girl  stands  petrified. 

Having  not  the  faintest  idea  what 
the  turmoil  is  all  about,  Pinkerton  re- 
sents the  intrusion;  he  eventually  dis- 
misses the  whole  gathering.  He  is 
perhaps  somewhat  amused;  but  it  is 
plain  that  Butterfly  is  deeply  perturbed. 
He  comforts  her,  and  now  that  they 
are  alone,  he  makes  ardent  love.  Her 
delightful,  shy  coquetry  fascinates  him. 
Well  is  she  named  "Butterfly"  The 
name,  however,  reminds  the  girl  that 
she  has  heard  how,  in  America,  butter- 
flies are  sometimes  caught  and  a  needle 
driven  through  their  struggling  bodies; 
is  that  true?  Pinkerton  admits  it  gaily, 
and  says  he  has  now  captured  his  little 
butterfly  and  she  is  his  forever,  no 
matter  how  she  may  struggle. 

In  a  fashion  that  perhaps  only  the 
East  may  know,  they  talk  on,  far  into 
the  afternoon,  until  the  sun  sets  and 
its  gold  and  scarlet  fires  die  out  and 
are  replaced  by  the  soft  glow  of  moon- 
light. They  sing  the  "O  quanti  occhi 
fisi"  (Oh  Kindly  Heavens). 

The  chief  melody  of  this  passionate 
love-duet  is  a  fuller  and  richer  variant 
of  the  melody  suggested  at  the  entrance 
of  Cho-Cho-San.  It  is  a  full-throated 
song  of  love,  soaring  upward  to  a  mag- 


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VICTROLA     BOOK     OF     THE      OPERA 


nificent  mid-climax,  which  ultimately 
quiets  down  till  the  voices  almost 
c^ase.  Then,  very  softly,  as  the  curtain 
descends,  we  hear  the  tender  melody 
used  at  the  mention  of  Butterfly's 
father,  and  used  again  in  "leri  son 
salita."  It  is  the  melody  of  Butterfly's 
sacrifice, 'the  quintessence  of  her  love 
for  the  man  who,  with  such  light- 
hearted  gaiety, goes  on  to  amuse  himself 
with  a  Japanese  wife,  in  a  little  match- 
box of  a  house,  in  a  ridiculously  charm- 
ing land  of  tea  and  chrysanthemums. 

ACT  II 

SCENE  I — Interior  of  Butterfly's  Home — 
at  the  back  a  Garden  with  Cher- 
ries in  Bloom 

THREE  years  have  now  elapsed 
since  the  wedding  of  Cho-Cho-San; 
Pinkerton  has  long  been  back  in  Amer- 
ica !  He  does  not  know  that  there  is  now 
a  little  son  in  the  match-box  house,  nor 
is  he  aware  that  the  money  he  left  is 
almost  gone.  Butterfly  remembers  how 
he  promised  to  return  "  when  the  robins 
built  their  nests";  so  far  he  has  not 
come,  though  the  robins  have  built 
thrice.  Suzuki,  the  maid,  insists  that 
she  never  heard  of  a  foreign  husband 
who  returned  to  his  Japanese  bride; 
Madame  Butterfly  at  once  flies  into  as 
royal  a  rage  as  Japanese  house-eti- 
quette permits.  At  length  she  quiets 
down  somewhat,  and  compels  the  maid 
to  say  "he  will  come";  but  the  tears 
in  Suzuki's  eyes  sadden  her  beyond 
words.  And  yet  somehow  they  serve 
in  the  end  to  strengthen  her  faith  in 
his  return.  This  finds  new  expression 
in  by  far  the  most  famous  air  in  the 
opera;  the"Un  bel  di  vedremo"  (Some 
Day  He'll  Come). 

This  melody,  with  its  peculiar  step- 
by-step  descent  from  a  high  G  flat 
curiously  wavering  before  each  long 
note,  is  one  of  the  most  haunting  of 
Puccini's  many  haunting  melodies,  and 
surely  the  one  most  strongly  associated 


with  this  opera.  There  are  many 
which  might  easily  belong  to  either 
"  Boheme,"  "Tosca"  or  "Butterfly  "- 
possessing  a  certain  family  resemblance 
which  undoubtedly  blurs  memory;  but 
this  is  not  so  with  "Un  bel  di  vedremo." 
It  is  Madame  Butterfly's  own  tune! 

Sharp/ess  comes  in  while  the  women 
are  discussing  their  affairs.  He  has  a 
difficult  task  to  perform.  He  has  re- 
ceived a  letter  from  Pinkerton  inform- 
ing him  that  there  is  now  an  American 
Mrs.  Pinkerton  and  that  Butterfly  is 
free  to  seek  a  Japanese  divorce.  His 
methods  must  be  delicate,  for  Butterfly 
has  faith  in  her  husband.  She  asks  her 
visitor  how  often  the  robins  nest  in 
America,  and  the  embarrassed  consul 
is  obliged  to  confess  that  he  is  no  orni- 
thologist. The  question  is  overheard 
by  Goro,  who  laughs  outright.  Madame 
Butterfly,  for  all  her  affection,  begins 
to  waver  at  Pinkerton 's  faithlessness. 
Goro,  however,  presents  Yamadori,  a 
wealthy  but  elderly  Japanese  who 
swears  he  is  dying  for  love  of  Butterfly. 
She  is  more  surprised  than  flattered; 
Yamadori  has  had  many  "consorts." 
Goro  withdraws  with  the  discomfited 
love-seeker,  and  Sharp/ess  renews  his 
efforts  to  read  the  letter.  This  leads 
into  the  "Ora  a  noi!"  (Letter  Duet). 

After  a  brief  introductory  passage 
the  orchestra  takes  up  a  melody  having 
a  distinctive  rhythmic  accompaniment 
soon  to  be  heard  again  during  the  all- 
night  vigil.  The  two  converse  to 
musical  phrases  cleverly  worked  into 
the  tonal  scheme  with  great  ease  and 
naturalness. 

Everything  Sharp/ess  reads  is  per- 
verted by  Butterfly  into  a  happy  as- 
surance that  her  husband  is  soon  to 
return.  So  he  is  obliged,  at  last,  to 
tell  her  bluntly  enough,  that  Pinkerton 
wants  no  more  to  do  with  her.  She  is 
furious,  and  she  sends  out  for  Suzuki 
to  show  this  impudent  man  the  gate. 
Her  natural  politeness  returns,  and 


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VICTROLA     BOOK     OF     THE      OPERA 


with  it  perhaps,  a  glimmering  doubt 
of  Pinkerton.  When  Sharp  less  asks 
her  what  she  will  do  if  he  fails  to  return 
she  says,  gravely,  that  there  are  two 
alternatives:  one  is  to  go  back  and 
entertain,  as  a  professional  geisha,  her 
friends  with  songs  and  games;  the 
other  is  to  kill  herself.  Sharp/ess  is 
horrified,  and  he  advises  her  to  marry 
Yamadori.  This  restores  her  faith  in 
her  husband,  and  to  convince  Sharpless 
she  orders  Suzuki  to  bring  Trouble 
— the  name  she  has  bestowed  on  her 
little  son.  The  consul  receives  a  second 
shock  to  learn  that,  unknown  to 
Pinkerton,  there  is  a  child.  The  worst 
of  it  is,  Pinkerton  is  about  to  return  to 
Nagasaki  with  his  American  bride. 

Madame  Butterfly  now  sings  a  piti- 
ful little  air  to  her  child,  the  "Sai 
cos'  ebbe  cuore"  (Do  You  Know  My 
Sweet  One). 

She  enjoins  little  Trouble  not  to 
believe  the  bad  man  who  says  her 
husband  would  leave  her,  forcing  her  to 
wander  through  the  streets  for  a  living. 

Sharpless  is  badly  upset.     He  goes 


away  wondering  what  the  outcome 
will  be.  Soon  after  he  has  gone  a 
cannon  shot  is  heard  booming  over  the 
water,  announcing  an  American  war- 
ship in  the  bay.  With  the  help  of  a 
telescope,  Butterfly  discovers  it  is 
Pinkerton  s  ship.  With  difficulty  she 
makes  out  the  vessel's  name,  the 
"Abraham  Lincoln." 

So,  then,  the  agony  of  waiting  is. 
over!  He  has  come  with  the  robins — 
her  lover,  her  husband,  her  adored  one! 
In  a  moment  the  two  women  are 
feverishly  rushing  to  the  garden  to 
gather  cherry  blossoms  to  deck  the 
house.  They  sing  the  joyous  "Tutti  i 
fior"  (Duet  of  the  Flowers). 

The  feverish  abandon  and  exultation 
of  this  number  make  it  memorable. 
It  throbs  with  excitement  from  start 
to  finish. 

Butterfly  hastens  to  put  on  the  wed- 
ding dress  she  wore  that  day  so  long 
ago,  so  that  she  may  greet  her  lover 
as  he  first  knew  her.  It  is  white,  the 
color  worn  only  for  love  and  death. 

But  night  is  falling,  and  as  it  is  un- 


COPY  T  MI-HKIS 

DESTINN  AS  BUTTERFLY 


COPY  T  DUPONT 

THE  LETTER  FROM  PINKERTON, 
ACT  II         (CERALDINE    FARRAR) 


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COPY'T    MISHKIN 

MARTIN   AS   PINKERTON 


VICTROLA     BOOK     OF     THE      OPERA 


likely  Pinkerton  will  come  before  the 
morrow,  Butterfly,  Trouble,  and  the 
maid  Suzuki  take  their  places  at  the 
window  and  the  long  night  vigil  com- 
mences. As  it  begins,  the  waiting 
motive  (a  sustained  melody  with  a 
peculiarly  haunting  rhythmic  accom- 
paniment) is  heard  in  the  orchestra, 
together  with  distant  voices  of  the 
sailors  on  the  vessel  in  the  harbor. 
This  music  is  included  in  the  recorded 
"Fantaisie"  by  Victor  Herbert's  Or- 
chestra. 

SCENE  II — Same  as  in  Preceding. 

IT  is  daybreak.  Suzuki,  exhausted, 
is  sleeping,  but  Butterfly  still  watches 
the  pathway  leading  up  the  hill.  The 
maid  awakens,  and  insists  that  her 
mistress  take  some  rest.  She  promises 
to  call  her  when  the  Lieutenant  ar- 
rives. While  Butterfly  sleeps,  however, 
her  husband  comes  with  Sharp/ess. 
Pinkerton  is  deeply  touched  at  finding 
that  Butterfly  has  been  faithful,  and 
that  a  child  has  been  born. 

Suzuki  beholds  a  lady  in  the  garden, 
wearing  European  dress,  and  she  learns 
that  it  is  Pinkerton 's  American  wife, 
Kate.  She  is  horrified  and  she  justly 
dreads  the  effect  of  this  news  upon  her 
mistress.  Weeping,  she  goes  to  Butter- 
fly's chamber,  while  the  friends  are 
left  to  their  bitter  reflections.  These 
find  expression  in  a  powerful  duet, 
"Ve  lo  dissi?"  (Did  I  Not  Tell  You?) 
It  is  in  semi-recitative,  an  admirable 
example  of  modern  musical  dialogue, 
made  intimate  with  rich  harmonies 
and  fluent  counterpoint.  Pinkerton 
seems  a  broken  man,  and  the  Consul 
again  reminds  him  to  beware  lest  the 
heart  of  Butterfly  suffer  likewise. 

Suzuki  returns,  and  the  duet  leads 
into  a  fine  trio,  "Lo  so  che  alle  sue 
pene"  (Naught  Can  Console  Her). 

Here  the  accompaniment  is  fuller 
and  more  melodic,  and  the  three  singers 
converse  in  especially  tuneful  phrases. 


Pinkerton  is  conscious  of  the  decora- 
tions, the  cherry-blossoms  so  lavishly 
scattered  about  the  little  match-box 
house  where  he  had  found  so  much 
happiness  in  days  gone  by.  But  they 
leave  before  Butterfly  comes,  and  in- 
stead of  Pinkerton  she  meets  Kate. 

The  introduction  of  Kate  into  this 
act  has  been  somewhat  criticised,  and 
her  role  is  usually  omitted  in  French 
productions.  She  is  kindly  and  sym- 
pathetic, and  she  offers  to  adopt 
Trouble  if  Butterfly  so  wills  it. 
Butterfly  learns  that  Pinkerton  has 
been  married  a  year,  and  she  is  sure 
now,  that  Pinkerton  s  love  for  her  is 
dead. 

With  this  fact  certain,  and  with  the 
welfare  of  her  child  made  certain,  the 
conviction  slowly  dawns  upon  the  mind 
of  the  wretched  Butterfly  that  she,  and 
she  alone,  stands  in  the  light  of  Pinker- 
ton's  complete  happiness.  There  is 
therefore  only  one  thing  she  can  do. 
She  takes  down  the  dagger  with  which 
her  father  has  fulfilled  the  iron  law  of 
his  race,  and  she  reads  the  inscription 
written  upon  its  blade:  "To  die  with 
honor  when  one  can  no  longer  live 
with  honor."  Then  comes  the  grand 
"Finale  Ultimo"  (Butterfly's  Death 
Scene). 

This  affords  a  wonderful  end.  In 
the  orchestra,  American  motives  are 
strangely  mingled  with  Japanese 
themes,  notably  the  theme  usually 
associated  with  Butterfly's  mystical 
fear  of  her  ancestors.  At  the  close, 
however,  a  stern  Japanese  melody, 
thundered  out  in  octaves  by  the  whole 
orchestra,  with  occasional  chords  to 
fix  the  tonality,  gains  the  day.  The 
final  chord  of  the  opera  is  arresting  to 
an  extraordinary  degree.  Many  music- 
lovers  are  curious  regarding  it,  and 
they  may  be  ^interested  to  know  it  is 
simply  a  first  inversion  of  the  sub- 
mediant  chord  of  the  prevailing  key, 
B  minor.  Instead  of  the  chord,  B,  D, 


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VICTROLA      BOOK     OF     THE      OPERA 


PHOTO  BYRON 


(Homer)  (Farrar) 

MADAME  BUTTERFLY — ACT  II,  SCENE  II 


F  sharp  the  ear  has  learned  to  expect, 
it  hears  B,  D,  G,  the  G  making  all  the 
difference. 

The  end  of  the  opera  soon  is  told. 
Butterfly  seats  her  child  on  a  little 
cushion,  giving  him  a  doll  and  an 
American  flag  to  play  with  while  she 
gently  bandages  his  eyes.  She  then 
goes  behind  a  screen  from  which  hangs 
a  long  white  veil.  The  knife  is  heard 
to  fall,  and  the  veil  disappears.  A 
moment  later  and  Butterfly  with  the 
veil  about  her  neck,  drags  herself 
toward  her  child.  As  she  reaches  him 
with  a  last  effort  of  her  failing  strength, 
Sharpless  and  Pinkerton  rush  in.  With 
a  feeble  gesture  the  dying  Butterfly 
points  to  the  child  and  expires.  Pinker- 
ton  kneels  beside  her  stunned  with 
horror,  and  Sharpless  takes  to  his 
knees  the  child,  still  playing  content- 
edly with  the  American  flag.  Then, 
as  that  stupendous  Japanese  melody 
rings  out  from  the  orchestra,  the  cur- 
tain falls.  Pinkerton  has  learned. 


THE  VICTOR  RECORDS 

(Sung  in  Italian  except  as  noted) 

ACT  I 
AMORE  O  GRILLO 

(Love    or    Fancy?)      ENRICO    CARUSO, 
Tenor  and  ANTONIO  Scorn,  Baritone 

89043     12-in.,  32.00 

ENTRANCE  OF  BUTTERFLY 

(Ancora  un  passo)  GERALDINE  FARRAR, 

Soprano  87004     10-in., 

FRANCES  ALDA,  Soprano  64334     10-in., 

IERI  SON  SALITA 

(Hear  What  I  Say)  GERALDINE  FARRAR, 
Soprano  87031     10-in., 

O  QUANTI  OCCHI  FISI 

(Oh     Kindly    Heavens)      GERALDINE 
•  FARRAR  and  ENRICO  CARUSO 

89017     12-in., 

ACT  II 
UN  BEL  DI  VEDREMO 

(Some    Day  He'll    Come)    GERALDINE 

FARRAR,  Soprano          88113     12-in., 

EMMY  DESTINN,  Soprano  88468     12-in., 

FRANCES  ALDA,  Soprano  74335     12-in., 


1.25 
125 


1.25 


2.00 


1.75 
1.75 
1.75 


211 


VICTROLA     BOOK     OF     THE      OPERA 


ORA  A  NOI 

(Now  at  Last)  (Letter  Duet)  GERALDINE 
FARRAR,Soprano  and  ANTONIO  SCOTTI, 
Baritone  89014  12-in.,  £2.00 

SAI  COS'  EBBE  CUORE 

(Do  You  Know,  My  Sweet  One) 
GERALDINE  FARRAR,  Soprano 

87055     lOin.,     1.25 
TUTTI  I  FIOR 

(Duet  of  the  Flowers)  GERALDINE 
FARRAR,  Soprano  and  LOUISE  HOMER, 
Conficalto  89008  12-in.,  2.00 


FRANCES   ALDA,   Soprano    and 
BRASLAU,  Contralto      89131 


SOPHIE 
12-in.,  32.00 

VE  LO  DISSI? 

(Did  I  Not  Tell  You?)  ENRICO  CARUSO 
and  ANTONIO  Scorn     89047     12-in.,     2.00 

LO  SO  CHE  ALLE  SUE  PENE 

(Naught    Can    Console   Her)    MARTIN, 
FORNIA  and  SCOTTI       87503     10-in.,     1.50 

BUTTERFLY'S  DEATH  SCENE 

(L' ultima   scena)    GERALDINE   FARRAR, 

Soprano  87030     10-in.,     1.25 

EMMY  DESTINN,  Soprano  91086     10-in.,     1.25 


DOUBLE-FACED    RECORDS 

Madame  Butterfly  Fantasie — Opening  of  the  Opera — -"Waiting  Music," 
Act  II — Duet,  Act  I — "Entrance  of  Butterfly" — "Love  Duet" — Finale, 
Act  I . .  .  .  Victor  Herberts  Orchestra  70055     12- 


J  Madame  Butterfly  Selection,  No.  1  .........................  Pryors  Band\ 

|     Bartered  Bride  Overture     (Smetana)  .......................  Pry  or'  s  Band) 


/Madame  Butterfly  Selection,  No.  2  .........  ......  ...........  Pryors 

\    -Tannhauser  Selection     (Wagner)  .........  .-  :  .............  ..  .Pryors  Band) 

/Madame  Butterfly  Fantasie  .....................  Rosario  Bourdon,  'Cellist\  ->r-,r  -, 

\     La  Boheme  Selection     (Puccini)  ..................  Vessella's  Italian  Band)** 

[O  quanti  occhi  fisi   Oh!  Kindly  Heavens)  ..............  Olive  Kline,  Soprano] 

\  Paul  Althouse,  Tenor  55058 

I     Aida  —  Fuggiam  gli  ardori     (Verdi)  .  .  .  Marsh-Althouse] 

Madame  Butterfly  Fantasie  ...................  Victor  Herbert's  Orchestra 

"Some  Day  He'll  Come"  —  "Waiting  Music,"  Act  II  —  "Indeed,  My 

Friend,  You're  Lucky,"  Act  I  —  Duet,  Act  I  —  "Oh,  Kindly  Heavens" 

A  Dream  of  Love     (Liszt)  .....................  Victor  Herbert's  Orchestra 


12- 


12- 


12- 


in.,  31.25 

in.,  1.35 

in.,  1.35 

in.,  1.35 


12-in.,     1.50 


/Some  Day  He'll  Come     (In  English) Agnes  Kimball,  Soprano\~r.  1 .      *~ 

\    Martha— Spinning  fVheel  Quartet Victor  Opera  Quartet) 


55094     12-in.,     1.50 
in.,     1.50 


PHOTO  BYRON 

FARRAR  AND  HOMER  IN  ACT  II 


212 


MADELEINE    DINES    WITH    HER    MOTHER 


MADELEINE 


ERIC  opera  in  one  act.  Text  by 
Grant  Stewart, based  upon  a 
short  French   play,  Je  dine  chez 
ma  Mere,  by  Decourcelles  and  Thibaut, 
long  a  standard  work  on  the  French 
stage.    Music  by  Victor  Herbert.    First 
performance  at  the  Metropolitan  Opera 
House,  New  York,  January  24,  1914. 

CHARACTERS    AND    ORIGINAL 
CAST 

MADELEINE  FLEURY  (Mah-duh-layn1 
Fluh-ree),  prima  donna  Frances  Alda 

NICHETTE  (Nee-shetf),  her  maid 

Leonora  Sparkes 

CHEVALIER  DE  MAUPRAT  (duh 

Moh-prali) Antonio  Pini-Corsi 

FRANC.OIS    (Frahn-zwah) ,   Due 
d'Esterre Paul  Althouse 

DIDIER  (Dee-dee-ay],  a  painter 

Andrea  de  Segurola 

Time  and  Place:    Salon  of  Madeleine's 

llmtse,  Paris;  New  Year's  Day,  1770 


THE  OPERA 

CONTINUING  the  policy,  begun 
\^t  in  1900,  of  making  an  annual  pro- 
duction of  an  opera  by  an  American 
composer,  the  management  of  the  Met- 
ropolitan Opera  House  brought  out  on 
January  24,  1914,  this  new  one-act 
opera  by  Victor  Herbert.  Mr.  Stew- 
art's English  text  is  familiar  in  Mrs. 
Burton  Harrison's  playlet,  frequently 
given  by  amateurs. 

Nichette,  the  maid,  is  in  high  spirits 
as  she  receives  the  many  gifts  for  Made- 
leine, for  today  is  New  Year's  day, 
which  all  good  French  people  spend  at 
home.  She  and  the  lackeys  arrange 
the  presents,  but  scuttle  out  when 
Madame  herself  appears  with  that  an- 
cient beau,  the  Chevalier  de  Mauprat. 
Madeleine  admires  the  beautiful  brace- 
let he  has  made  for  her,  and  she 
begs  him  to  dine.  But  alas!  it  is  impos- 
sible. Today  he  dines  with  his  mother. 


213 


V  I  C  T  R  O 


BOOK     OF     THE      OPERA 


Good  naturedly  the  prima  donna  ac-' 
cepts  the  excuse,  for  nothing  can  alter 
his  decision, — not  even  a  quail  with 
truffles  and  fresh  asparagus.  As  he 
bows  himself  out,  she  asks  Nichette  if 
Didier  ^  the  artist,  has  yet  brought  the 
picture  of  her  mother  which  he  has  been 
restoring.  He  has  not.  Madeleine  is  dis- 
appointed, but  she  is  very  happy.  She 
doubles  the  servants'  wages.  A  com- 
motion outside  announces  her  lover, 
Francis,  with  a  gift  of  four  high- 
stepping  English  thoroughbreds.  Made- 
leine is  enraptured,  and  begs  Francois 
to  dine  with  her.  But  Franfois,  too, 
must  dine  at  home.  Madeleine  is  dis- 
tinctly annoyed;  her  invitations  to  dine 
are  not  usually  so  treated.  But  Fran- 
fois  is  firm.  She  insists,  threatening 
to  close  the  door  upon  him  forever  if  he 
will  not  dine  with  her  today.  Gravely 
he  declines,  for  'today  is  sacred.  He 
loves  her.  Tomorrow  morning  he  must 
fight  a  duel  for  her  sweet  sake  with  the 
Baron  de  Fonfanges,  but  today  he  dines 
with  his  mother.  Now  fairly 'enraged, 
Madeleine  bids  him  begone,  vowing  she 
will  invite  the  Baron  and  wish  him  luck 
for  the  morrow.  No  sooner  does  Fran- 
fois  go  than  she  writes  her  letter.  But 
even  the  Baron  declines,  for  the  same 
reason  that  the  others  gave.  The 
singer  is  now  determined  to  have  some- 
body dine  with  her,  and  she  invites 
Nichette.  The  trembling  maid,  how- 
ever, reminds  her  that  today  of  all  days 
it  is  impossible,  Madame  has  given  her 
leave,  and  her  parents  are  expecting 
her.  Madeleine  grows  almost  hysteri- 
cal. She  dismisses  the  maid,  she  dis- 
misses all  her  servants  who  stand  help- 
lessly about  as  she  walks  to  and  fro  like 


the  proverbial  caged  panther.  In  the 
midst  of  all,  Didier  arrives  with  the 
picture  of  her  mother.  The  now  weep- 
ing Madeleine  confides  her  sorrows  to 
this  old  friend  of  her  youth.  Treating 
her  like  a  child,  he  finally  assuages  her 
tears.  But  of  course  he  cannot  accept 
her  invitation  to  dine,  as  today  he  dines 
at  home.  Will  she  not  dine  with  him? 
Eagerly  she  accepts.  Nichette  enters  in 
tears  to  say  good-bye,  but  Madeleine 
reinstates  her,  reinstates  all  the  ser- 
vants. She  borrows  one  of  Nichette 's 
dresses,  for  she  must  not  appear  too 
grand  before  Didier  s  peasant  parents. 
As  she  does,  she  realizes  it  is  unfair  to 
intrude  on  Didier  s  humble  abode 
under  false  pretences  at  such  a  time. 
She  decides  she  will  dine  at  home.  Ni- 
chette returns  to  say  that  she  has  told 
the  circumstances  to  her  mother,  who 
gives  her  permission  to  dine  with  Ma- 
dame. But  the  now  radiant  Made- 
leine sends  her  home  again,  reaffirming 
her  intention  to  double  the  salaries  of 
her  servants.  She  kisses  Didier  a  ten- 
der good-bye,  and  sits  down  at  the 
table,  placing  the  restored  portrait  in 
front  of  her.  She,  too,  will  dine  with 
her  mother!  And  tomorrow  she  will 
forgive  Francois.  As  she  sits  there 
alone,  a  last  ray  of  the  waning  sun 
strikes  through  the  window  upon  the 
portrait,  and  lovely  strains  of  soft  mu- 
sic from  the  orchestra  make  us  feel 
what  is  in  the  heart  of  this  spoiled  yet 
altogether  lovable  child. 

The  noted  composer  has  given  us 
some  characteristically  charming  melo- 
dies in  this  opera,  notably  Madeleine  s 
air,  "A  Perfect  Day."  But  there  are 
others,  too,  in  abundance. 


214 


THE    GREAT    INVOCATION    SCENE 


THE    MAGIC    FLUTE 


MOZART  wrote  and  produced 
"The  Magic  Flute"  in  1791, 
the  year  of  his  death.  He 
wrote  it  to  help  Schickaneder,  an 
actor-manager-musician  of  highly 
mingled  virtues  and  vices,  who  yet  had 
the  gift  of  winning  friends.  This 
musical  extravaganza  (for  that  is 
what  it  really  is)  was  highly  successful, 
and  it  relieved  Schickaneder  from  his 
financial  straits.  It  is  the  more  extra- 
ordinary, therefore,  that  this  manage- 
rial upstart  could  not  see  his  way  to 
help  Mozart  in  his  distress;  for  while 
the  cheery  people  of  Vienna  flocked 
nightly  to  see  the  amazing  "show" 
and  to  hear  the  master's  incomparable 
music,  Mozart  lay  dying  in  deepest 
poverty.  Within  a  few  hours  of  his 
last  breath  he  wished  he  might  conduct 
another  performance  of  the  work,  and 
he  smiled  when,  at  his  request,  some- 
body sang  Papageno's  air.  Yet  Mozart 
was  laid  in  a  pauper's  grave,  which  has 
never  since  been  located,  while  Schicka- 
neder waxed  fat.  So  humanity  con- 


serves chaff  and  throws  the  wheat  to 
the  four  winds  of  Heaven. 

THE  OPERA 

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,  1791,  Mozart 
directing.  First  Paris  production  as 
"Les  Mysteres  J'lsis,"  August  20,  1801. 
First  London  production,  in  Italian, 
in  1811;  in  German,  1833;  in  English, 
1838.  FirstNew York  production 
April  17,  1833,  at  the  Park  Theatre,  in 
English,  and  not  again  until  November 
21,  1859,  when  it  was  given  at  the 
German  Theatre  in  Italian.  Later 
productions  included  that  of  1876, 
with  Carlotta  Patti;  at  the  Grand 
Opera  House,  with  di  Murska,  Lucca 
and  Ronconi;  and  at  the  Academy 
with  Gerster. 

The  latest  revival  was  at   the 
Metropolitan  in    1912,  with   Destinn, 


215 


VICTROLA     BOOK     OF     THE      OPERA 


Hempel,  Homer,  Slezak  and  Lambert 
Murphy. 

CHARACTERS 

SARASTRO  (Sahr-ass'-troh^High  Priest 

of  Isis Bass 

O     (Tah-mee'-noh),    an 

Egyptian  Prince. Tenor 

PAPAGENO   (Pap-ah-jay'-noh), 

a  bird-catcher Baritone 

THE  QUEEN  OF  NIGHT.  .....  .Soprano 

PAMINA     (Pam-ee'-nah),     her 

daughter Soprano 

MONOSTATOS     (Moh-noh-stat'- 
oss),  a  Moor,  chief  slave 

of  the  Temple Baritone 

PAPAGENA  (Pap-ah-jay-nah) .  .  Soprano 
Three  Lady  Attendants  of  the  Queen; 
Three     Boys     belonging     to     the 
Temple;     Priests  and  Priest- 
esses;  Slaves;   Warriors; 
Attendants,  etc. 

The  Action  occurs  at  the  Temple  of  Isis 

at   Memphis,    about  the  Time    of 

Ramses  I 

ACT  I 

INTO  a  rocky  territory,  a  mysterious 
region  which  supplies  a  foreground 
to  the  Temple  of  the  Queen  of  Night, 
the  Japanese  prince  Tamino  has  been 
chased  by  a  huge  serpent.  Separated1 
from  his  friends,  alone  with  this 
dreadful  creature,  amid  such  ominous 
surroundings,  and  desperately  fatigued, 
he  falls  into  a  faint.  Three  maidens 
from  the  castle,  veiled  attendants  of 
the  Queen,  slay  the  serpent  and  depart. 
When  Tamino  recovers,  he  finds  the 
serpent  dead,  and  no  one  near;  yet 
from  the  rocks  there  comes  the  piping 
of  a  syrinx.  Tamino  hides,  to  see  the 
performer,  who  is  none  other  than  the 
bird-catcher,  Papageno,  picturesquely 
arrayed  in  birds'  feathers.  In  a  merry 
song  this  odd-looking  creature  de- 
scribes his  calling,  and  Tamino,  gather- 
ing courage,  steps  forth  to  make  his 
acquaintance.  Papageno  is  not  of  a 


nature  to  deny  his  own  importance 
and  he  indicates  that  he  has  slain  the 
serpent.  He  is  somewhat  dismayed, 
therefore,  by  the  sudden  return  of  the 
veiled  ladies,  who  berate  him  for 
boastfulness,  and  lock  up  his  loose 
mouth  with  a  huge  padlock.  To 
Tamino,  however,  they  are  all  smiles. 
They  let  him  see  a  miniature  portrait 
of  Pamina,  the  lovely  daughter  of  the 
Queen  of  Night,  who  has  been  taken  off 
by  Sarastro,  the  Priest  of  Isis,  here 
represented  as  a  most  evil  being. 
Tamino  falls  in  love  with  the  picture, 
and  offers  to  restore  Pamina  to  her 
mother.  A  burst  of  thunder,  which 
nearly  kills  off  the  muzzled  Papageno, 
announces  the  Queen  of  Night,  who 
promises  that  if  Tamino  is  successful 
his  reward  shall  be  the  princess. 
As  Papageno  wishes  to  adventure 
with  his  new  friend,  in  the  hope  of 
finding  a  suitable  mate  for  him- 
self, the  padlock  is  removed,  and 
he  is  given  a  magical  chime  of  bells  to 
help  him  on  his  dangerous  journey. 
At  the  same  time,  Tamino  is  presented 
with  the  Magic  Flute,  whose  music 
endows  him  with  rather  more  than 
the  powers  of  that  Orpheus  whose 
music  made  the  very  trees  bow  their 
heads.  In  addition  three  genii,  lovely 
boys  who  are  "young,  beautiful,  pure 
and  wise,"  are  told  off  to  act  as  hidden 
yet  powerful  guardians.  It  is  these  three 
youths  who  are  so  unceremoniously 
made  over  into  servants  of  Sarastro 
in  the  next  act,  without  notice  being 
served  on  the  opera's  hearers.  Thus 
armed  and  equipped,  the  two  set  off. 
The  interesting  quintette  in  which 
these  doings  are  told  is  said  to  have 
been  planned  by  Mozart  during  a 
game  of  billiards,  to  which  it  appears 
he  was  at  least  as  fond  as  was  the 
philosopher  Herbert  Spencer. 

The  scene  changes  to  a  room  in  the 
Castle  of  Sarastro,  where  Pamina  is 
in  charge  of  the  Moor,  Monostatos. 


216 


VICTROLA      BOOK     OF     THE      OPERA 


This  gentleman  has  been  placed  in 
solemn  wardship  over  the  girl  by  the 
High  Priest,  but  he  breaks  faith  by 
making  love  to  Pamina,  who  lies  in 
chains,  weeping.  Just  as  the  Moor  is 
about  to  woo  her,  however,  Papageno 
enters.  The  Moor  is  as  scared  by  the 
feathered  man  of  the  woods,  as  the 
bird-catcher  is  by  the  Moor's  black 
face.  They  run  from  one  another. 
But  Papageno,  first  recovering  spirits, 
returns  to  comfort  Pamina  with  the 
tale  of  Tamino  s  quest,  and  his  deep 
love  for  her.  They  then  sing  a  charm- 
ing duet,  "La  dove  prende"  (Smiles 
and  Tears).  This  delightful  number, 
with  its  grace  and  inimitable  gaiety, 
introduces  the  melody  of  an  old  song, 
"Bei  Mannern." 

Meantime  the  three  genii  lead 
Tamino  into  a  beautiful  grove,  where 
are  three  temples  dedicated  to  Wisdom, 
Nature  and  Reason.  Admonished  to 
be  "steadfast,  patient  and  silent," 
he  is  left  alone  in  this  sacred  and 
mysterious  place.  He  then  knocks  at 
each  of  the  temple  doors.  Entrance 
is  sternly  denied  him  at  the  first  two. 
From  the  Temple  of  Wisdom,  however, 


steps  an  aged  priest,  from  whom  he 
learns  that  he  is  at  the  abode  of 
Sarastro,  and  that  admission  is  re- 
fused anyone  whose  heart  entertains 
hatred  or  the  desire  for  vengeance. 
He  remonstrates,  but  is  told  that  he 
has  been  deceived  by  a  woman  of 
evil  omen,  and  that  Pamina  has  been 
removed  for  her  own  good.  He  cannot 
even  learn  if  the  girl  is  living,  for  the 
priest  is  bound  to  silence  by  an  oath. 
Voices  from  the  temples,  however, 
answer  his  question  in  the  affirmative, 
he  he  learns  that  he  may  be  admitted 
only  by  solemn  initiation.  Beginning, 
in  his  delight,  to  play  upon  his  magic 
flute,  he  soon  dnaws  aoout  him  the 
strange  creatures  of  the  wood.  Papa- 
geno comes  with  Monostatos,  but  they 
are  set  upon  by  Pamina  and  her  slaves. 
Papageno^  by  his  magic  chime,  compels 
the  girls  to  dance,  and  leads  them 
away.  Thus  Pamina  and  Tamino 
meet.  Solemn  strains  of  music  are 
heard,  and  soon  the  High  Priest, 
Sarastro  himself,  appears.  He  agrees 
to  unite  them  but  only  after  they 
have  been  proven  worthy.  They 
kneel  before  him,  their  heads  are  veiled, 


I  UC\      I      III    I-IIN  I 

CAUSKI    AS    PAMINA 


PHiilii    HURT  PHOIO    WILI.IN'.m 

PAPACENA    AND    PAPAGENO  PAPAGENO 


217 


VICTROLA     BOOK     OF     THE     OPERA 


and  they  are  ushered  into  the  Temple 
of  Probation  as  the  curtain  descends. 

ACT  II 

BEFORE  a  great  gathering  of  the 
Elect,  in  a  forest  before  the  Temple 
of  Wisdom,  the  lovers  are  initiated. 
The  priests  assemble,  and  Sarastro 
sings  the  magnificent  "Invocation" 
(Great  Isis),  praying  the  gods  Isis 
and  Osiris  to  give  strength  to  the 
neophytes. 

The  stately  melody,  with  its  solemn 
harmonies,  enhanced  by  the  sombre 
coloring  of  the  deeper-toned  orchestral 
instruments  of  the  orchestra,  affords 
an  indeed  impressive  number. 

The  priests  accept  them,  their 
promotion  being  announced  by  three 
trumpet  calls  like  those  heard  in  the 
Overture.  Papageno  is  also  admitted, 
as  a  probationer.  Tamino  and  his 
comrade  are  solemnly  warned  against 
the  deceitfulness  of  women,  and  their 
trials  begin.  They  are  left  alone  but 
a  short  while  when  the  Queen  of  Night 
magically  appears  with  her  three  veiled 
attendants.  She  thinks  to  terrify  them 
with  stories  of  the  priests.  Papageno^ 
at  least,  is  affected.  Voices  from 
within,  however,  proclaim  the  sanctity 
of  the  temple,  and  the  ladies  disappear. 
Pamina  also  is  tempted  by  the  Queen 
of  Nighty  who  rises  from  the  earth  and 
gives  her  a  dagger,  telling  her  that  she 
must  slay  Sarastro  if  she  will  have 
Tamino.  Pamina  hesitates,  and  her 
mother  threatens  vengeance  upon  all, 
in  the  terrifyingly  dramatic  "Aria 
della  Regina"  (The  Queen's  Air). 

This  is  famous  not  only  for  its  beauty 
but  for  its  extreme  technical  difficulty, 
more  especially  for  its  remarkable 
range.  It  was  specially  composed  by 
Mozart  for  his  sister-in-law,  who  first 
played  the  role. 

The  Queen  is  confronted  by  the 
entrance  of  Sarastro^  who  declares  that 
in  punishment  her  daughter  shall 


marry  Tamino.  He  then  sings  a  noble 
air,  justly  considered  one  of  the  finest 
of  basso  numbers,  the  "Qui  sdegno 
non  s'accende"  (Within  These  Sacred 
Walls). 

Meantime  the  probationary  trials  of 
Tamino  and  Papageno  continue.  They 
are  taken  into  a  large  hall  and  told  to 
keep  silent  till  they  hear  a  trumpet 
call.  The  bird-catcher  begins  chatter- 
ing with  an  old  woman,  but  a  thunder- 
clap reduces  him  to  terrified  silence. 
The  three  genii  bring  a  table  of  food, 
and  the  flute  and  bells,  and  he  is  at 
once  restored.  The  hardest  trial  for 
Tamino  is  when  Pamina  is  suffered  to 
pass  through,  and,  unaware  of  his 
compulsory  silence,  is  led  to  believe 
that  he  has  ceased  to  care  for  her. 
She  expresses  her  grief  in  a  pathetic 
little  air:  "Ach  ich  fiihl's,  es  ist 
verschwunden "  (My  Happiness  Has 
Flown).  The  girl  is  distressed;  she  tries 
to  kill  herself,  but  she  is  prevented  by 
the  three  genii^  who,  by  order  of 
Sarastro^  assure  her  that  all  will  end 
well.  Other  trials  await  the  neophytes, 
a  lion  appears,  but  is  tamed  by 
Tamino 's  flute;  the  youth  is  condemned 
to  walk  for  a  space  through  flood  and 
flame,  for  which  he  enters  a  subter- 
ranean cave,  guarded  by  two  men  in 
armor;  and  there  is  much  more  fantasy 
of  the  pantomimic  order,  accompanied 
by  divinely  beautiful  music.  In  the 
end,  however,  the  lovers  are  united 
in  the  sacred  temple.  The  Queen  and 
her  accomplices  try  to  prevent  the 
ceremony,  but  the  scenesuddenly 
changes  to  the  Temple  of  the  Sun, 
where  Sarastro  is  seen  on  his  throne 
with  Tamino  and  Pamina  beside  him, 
while  the  baffled  Queen  sinks  into  the 
earth.  Papageno  also  is  made  happy, 
when  the  old  woman  he  talked  with  is 
magically  changed  into  the  charming 
Papagena,  arrayed  in  bird-feathers 
like  himself.  Out  of  this  farrago  is 
built  a  magnificent  opera. 


218 


VICTROLA      BOOK     OF     THE      OPERA 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  noted) 


ACT  I 
LA  DOVE  PRENDE 

(Smiles  and  Tears)  EMMA  EAMES,  So- 
prano, and  EMILIO  DE  GOGORZA,  Bari- 
tone 89003  12-in.,  32.00 

ACT  II 
INVOCATION 

(Great  Isis)    POL  PLANC.ON,  Bass 

(Piano  ace.)  85042     12-in.,     1.75 

MARCEL  JOURNET,  Bass     In  French 

64235     10-in.,     1.25 
Great  Isis,  great  Osiris! 

Strengthen  with  wisdom's  strength  this  tyro 

pair; 
Ye  who  guide  steps  where  deserts  lengthen, 

Brace  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, 
Take  them  elect  to  your  abodes! 

ACH  ICH  FttHL'S,  ES  1ST  VER- 
SCHWUNDEN 

(My  Happiness  Has  Flown)  EMMY  DES- 
TINN,  Soprano    In  German 

88510    12-in.,     1.75 
PAMINA: 

Wretch  that  I  am,  too  well  I  know 
Naught  is  left  me  but  to  mourn, 
Condemn'd  to  drain  the  cup  of  woe, 

Joy  to  me  will  ne'er  return. 
Oh,  Tamino,  if  for  thee, 

My  sighs  and  bitter  tears  are  vain, 
Come,  kind  death,  in  pity  free 
My  weary  l>osom  from  its  pain! 


DOUBLE-FACED  RECORD 

O  Isis  und  Osiris  (Chorus  of  Priests,  "Grand  Isis!")     (In  German) 

Metropolitan  Opera  Chorus\  ,j 
Huguenots — Coro  di  Soldati  (Soldiers'  Chorus)     (In  Italian) 

Metropolitan  Opera  Chorus) 


in:,      jn  QQ 


CHOTO  WHITK    THK   HI(!H   I'RIK.ST  BI.KSMNC  THF.   LOVERS 
2\<) 


FARFLAFL 

AS  MANON 


MANON 


MUCH  of  this  opera  was  com- 
posed by  Massenet  in  the 
summer  of  1882,  in  the  very 
room  in  which  the  Abbe  Prevost  had 
lived  in  The  Hague.  "His  bed,"  Mas- 
senet remarks,  "a  great  cradle  shaped 
like  a  gondola,  was  still  there."  No 
doubt  these  surroundings  aided  him  to 
create  Manon,  one  of  the  loveliest  and 
most  pathetic  figures  in  all  opera,  as 
she  is  in  French  literature.  There  is  so 
much  natural,  spontaneous  girlishness 
and  grace  about  her  that  the  misfor- 
tunes which  befall  the  girl,  even  though 
they  come  about  by  her  own  self-indul- 
gence, seem  like  enormous  crimes.  In 
the  eyes  of  the  moralist  there  was  no 
excuse  for  Manon,  yet  she  was  none  the 
less  beautiful.  Her  siren-loveliness  led 
men  to  their  destruction,  yet  no  man 
could  quarrel  with  her.  Des  Grieux 
not  only  loved  her,  but  understood  her. 
He  knew  that  she  loved  pretty  things 
to  wear,  sparkling  gems,  silks  and  sat- 
ins, better  than  she  loved  him,  yet  he 
sinned,  as  men  so  often  sin,  for  her  sake 
bringing  down  disgrace  upon  himself 
and  ruin  upon  others.  And  the  charm 
of  her  held  him  to  the  last.  He  offered 
her  gold  for  her  silver,  reckless  love  for 
petty  affection  which  was  all  she  was 
capable  of  giving.  Tragedy  followed. 


Possibly  alone  among  modern  com- 
posers could  Massenet  deal  with  this 
modern  Helen  of  Troy.  In  his  subtly- 
wrought  score  she  stands  forth,  frail 
and  lovely  as  in  the  Abbe's  novel.  We 
do  not  need  his  reminiscences  to  tell  us 
that  he  long  desired  to  write  an  opera 
about  her.  He  was  born  to  the  task. 

The  opera  remains  one  of  his  great- 
est achievements;  and  it  is  pleasant  to 
think  that  he  reaped  from  it  some  bene- 
fit during  his  lifetime.  In  his  memoirs, 
written  shortly  before  his  death,  he  re- 
fers to  the  763rd  performance  of  the 
work.  Surely  a  remarkable  record  ! 

Massenet  and  his  librettist  departed 
considerably  from  the  details  related  by 
the  Abbe  Prevost,  notably  in  having 
Manon  die  in  the  arms  of  Des  Grieux  in 
Havre  instead  of  in  that  impossible, 
dry  "vast  plain"  so  unceremoniously 
dumped  into  the  swamps  of  Louisiana. 
In  such  a  work  as  this,  though,  mechan- 
ics matter  little.  It  is  Manon  alone 
that  counts.  The  external  mechan- 
isms of  the  plot  are  merely  designed  to 
reveal  her  character,  and  Massenet, 
seeing  this,  wisely  adapts  them  to  the 
modern  theatre.  Massenet  has  his 
critics,  but  none  denies  to  him  that 
acute  dramatic  sense  which  seems  to  be 
every  Frenchman's  natural  birthright. 


TH  E    O  PE  RA 


OPERA  in  four  acts.  Words  by 
Meilhac  and  Gille,  after  the 
novel  of  Abbe  Prevost.  Music  by 
Jules  Massenet.  First  production 
at  the  Opera  Comigue,  Paris,  January 
19,  1884;  at  Brussels,  March  15,  1884. 
First  London  production  May  7,  1885; 
in  English  by  the  Carl  Rosa  Company, 
at  Liverpool,  January  17,  1885.  In 
French  at  Covent  Garden,  May  19, 
1891;  in  Italy  at  Milan,  October  19, 
1893.  First  American  production  at 


New  York,  December  23,  1885,  at  the 
Academy  of  Music,  with  Minnie  Hauk, 
Giannini  and  Del  Puente.  First  New 
Orleans  production  January  4,  1894. 
Some  notable  revivals  were:  in  1895 
with  Sybil  Sanderson  and  Jean  de 
Reszke;  in  1896,  with  Melba  and  de 
Reszke;  in  1899  with  Saville,  Van  Dyk, 
Dufriche  and  Planc.on;  in  1909,  at  the 
Metropolitan,  with  Caruso,  Farrar, 
Scotti  and  Note;  and  in  1912,  with 
Caruso,  Farrar,  Gilly  and  Reiss. 


221 


V1CTROLA     BOOK     OF     THE      OPERA 


CHARACTERS 

CHEVALIER  DES  GRIEUX   (Day 

Gree-uh) Tenor 

COUNT  DES  GRIEUX,  his  father. . .  .  Bass 

LESCAUT    (Les-koh),    Manon's 
cousin,  one  of  the  Royal  Guard 

Baritone 

GUILLOT     MORFONTAIN     (Mohr- 

fon-tahn),  a  roue,  Minister  of 
France Bass 

DE   BRETIGNY  (Duh  Bray-teen'- 
ye),  a  nobleman Baritone 

MANON    (Mahn'-on),    a    school 

girl Soprano 

People,  Actresses  and  Students 

Time  and  Place:  1721;  Amiens,  Paris, 
Havre 

ACT  I 

SCENE — Courtyard  of  an  Inn  at  Amiens 

IN  this  age  of  the  railway,  we  are 
prone  to  forget  how  great  a  part  in 
the  life  of  the  people  of  the  past  was 
played  by  the  inn.  It  was  the  gather- 
ing place  of  the  convivial,  the  depot  for 
.  travellers  and  the  meeting  place  of 
friends.  Among  the  crowd  gathered  to 
meet  the  coach  in  the  Inn  Courtyard  is 
Lescaut,  who  has  come  to  meet  his 
cousin  Manon,  and  to  escort  her  to  a 
convent.  Lescaut  is  a  soldier,  and  a 
good  deal  of  a  rascal.  He  is  pleasur- 
ably  surprised  to  find  his  cousin  as 
charming  as  she  is  unsophisticated. 
He  accepts  her  proffered  lips  in  cousinly 
greeting,  and  he  hastens  within  to 
engage  rooms. 

No  sooner  has  he  gone  than  the  old 
roue  Guillot  trots  out  and  begins  to  pay 
court  to  the  girl.  Manon  is  amused 
and  a  trifle  flattered.  Others  of  the 
crowd  make  game  of  the  old  libertine, 
who  is  not  easily  thwarted.  He  is 
called  away,  however,  by  Bretigny,  his 
travelling  companion.  Among  those 


who  remark  Manon  are  three  girls  of 
doubtful  character,  beautifully  cos- 
tumed. Their  fine  apparel  is  not  lost 
upon  Manon,  who  thinks  between  sighs 
and  tears  of  her  own  sad  lot,  and  her 
approaching  gray  life  in  a  convent. 
Her  musings  are  interrupted  by  Des 
Grieux,  who  now  approaches  and  pays 
his  own  addresses.  The  famous  duet 
follows,  "Et  je  sais  votre  nom"  (If  I 
Knew  Your  Name).  The  two  quickly 
become  acquainted,  and  in  the  passion- 
ate climax  it  is  evident  their  attraction 
is  to  be  a  strong  one.  The  story  con- 
tinues in  the  "Non,  votre  libertene  sera 
pas  ravie"  (You  Shall  Remain  Free). 

A  carriage  previously  placed  at  the 
disposal  of  the  young  girl  by  the  infat- 
uated Guillot  unexpectedly  draws  near; 
intoxicated  with  her  new-found  love, 
she  suggests  they  fly  together  to  Paris. 
Des  Grieux  joyfully  agrees  and  in  their 
second  duet,  the  "Nous  vivrons  a 
Paris"  (We  Will  Go  to  Paris),  they 
carol  rapturously  of  their  life  together. 
Presently  Manon  hears  the  voice  of  her 
cousin,  Lescaut,  and  the  two  jump  into 
the  carriage  and  depart. 

Lescaut  comes  out  of  the  inn  grumb- 
ling. He  has  lost  his  money.  He  is 
soon  to  learn  that  he  has  lost  his  cousin 
also.  Guillot  appears,  and  the  angry 
soldier  accuses  him  of  having  taken  off 
Manon.  A  crowd  assembles  to  watch 
the  fun,  but  the  innkeeper  tells  them 
that  Manon  has  departed  with  a  young 
man.  "Listen!"  he  says,  and  faintly 
they  hear  the  rattle  and  the  galloping 
hoof-beats  of  the  departing  coach. 

ACT  II 

SCENE — Apartment  of  Des  Grieux  and 
Manon  in  Paris 

DES  GRIEUX  is  writing  at  a  desk 
while  Manon  is  looking  over  his 
shoulder.    He  is  writing  to  his  father 
and  trembles  for  fear  the  old  man  may 
read  in   anger  what   he    writes    from 


222 


VICTROLA     BOOK.     OF     THE      OPERA 


his  heart.  " Afraid  ?"  says  Manon.  "Ah 
well,  then  we'll  read  it  together."  Then 
follows  the  well-known  "On  1'appelle 
Manon"  (She  Is  Called  Manon).  It  is 
a  charming  duet,  beginning  with  a 
simple  and  charming  melody. 

Some  little  glint  of  Manon's  weak- 
ness is  visible  in  her  answer  to  his  glow- 
ing phrase,  "In  her  eyes  shines  the  ten- 
der light  of  love."  "Is  this  true?" 
asks  Manon.  Des  Grieux  is  soon  to 
ask  himself  that  same  question.  As  he 
passes  to  go  out,  he  remarks  a  bouquet 
of  flowers  mysteriously  left  for  Manon. 
She  returns  only  an  evasive  answer  to 
his  questions.  The  servant  declares 
that  two  soldiers  are  without,  dressed 
in  guardsman's  uniforms.  As  Des 
Grieux,  somewhat  perturbed  by  the 
sight  of  the  flowers,  opens  the  door  to 
leave,  the  two  soldiers  enter.  One  is 
Lescaut,  the  other  Bretigny,  who  has 
been  at  the  Inn  at  Amiens  and  has  no- 
ticed Manon 's  beauty.  Lescaut  loudly 
demands  satisfaction  of  Des  Grieux  for 
the  abduction  of  his  cousin.  Des 
Grieux  takes  him  off,  and  shows  him  the 


letter  to  his  father,  as  proof  of  his  hon- 
orable intentions.  Bretigny,  left  with 
Manon,  makes  the  best  of  his  time.  He 
tells  her  that  Des  Grieux  is  to  be  carried 
off  by  his  own  father  that  night,  and  he 
urges  her  to  fly  with  him.  Knowing 
that  Bretigny  can  give  her  the  pretty 
things  for  which  her  heart  so  longs, 
Manon  hesitates — and  is  lost.  Lescaut 
again  becomes  vociferous,  but  this  time 
over  his  pretended  satisfaction  at  Des 
Grteux's  intentions  toward  the  girl.  He 
departs  with  Bretigny. 

Des  Grieux  also  goes  out  to  mail  his 
letter.  Manon,  left  to  herself,  strug- 
gles with  the  temptation  that  has  come 
to  her  but  the  struggle  is  brief,  as  her 
pathetic  little  song  reveals:  "Adieu 
notre  petite  table"  (Farewell,  Our  Lit- 
tle Table)  sings  Manon.  Farewell  to 
her  love  of  a  day — off  with  the  old  love 
and  on  with  the  new!  The  peculiar 
wistful  charm  of  this  melody,  the  play 
of  light  and  shadow  between  the  major 
and  minor  harmonies  of  its  accompani- 
ment, make  it  a  typical  Massenet 
aria,  French  in  form  and  content. 


COPY  T    Ml  Ml  KIN 
DE    SEGUROLA    AS    LESCAUT 


COPY  T    OUPONT 

AI.DA    AS    MANON 


CLEMENT    AS    DES    GRIKUX 


223 


VICTROLA     BOOK     OF     THE      OPERA 


Tears  come  into  Manon's  eyes,  but  at 
the  return  of  DCS  Grieux  she  tries  to 
hide  them.  He  sees  them,  none  the 
less,  and  tries  to  comfort  her.  He  sings 
the  familiar  "II  sogno"-  -"Le  Reve" 
(The  Dream). 

Very  tenderly,  to  a  soft,  murmurous 
accompaniment,  he  describes  the  little 
home  he  plans  to  share  with  her.  But  a 
knock  at  the  door  halts  the  dream,  and 
Manon  starts  guiltily.  "Oh  Heaven," 
she  cries,  "already  they  have  come 
for  him."  She  tries  to  prevent  her 
lover  from  opening  the  door,  but  he  in- 
sists, and  before  Manon's  suddenly  re- 
pentant eyes  he  is  captured  and  borne 
off.  She  gives  way  freely  to  her  grief 
and  despair. 

ACT  III 

SCENE  I — A  Street  in  Paris  on  a  Fete 
Day 

A  BIG  crowd  of  holiday-makers,  with 
the  usual  peddlers,  and  small-fry 
entertainers,  are  in  the  streets.  Lescaut 
enters,  and  later  Manon  accom- 
panied by  de  Bretigny.  Her  beauty 
is  remarked  by  the  people  about  her, 
and  the  flattery  goes  to  her  foolish 
head.  She  is  in  a  gay  mood,  reckless, 
daring,  but  always  delightful.  She 
sings  a  fine  vocal  gavotte,  "Obeissons 
quand  leur"  (Hear  the  Voice  of  Youth). 
A  stranger  approaches.  He  proves 
to  be  an  old  friend  of  Bretigny,  and  a 
gentleman  of  some  significance  to 
Manon.  It  is  the  Comte  .de  Grieux, 
father  of  Manon's  erstwhile  lover.  He 
vouchsafes  the  information  that  his  son 
is  about  to  enter  a  monastery.  Bretigny 
is  incredulous,  and  begs  him  to  explain. 
"Heaven  attracts  him,"  says  the  Count 
with  a  shrug.  Manon  knows  better. 
She  determines  to  go  and  see  him,  and 
calls  Lescaut^  bidding  him  take  her 
there.  Puzzled,  he  demurs;  but 
Manon,  petulant,  repeats  that  he  is  to 
take  her  to  St.  Sulpice.  And  to  St. 
Sulpice  this  singular  couple  go. 


SCENE  II — Reception  Room  at  St. 
Sulpice 

THE  Count  is  before  her.  He  does 
his  utmost  to  persuade  the  boy  to 
give  up  his  notion  of  a  holy  life.  Is 
he  to  tell  the  people  at  home  that  they 
have  a  "saint  in  the  family?"  He 
pleads,  he  grows  bitter,  he  grows  cyni- 
cal; he  is  everything  but  impolite,  and 
that  he  cannot  be.  But  it  is  all  to  no 
purpose.  Des  Grieux,  left  alone,  sings 
a  melody  of  altogether  haunting  love- 
liness, the  "Ah!  fuyez, douce  image !"- 
"Dispar,  vision  !"(Depart,  FairVision!). 
The  consciousness  of  Manon  obses- 
ses the  youth  even  here,  where  the  soul 
within  him  cries  out  for  peace. 

Des  Grieux  leaves  the  reception-room 
for  the  quiet  of  his  own  cell,  but  scarcely 
has  he  gone  when  Manon  appears, 
delicately  shuddering  at  the  gloomy 
walls  and  wondering  if  her  lover  has 
quite  forgotten  her.  She  sends  the 
porter  in  search  of  him.  Somewhere 
in  the  place  a  choir  is  heard  practicing 
a  Magnificat,  and  Manon,  always  af- 
fected by  her  surroundings,  begins  to 
pray  also.  By  the  time  Des  Grieux 
arrives  she  has  worked  herself  up  into 
a  fine  mood  of  repentance.  He  is  sur- 
prised to  see  her.  "Toi!  Vous!"  (Thou 
Here!)  exclaims  he. 

Des  Grieux  chides  her  for  her  perfidy, 
but  he  asks  Heaven  for.  strength  to  re- 
sist her  pleadings.  He  well  may;  for  her 
mood  of  repentance  is  no  less  charm- 
ing than  all  her  other  moods,  and  Des 
Grieux,  monk  or  no  monk,  is  a  .young 
man  in  love.  The  more  he  resists  the 
more  she  pleads.  "N'est-ce  plus  la 
main?"  (Is  it  Not  My  Hand?)  signal- 
izes the  real  climax  of  their  meeting, 
and  it  works  into  a  fine  frenzy  of  pas- 
sion. Des  Grieux  can  resist  no  longer. 
"Ah!  Manon!"  he  cries.  "No  longer  will 
I  struggle  against  myself!"  And  they 
depart  together.  Love  is  stronger  than 
determination,  and  impulse  stronger 
than  reason.  Fate  is  stronger  than  all. 


224 


VICTROLA     BOOK     OF     THE     OPERA 


ACT  IV 

SCENE — A  Gambling  Room  in  Paris 

IN  a  gambling-house  in  Paris,  Guillot 
and  Lescaut  are  playing  amid  a  mob 
of  croupiers  and  fellow-punters.  But 
everything  stops  when  Manon  enters 
with  Des  Grieux.  He  is  sad,  and 
Manon  rallies  him.  She  responds  to 
the  peculiar  environment  of  the  gamb- 
ling-den as  readily  as  she  did  to  that  of 
the  monastery,  and  now  she  is  all  se- 
duction. Des  Grieux  is  tempted.  Elu- 
sive as  quicksilver  ordinarily,  never 
was  Manon  more  soft,  more  siren-like 
than  tonight.  As  ever,  he  is  compelled 
to  yield  and  he  soon  engages  Guillot  in 
a  game  for  heavy  stakes.  He  wins,  and 
they  play  again.  Always,  with  Manon 
to  help  him,  he  beats  his  rival,  who 
soon  comes  to  believe  that  he  is  being 
cheated.  There  is  a  great  scene;  but 
finally  Guillot  leaves.  Manon  desires 
to  go,  too,  but  Des  Grieux  insists  that 
if  they  go  now  it  may  seem  as  though 
Guillot' s  charges  are  true. 

Soon  there  is  a  knocking  at  the  door, 
and  the  police  enter  with  Guillot,  who 
gives  in  charge  both  Manon  and  Des 
Grieux.  Nor  is  that  all,  for  among  those 
who  come  with  the  police  is  the  Comte 
des  Grieux,  the  young  man's  father, 
shocked  beyond  measure  at  the  sight  of 
his  son  in  such  circumstances,  so  soon 
after  he  had  left  him  at  the  priory. 

ACT  V 

SCENE — On  the  Road  to  Havre 

THROUGH  the  influence  of  his 
father,  Des  Grieux  has  been  re- 
leased. Indeed,  he  appears  to  be  guilt- 
less, for  Massenet's  librettists  are  more 
merciful  than  the  Abbe  Prevost  and 
theDesGrieux  of  the  opera  does  not 
degenerate  into  the  common  cheat  of 
the  novel.  The  only  result  is  to  make 
the  deportation  of  Manon  a  trifle  un- 
convincing. Apparently,  however,  her 
other  misdemeanors  are  enough.  She 
is  convicted  as  an  abandoned  woman, 


and  she  is  sentenced  to  be  deported  to 
the  French  province  of  Louisiana. 
When  the  curtain  rises  Des  Grieux  and 
Lescaut  are  on  the  Havre  road,  awaiting 
the  soldiers  and  the  prisoners  for  the 
ship  to  America.  He  has  conceived 
a  mad  plan  to  effect  a  rescue:  "Manon, 
la  catena"  (Manon  in  Chains!)  declare 
they.  But  Des  Grieux  learns  from 
Lescaut  that  there  are  no  "men  fully 
armed"  hiding  in  ambush  to  leap 
out  at  his  command.  The  soldiers 
approach,  singing;  Des  Grieux  is  for 
attacking  them  bare-handed,  but 
Lescaut  knows  a  better  way.  He 
waits  till  they  draw  up,  thirsty  with 
song,  and  begging  their  sergeant  to 
let  them  get  a  drink.  The  sergeant 
is  inclined  to  do  so;  he  finds  little 
glory  in  escorting  "les  demoiselles 
sans  vertu."  He  inquires  as  to  the 
prisoners  and  learns  that  one  is  ill, 
almost  dead.  "Heavens!"  cries  DCS 
Grieuxy  "Manon!"  Lescaut  bids  him  be 
silent.  Lescaut  comes  forward  with 
money,  and  tells  the  sergeant  that  the 
sick  girl  is  of  his  family.  The  sergeant 
is  not  so  hard  but  he  is  willing  to  be 
bribed  into  permitting  a  half-dead  girl 
to  see  her  cousin.  Manon  is  in  the 
village  behind,  Des  Grieux  takes  the 
place  of  Lescaut,  so  that  he  may  at  least 
bid  her  farewell.  The  duet  follows, 
"Manon?  Tupiangi?"  (Manon, Thou 
Weepest)  and  "Si  maledico  ed  im- 
preco"  (With  Remorse  and  Contempt). 
In  a  magnificent  finale, Manon, 
remembering  all  those  who  worshipped 
at  her  peculiar  shrine,  begs  and 
receives  the  forgiveness  of  the  one 
man  who  really  loved  her, — Des  Gricnx, 
who  had  sacrificed  everything — money 
name,  honor, — for  but  a  part  of  her 
love.  He  is  content  that  she  should 
die  in  his  arms,  though  his  despair  is 
touching  as  he  sees  her  young  beauty 
fade  at  the  silent  call  of  death.  He 
gives  a  great  cry  and  falls  upon  her 
dead  body  as  the  curtain  descends. 


22S 


VICTROLA     BOOK     OF     THE      OPERA 


THE  VICTOR  RECORDS 

(Sung  in  French,  unless  noted) 

ACT  II 
ON  L'  APPELLE  MANON 

(She    is    Called    Manon)     GERALDINE 
FARRAR,  Soprano  and  ENRICO  CARUSO, 
Tenor  89059     12-in.,  $2.00 

ADIEU  NOTRE  PETITE  TABLE 
(Farewell,  Our  Little  Table)  GERALDINE 
FARRAR,   Soprano         88146     12-in.,     1.75 


LE  REVE  (The  Dream)  ENRICO  CARUSO, 

learn  In  Italian         81031     10  in.,    1.25 
EDMOND  CLEMENT,  Tenor 

74258     12-in.,     1.75 
JOHN    McCoRMACK,   Tenor   In  Italian 

64312    10-in.,     1.25 

ACT  III 
AH!  FUYEZ,  DOUCE  IMAGE! 

(Depart, Fair  Vision!)  ENRICO  CARUSO, 
Tenor  88348     12-in.,     1.75 


DOUBLE-FACED  RECORDS 

Et  je  sais  votre  nom  (If  I  Knew  But  Your  Name)  ....  Berthe  Cesar,  Soprano} 

and  Leon  Campagno/a,  Tenor  I  r  CHQA     i  o  •        « i  en 

Non,  votre  liberte  ne  sera  pas  ravie  (You  Shall  Remain  Free)  1Z~m'>  *1-™ 

Cesar — Campagno/a) 

[Nous  vivrons  a  Paris  (We  Will  Go  to  Paris) Lucette  Korsoff,  Soprano} 

and  Leon  Beyle,  7>»0r [45009     10-in.,     1.00 
[On  1  'appelle  Manon  (She  is  Called  Manon) Korsoff— Beyle] 

[Adieu  notre  petite  table  (Farewell,  Our  Little  Table) Mme.  Vallandri} 

and  Leon  Beyle,  TVwor  [45008     10-in.,     1.00 
iLe  Reve  (The  Dream) Leon    Beyle\ 


ANTEROOM  OF  ST.  SULPICE — METROPOLITAN  OPERA  SETTING 


226 


THE    BURIAL    OF   MANON — ACT   IV 


MANON  LESCAUT 


NOT  often  in  modern  times  do  two 
composers  go  to  the  same  source 
for  inspiration,  as  they  did  in 
the  days  of  Handel  and  Gluck,  when 
the  same  Greek  legends  appeared  over 
andoveragain.  It  is  somewhat  unusual, 
therefore,  that  Puccini  should  have 
selected  the  Abbe  Prevost's  book, 
"Manon  Lescaut,"  as  a  theme  for  an 
opera  nine  years  after  the  production 
of  Massenet's  similar  work.  It  was  a 
bold  step,  for  Massenet's  reputation 
was  safely  established  by  the  time  Puc- 
cini began  his  "Manon  Lescaut,"  while 
the  Italian  had  to  his  credit  only  the 
immature  one-act  opera  "Le  Villi"  and 
the  confessed  failure  "Edgar."  Puccini, 
moreover,  was  thirty-five  years  old 
when  "Manon  Lescaut"  was  produced, 
his  genius  having  flowered  slowly.  Yet 
he  was  quite  sure  of  himself,  and  he 
was  convinced  the  failure  of  "Edgar" 
was  due  to  an  impossible  libretto — as 
indeed  it  was.  With  the  help  of  a  few 
friends,  he  made  his  own  libretto  from 


the  Abbe's  novel,  thus  safeguarding 
himself  against  a  second  failure.  He  fol- 
lowed the  French  author  somewhat 
more  faithfully  than  Massenet,  even  to 
the  end,  the  final  scene  of  his  opera, 
like  that  of  the  book,  being  laid  in  "a 
vast  desert  plain"  near  New  Orleans! 
Puccini  and  Massenet  were  not  alone 
in  having  selected  this  work  for  oper- 
atic setting.  Halevy  wrote  a  ballet 
upon  the  same  subject  in  1830,  and 
other  settings  followed,  by  Balfe,  1836, 
Auber  in  1856,  and  Massenet  in  1884. 
Puccini's  music  does  not  surpass  Mas- 
senet's, but  it  has  a  full  right  to  exist- 
ence upon  its  own  merits.  His  "Man- 
on  Lescaut"  is  somewhat  a  forerunner 
giving  promise  of  the  genius  so  abund- 
antly fulfilled  in  his  next  operatic  ven- 
ture, three  years  later,  with  "La  Bo- 
heme."  It  won  the  composer  some 
considerable  reputation,  just  the  same, 
and  frequent  performances  testify 
strongly  enough  to  the  excellence  of  the 
work  as  a  whole. 


227 


VICTROLA     BOOK     OF     THE      OPERA 


TH  E    O  PE  RA 


OPERA  in  four  acts.  Music  by 
Giacomo  Puccini,  the  libretto 
(founded  on  Abbe  Prevost's  novel) 
being  mainly  the  work  of  the  composer 
and  a  committee  of  friends.  English 
version  by  Mowbray  Marras.  First 
presented  at  Turin,  February  1,  1893, 
with  Cremonini,  Ferrani  and  Moro. 
Produced  at  Covent  Garden,  May  14, 
1894;  at  Trieste,  June  10,  1893;  at 
Hamburg,  November  7,  1893.  First 
performance  in  France  at  Nice,  March 
19,  1906  (not  given  at  Paris  until 
1910);  at  Madrid,  November  4,  1893. 
First  performance  in  the  Americas  at 
Buenos  Aires,  June  9,  1893;  in  the 
United  States  at  Grand  Opera  House, 
Philadelphia,  in  English,  August  29, 
1894,  with  Selma  Kronold  and  Monte- 
griffo.  Given  in  French  by  a  small 
travelling  company  at  Wallack's  Thea- 
tre, May  27,  1898,  and  at  the  Tivoli 
Opera  House,  San  Francisco,  in  1905. 
Produced  at  Wallack's  Theatre.  New 
York,'May  27,  1898,  by  the  Royal  Ital- 
ian Grand  Opera  Company.  First  im- 
portant New  York  production,  Janu- 
ary 18,  1907,  with  Caruso,  Cavalieri 
and  Scotti,  under  the  direction  of  the 
composer,  who  then  visited  America 
for  the  first  time.  Given  by  the  Phila- 
delphia-Chicago Company  in  1912, 
with  White,  Sammarco  and  Zenatello. 

CHARACTERS 

MANON  LESCAUT  (Mahn-on  Les- 
koh'} Soprano 

LESCAUT,  sergeant  of  the  King's 
Guards Baritone 

CHEVALIER  DES  GRIEUX  (day 

Gree-uh'} Tenor 

GERONTE   DE  RAVOIR,  Treasurer- 
General    (day  Rah-vwah'} Bass 

EDMUND,  a  student Tenor 

An    Innkeeper,    a    Dancing-master,    a 

Sergeant,  a    Captain,   Singers,  Beaux 


and  Abbes,  Girls,  Citizens,  Students, 
People,  Courtesans,  Sailors 

Scene  and  Period:    Paris  and  Vicinity; 
Second  Half  of  the  Eighteenth   Century 

ACT  I 

SCENE — A  Street  in  front  of  an  Inn  at 
Amiens 

THE  scene  is  laid  in  a  spacious 
square  near  the  Paris  Gate,  beside 
the  inn.  It  is  gay  with  students  and 
citizens,  women,  girls  and  soldiers.  A 
group  of  students,  headed  by  the  poet 
Edmund,  ridicule  Des  Grieux,  who 
stands  somewhat  apart  and  who  does 
not  seem  any  too  interested  in  the  girls. 
Readers  of  Prevost's  novel  may  remem- 
ber that  the  Des  Grieux  of  this  period 
was  rather  a  serious  young  man.  He 
rallies  sufficiently,  however,  to  sing  a 
gallant  song,  ostensibly  of  flattering 
purport,  but  not  quite  free  from  irony. 
This  is  the  "Tra  voi  belle  brune"  (Now 
Among  You) . 

It  is  a  typical  Puccini  melody,  broad, 
full,  hauntingly  sweet.  As  though  con- 
sidering some  secret  ideal,  he  asks  if 
among  the  maidens  before  him  there 
may  be  gleaming  his  own  "fair  star." 
His  subtlety  is  lost  upon  the  girls,  who 
assume  that  he  is  making  game  of 
them  as  they  turn  away  to  seek  new 
excitement. 

This  is  provided  by  the  arrival  of  a 
diligence,  containing  Manon  Lescaut. 
Her  brother  is  with  her,  and  a  chance 
acquaintance,  the  elderly  Geronte,  who 
is  "all  eyes"  for  the  girl.  Manon  is 
indeed  beautiful,  and  Des  Grieux  sees 
in  her  the  ideal  of  his  romantic  dreams. 
He  takes  the  liberty  to  speak  while  her 
brother  and  Geronte  are  in  the  inn  ar- 
ranging for  quarters.  Manon  responds 
shyly,  but  without  fear;  already  we  de- 
tect that  fatal  softness  of  character 


228 


VICTROLA     BOOK     OF     THE      OPERA 


which  causes  her  to  yield  so  easily  to 
temptation,  yet  which,  by  its  very 
frailty,  but  charms  the  more.  Des 
Grieux  is  an  immediate  victim,  and  he 
is  properly  horrified  when  she  tells  him 
her  brother  is  taking  her  to  a  Convent. 
Soon,  however,  her  brother  calls  her  to 
the  inn,  and  the  pensive  youth  gazes 
after  her  a  prey  to  her  beauty — and  his 
own  emotions.  "Donna  non  vidi  mai" 
(A  Maiden  So  Fair),  which  sums  them 
up  in  music,  is  a  lovely  melody,  lumi- 
nous with  the  fires  of  youth.  "Manon 
Lescaut,  they  call  me!" — he  repeats 
her  phrase  to  himself,  wringing  out  of 
memory  every  last  inflection  of  her  low, 
tender  voice.  His  comrades  rally  DCS 
Grieux,  but  he  is  in  no  mood  for  their 
japes,  and  he  quietly  goes  indoors. 
Meantime,  the  rascally  Lescaut ,  Man- 
on 's  brother,  already  counting  on  a 
road  to  Gerontes  purse  by  way  of  his 
sister's  charms,  is  attracted  by  a  group 
of  soldiers  playing  cards.  Geronte  him- 
self, seeing  Lescaut  absorbed  in  the 
game,  orders  the  landlord  to  have  ready 
a  swift  horse  and  carriage;  with  these 
he  designs  to  abduct  Manon.  The  ob- 
servant Edmund,  however,  overhears 
the  plot,  and  he  informs  Des  Grieux. 
Des  Grieux  decides  to  save  Manon 
from  the  restrictions  of  convent  life  on 
one  side,  and  the  amorous  attentions  of 
her  elderly  beau,  on  the  other.  His 
methods  are  simple;  he  will  abduct  her 
himself.  It  is  (alas!)  no  difficult  mat- 
ter to  persuade  Manon.  When  Ge- 
ronte is  all  ready  to  fulfil  his  own  plans, 
the  pair  have  gone.  He  is  furious,  but 
the  fertile-minded  Lescaut  reminds  him 
that  a  student's  purse  is  never  too  full, 
and  they  will  be  found  in  Paris.  He 
even  hints,  with  charming  grace,  that 
if  Geronte  will  include  him  in  the  family 
he  will  use  his  influence  to  get  her  away 
from  Des  Grieux.  Of  Manon  he  thinks 
little;  what  is  a  sister  for,  if  not  to  fill  a 
gallant  soldier'spocketsoncein  a  while? 
Poor  Manon!  Her  only  sin  is  beauty! 


ACT  II 

SCENE — An    Apartment    in    Geronte  s 
House 

TIME  flies  fast  in  Grand  Opera. 
Lescaut  has  already  been  so  far  suc- 
cessful that  Manon  has  been  installed 
in  the  home  of  Geronte.  She  is  at  her 
toilet,  preparing  for  a  party  in  Her 
honor,  surrounded  by  every  luxury. 
She  is  dealing  with  a  hairdresser,  a 
dancing-master,  maids  and  attendants. 
Her  brother  comes  in,  and  she  asks 
after  Des  Grieux, — only  to  learn  that, 
disconsolate  over  her  loss,  he  is  gam- 
bling hard  in  hope  to  have  her  back. 
Manon  confesses  she  still  loves  him; 
but  her  enjoyment  of  her  new  luxuries 
is  pretty  evident.  Then,  since  confes- 
sions are  in  order,  she  confesses  she  is 
weary  of  Geronte. 

She  is  interrupted  by  a  group  of  sing- 
ers, sent  by  the  devoted  old  gallant  for 
her  entertainment.  They  sing  the 
Madrigal,  "Sulla  vetta  del  monte" 
(Speed  O'er  Summit),  a  quaint  concep- 
tion, a  rather  knowing  pseudo-pastoral, 
which  celebrates  the  amorous  adven- 
tures of  Phyllis  and  Phaon.  The  com- 
poser has  cleverly  caught  the  old-time 
style.  The  accompaniment  suggests 
the  lute. 

Geronte,  who  has  brought  with  him 
some  of  his  cronies,  (old  beaux  in  their 
dotage),  applauds  the  singers,  and  they 
watch  delightedly  when  the  dancing- 
master  steps  forward  to  teach  Manon 
the  minuet.  Other  visitors  come  in, 
loading  Manon  with  flowers  and  com- 
pliments. But  soon  the  party  is  over; 
Geronte  and  his  guests  leave;  Manon  is 
to  follow  later.  She  completes  her 
toilet,  and  is  about  to  go  when  Des 
Grieux  appears.  He  chides  her  for 
deserting  him,  but,  weak  as  ever,  yields 
to  her  pitiful  appeals  and  soon  they  sing 
a  passionate  duet.  This  is  followed  by 
a  song  in  which  Des  Grieux  reproaches 
her  for  her  weakness,  her  love  of  silks 


229 


VICTROLA     BOOK     OF     THE      OPERA 


and  satins,  of  jewels  and  precious 
things,  soft  to  the  touch  and  dazzling 
to  the  eye.  As  well  reproach  a  kitten 
for  enjoying  warmth! 

"Ah!  Manon,  mi  tradisce"  (Manon, 
Kind  and  Gentle),  is  a  pathetic  air  in 
sombre  minor  key,  the  wistful  tender- 
ness of  the  first  passages  rising  to  a 
passionate  outcry  toward  the  end. 

Into  the  midst  or  this  pleasant  scene, 
enter  Geronte!  He  has  come  to  see 
what  has  delayed  Manon  at  the  party. 
He  is  enraged,  his  is  a  cold  rage — and  a 
deadly  one,  the  polished  anger  of  one 
who  knows  the  world.  Manon,  de- 
ceived by  his  ironical  civility,  goes  a 
bit  too  far.  She  has  the  bad  grace  to 
put  a  mirror  before  him  and  before  Des 
Grieux,  laughing  at  the  comparison. 
It  is  the  last  merriment  she  is  destined 
to  know  for  some  considerable  time. 

Geronte  leaves  them,  apparently  in 
cynical  indifference.  Manon,  woman- 
like, possibly  indifferent  too,  lets  him 
go.  A  little  time  later,  in  flies  Lescaut 
with  a  warning  that  the  police  are  at 
hand.  There  is  time  for  escape,  and 
both  Des  Grieux  and  Lescaut  urge  the 
girl  to  hasten.  Her  love  of  finery,  in  this 
as  in  so  much  else,  proves  her  undoing. 
She  stops  to  gather  her  jewels,  her 
pretty  dresses  and  possessions.  When 
Des  Grieux  rushes  her  to  the  alcove  it  is 
to  find  the  way  barred  by  police.  Geronte, 
quiet,  keen  and  as  cold  as  ice,  has  her 
borne  away. 

ACT  III 

SCENE — The  Harbor  of  Havre 

WE  are  spared  the  prison  scenes  of 
Prevost's  novel.     Banished  from 
France,  as  an  abandoned  woman,  Ma- 


non is  to  embark  for  the  French  prov- 
ince of  Louisiana.  By  bribing  the  sen- 
tinel, Des  Grieux  and  Lescaut  nearly 
succeed  in  rescuing  the  girl  from  prison, 
where  she  awaits  the  ship.  They  are 
interrupted,  however,  by  the  arrival  of 
the  man  of  war's  captain.  As  a  last 
resort,  Des  Grieux  begs  the  captain  to 
take  him  also  to  America.  To  his 
overjoyed  surprise,  the  bluff  old  skipper 
consents,  and  the  strangely-assorted 
pair,  with  some  hopes  of  fresh  fortunes, 
embark  for  the  New  World. 

ACT  IV 

SCENE— A  Desolate  Spot  in  Louisiana 

MANON'S  flamelike  beauty  having 
won  her,  in  the  New  World,  the 
unwelcome  attentions  of  yet  one  more 
importunate,  the  French  official  com- 
mander, the  lovers  have  had  to  flee  into 
the  wilderness.  Manon's  strength  is 
failing,  and  her  companion  is  powerless 
to  help.  The  musical  last  farewell  of 
the  pair  culminates,  of  course,  in  the 
death  of  Manon.  In  her  lover's  arms 
she  dies — a  harmless,  helpless  soul 
whose  only  crime  is  her  beauty.  Des 
Grieux  chants  his  misery  to  the  deso- 
late waste,  and  he  falls  senseless  across 
her  dead  body  as  the  curtain  shuts  out 
the  scene. 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 
DONNA  NON  VIDI  MAI 

(A  Maiden  So  Fair)   ENRICO  CARUSO, 
Tenor  87135     10-in.,  31.25 

GIOVANNI  MARTINELLI,  Tenor 

64410     10-in.,     1.25 


DOUBLE-FACED  RECORDS 

(Tra  voi  belle  brune  (Now  Among  You) Franco  de  Gregorio,  Tenor} 
Madrigale — Sulla  vetta  del  monte  (Speed  O'er  Summit)  >45015 

Lopez-Nunes,  Soprano,  and  Chorus] 

/Ah,  Manon,  mi  tradisce 


10-in.,  $1.00 


:  (Manon,  Kind  and  Gentle)Fnz«c0  de  Gregorio,  Tenor\.rry}-j     in  •         i  m 
Gioconda — Cielo  e  mar!  (Heaven  and  Ocean) Franco  de  Gregorio,  Tenor]  "' 

230 


MARITANA 


ECE  John  Field,  like  Arthur 
William  Balfe  and  like  Victor 
Herbert,  William  Vincent  Wal- 
lace, composer  of  "Maritana"  and  of 
many  delightful  minor  works,  was  born 
in  Ireland.  Though,  unlike  these  three 
gentlemen,  he  was  not  born  in  Dublin, 
he  went  there  at  anearly  age  from  Water- 
ford,  his  birth-town.  He  was  an  ac- 
complished organist,  and  a  violinist  of 
notable  powers.  He  toured  the  greater 
part  of  the  civilized  world,  giving 
concerts  and  meeting  many  interesting 
adventures.  "Maritana,"  first  given 
in  London,  held  the  stage  for  many 
years,  by  virtue  of  its  simple  and  mel- 
odious character  throughout. 

THE  OPERA. 

OPERA  in  three  acts.  Libretto 
by  Edward  Fitzball.  Music  by 
William  Vincent  W7allace.  First  pro- 
duced at  Drury  Lane,  London,  No- 
vember 15,  1845.  First  American  pro- 
duction at  the  Bowery  Theatre,  New 
York,  May  4,  1848,  by  the  Seguins. 
Other  notable  productions:  In  1854  at 
the  old  Broadway  Theatre,  New  York, 
with  Louise  Pyne  and  Sims  Reeves;  in 
1857  by  the  Pyne  and  Harrison  Opera 
Company,  with  the  composer  conduct- 
ing; in  1865  by  the  Harrison  English 
Opera  Company,at  Niblo's,with  Theo- 
dore Thomas  conducting;  in  1868  by 
the  Caroline  Richings  Opera  Troupe, 
and  in  1870  by  the  Parepa-Rosa  Eng- 
lish Opera  Company.  More  recent 
revivals  by  the  Metropolitan  English 
Opera  Company,  Gustave  Hinrichs 
and  Henry  W.  Savage. 

CHARACTERS 

CHARLES  II,  King  of  Spain Bass 

DON  JOSE  DE  SANTAREM,  his 

Minister Baritone 

DON  CAESAR  DE  BAZAN Tenor 

MARQUIS   DE  MONTEFIORI Bass 


LAZARILLO Mezzo-Soprano 

MARITANA,  a  gypsy  singer. . .  .Soprano 
MARCHIONESS  DE  MONTEFIORI 

Soprano 

Time  and  Place:     The  Scene  is  laid  in 
Madrid,  at  the  Time  of  Charles  II 

/CHARLES  II  of  Spain  is  hated  by 
V>his  minister,  Don  Jose,  who  for- 
merly loved  the  Queen.  Disguised  in 
Madrid  during  Holy  Week  celebra- 
tions, he  meets  Maritana,  a  gypsy 
singer.  Don  Jose  observes,  and  he  de- 
cides to  use  the  girl  in  his  plots.  Don 
Caesar  de  Bazan,  an  old  friend,  gets 
into  a  brawl  protecting  Lazarillo,  an 
armorer's  apprentice,  who  has  tried  to 
drown  himself.  He  fights  the  captain 
of  the  guard,  and  is  sentenced  to  be 
hanged  for  duelling  in  Holy  W7eek. 
Don  Jose  visits  Don  Caesar  in  prison, 
and  tells  him  that  if  he  will  marry  a 
certain  veiled  woman,  he  will  arrange 
that  he  shall  die  a  gentleman's  death 
by  .shooting  instead. 

Lazarillo  unexpectedly  brings  in  the 
Kings  pardon,  but  gives  it  to  Don  Jose, 
who  decides  to  produce  it  for  his 
"grand  effect"  when  the  time  comes. 
The  veiled  lady  is  duly  married  to 
Don  Caesar,  while  Lazarillo  takes  the 
bullets  from  the  rifles  of  the  firing 
party. 

The  Marquis  Montefiori  gives  a  ball, 
during  which  shots  are  heard,  as  though 
for  the  execution  of  Don  Caesar.  Don 
Jose,  who  holds  the  Marquis  under 
obligation,  tells  him  he  is  to  receive  a 
visit  from  his  "niece,"  the  Countess  de 
Bazan.  Believing  Don  Caesar  has  been 
shot,  the  puzzled  Marquis  consents. 
The  King  enters,  disguised,  then 
Maritana,  believing  she  is  to  meet  her 
promised  husband — promised  by  Don 
Jose.  Incognito,  the  King  tries  to 
make  love  to  Maritana;  she  resents  it, 
and  he  departs,  making  way  for  Don 


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VICTROLA     BOOK     OF     THE     OPERA 


Caesar,  who,  disguised  as  a  monk,  de- 
mands his  wife  of  the  startled  Don  Jose. 
Don  Jose  meets  the  situation  by  having 
the  heavily  veiled  Marchioness  appear 
as  Don  Caesar's  wife.  Don  Caesar  is 
horrified;  Don  Jose  offers  him  a  pension 
to  get  out  of  Madrid,  and  he  consents. 
Ready  to  go,  he  hears  the  voice  of  his 
beloved  singing  in  the  next  room.  He 
demands  his  wife.  Maritana  enters 
and  asks  who  the  stranger  may  be. 
Don  Jose  has  them  arrested  and  they 
go  off,  the  girl  to  a  villa  where  she  is  to 
be  used  as  a  bait  for  the  King,  and 
Don  Caesar  to  prison. 

Maritana  still  mourns  her  unknown 
husband;  Don  Jose  brings  to  her  the 
King,  disguised,  telling  her  this  is  her 
husband.  She  repudiates  his  love. 
Don  Caesar  meanwhile  has  been  re- 
leased. Lazarillo,  placed  by  him  on 
guard,  shoots  at  a  man  who  climbs  in 
the  window  of  Maritana.  The  King 


is  suspicious  of  this  entry.  Don  Caesar, 
not  revealing  himself,  demands  his 
wife  again.  He  is  equally  curious  re- 
garding the  stranger,  whom  he  asks 
his  identity.  The  King  replies  "Don 
Caesar  de  Bazan"  sorely  puzzling  the 
Don.  Lazarillo,  horrified  at  having 
pot-shotted  at  his  benefactor,  whispers 
to  him  that  he  is  in  the  presence  of  the 
King.  "Who  a.re you?"  asks  the  mon- 
arch of  Don  Caesar,  who  replies,  "  The 
King  of  Spain."  The  King  is  amused, 
explanations  follow.  Maritana  returns, 
to  be  united  with  her  husband,  Don 
Caesar,  who  later  kills  Don  Jose  when 
he  finds  him  in  the  Queen's  apartment. 
As  the  King  cannot  object  to  this  duel, 
he  appoints  Don  Caesar  governor  of 
Valencia. 

THE  VICTOR  RECORD 


THERE  IS  A  FLOWER 
JOHN  McCoRMACK,  Tenor  64307 


10-in.    $1.25 


NANTEUIL  DON     CAESAR,    THE    HERO    OF    "MARITANA* 

232 


PAINTED  BY 


MARRIAGE  OF   FIGARO  AND  SUSANNA 


THE  MARRIAGE  OF  FIGARO 


(LE    NOZZE   DI    FIGARO) 


(Italian) 


TH 
is 
i 


HE  MARRIAGE  OF  FIGARO 
the  second  of  a  trilogy  of 

"Figaro"  comedies  by  Beau- 
marchais — from  the  first  of  which 
Rossini  derived  his  "Barber  of  Seville." 
Though  Mozart's  work  precedes 
Rossini's  by  thirty  years,  it  is  taken 
from  the  second  of  the  three  comedies. 
It  will  be  recollected,  however,  that 
the  Italian,  Giovanni  Paisiello  com- 
posed a  "Barber  of  Seville"  in  1780 — 
six  years  previous  to  Mozart's  setting 
of  a  Beaumarchais  comedy. 

Beaumarchais  deliberately  aimed  in 
his  "Figaro"  comedies  to  expose  the 
moral  complacency — and  the  intel- 
lectual futility — of  the  aristocrat  of  his 
time.  Performance  of  this  very  com- 
edy,"The  Marriage  of  Figaro,"was  for- 
bidden in  Paris,  not  on  moral  grounds 
but  on  political.  Modern  audiences  are 
aivusromed  to  comedies  in  which  the 


servant  is  exr.'ted  and  the  noble  lord  as- 
signed to  a  f  Dmedy  role,  but  in  those 
days  it  savo  ?d  of  lese  majeste.  The 
play  was  written  onlya  scantdecade be- 
fore the  French  Revolution;  and  gov- 
ernment officials,  already  conscious  of 
gathering  storms,  made  out  that  such  a 
production,  at  such  a  time,  could  serve 
less  as  a  warning  to  a  Court  apparently 
bent  on  riding  to  its  destruction,  than 
as  a  simple  means  of  developing  resent- 
ment against  a  cynical  and  a  con- 
scienceless aristocracy.  The  inevitable 
happened;  "The  Marriage  of  Figaro" 
took  on  the  charm  of  forbidden  fruit. 
In  place  of  the  public  performances, 
private  "rehearsals"  were  given,  at 
which  no  less  a  personage  than  Marie 
Antoinette  (always  liberal  in  matters 
of  art)  condescended  to  be  present. 

It  was  an  instant  success.     One  of 
the   singers   in    that   memorable   pro- 


233 


VICTROLA     BOOK     OF     THE      OPERA 


duction  has  left  record  of  the  event. 
This  authority,  Kelly,  who  took  the 
double  roles  of  Basilio  and  Don  Curzio, 
tells  us  that  "Never  was  anything  more 
complete  than  the  triumph  of  Mozart 
and  his  'Nozze  di  Figaro',  to  which 
numerous  overflowing  audiences  bore 
witness.  Even  at.  the  first  full  band 
rehearsal,  all  present  were  roused  to  en- 
thusiasm, and  when  Benucci  came  to 
the  fine  passage,  'Cherubino,  alia  vit- 
toria,  alia  gloria  militar,'  which  he  gave 
with  stentorian  lungs,  the  effect  was 
electric,  for  the  whole  of  the  performers 
on  the  stage,  and  those  in  the  orchestra, 
as  if  actuated  by  one  feeling  of  delight, 


vociferated  'Bravo!  Bravo,  Maestro! 
Viva,  viva,  grande  Mozart!'  Those  in 
the  orchestra  I  thought  would  never 
have  ceased  applauding  by  beating  the 
bows  of  their  violins  against  the  music 
desks.  And  Mozart?  I  never  shall 
forget  his  little  animated  countenance, 
when  lighted  up  with  the  glowing  rays 
of  genius;  it  is  as  impossible  to  describe 
it  as  it  would  be  to  paint  sunbeams." 
It  is  pathetic  to  remember  that  all 
this  glory  brought  no  grist  to  the  mill, 
and  even  after  the  success  of  "Figaro" 
Mozart  still  had  to  struggle  on  for  mere 
existence— a  struggle  which  hastened 
his  death  only  five  years  later. 


TH  E    OPERA 


OPERA  in  four  acts.  Text  by 
Lorenza  da  Ponte,  founded  on 
a  comedy  by  Beaumarchais.  Music 
by  Mozart.  First  production  Vienna, 
May  1,  1786,  with  Mozart  conduct- 
ing. In  Paris  as  Le  Mariage  de 
Figaro^  in  five  acts,  with  Beaumar- 
chais' spoken  dialogue,  at  the  Acade- 
mic, March  20,  1793;  at  the  Theatre 
Lyrique,  as  Les  Noces  de  Figaro^  by 
Barbier  and  Carre,  in  four  acts,  May  8, 
1858.  In  London,  in  Italian,  at  the 
King's  Theatre,  June  18,  1812.  First 
American  production  in  1823,  in  Eng- 
lish. Some  notable  revivals  were — in 
the  '70s,  with  Hersee,  Sequin  and  Par- 
epa-Rosa;  in  1889,  with  Nordica, 
Eames,  and  de  Reszke;  in  1902,  with 
Sembrich,  Eames,  de  Reszke  and  Cam- 
panari;  and  in  1909,  with  Sembrich, 
Eames,  Farrar  and  Scotti,  and  in  1917 
with  Hempel,  Farrar  and  de  Luca. 

CHARACTERS 

* 

FIGARO  (Fee1 -gahr-roh}  +  the  Bar- 
ber, valet  to  the  Count Bass 

COUNT  ALMAVIVA  (Al-mah-vee1- 

vah),  a  Spanish  noble Baritone 

COUNTESS  ALMAVIVA,  his  wife  Soprano 


SUSANNA,  maid  of  the  Countess, 

betrothed  to  Figaro Soprano 

CHERUBINO  (Kay-ruh-bee'-noh), 

page  to  the  Countess Soprano 

MARCELLINA  (Mar-chel-lee'-nafi), 
servant  to  Bartolo Contralto 

BARTOLO,  a  rejected  lover  of 

Susanna Bass 

BASILIO  (Bah-zee'-lee-oh),  a  busy- 
body   Tenor 

Servants,  Country  People,  Guards 

Scene  and  Period:     Seville;  the  Seven- 
teenth Century.      The  Action  is  a 
direct  continuation  of  the 
Barber  of  Seville 

The  opera  is  preceded  by  an  Over- 
ture, which,  without  drawing  directly 
upon  the  music  of  the  following  scenes, 
is  admirably  alive  with  the  spirit  of 
comedy  in  which  the  work  was  con- 
ceived. 

The  chattering  violin-figure  in  oc- 
taves at  the  opening  is  famous.  No  less 
charming  is  the  second  subject,  in 
which  the  laughter  in  the  treble 
provokes  a  response  from  the  bass — 
an  ascending  figure  for  basses  and 
bassoons. 


234 


VICTROLA     BOOK     OF     THE      OPERA 


COPY  T  DUPONT 


CALVE  AS  CHERUBINO 


"Play  no  more,  boy,  the  part  of  a  lover 
'What  is  this  feeling  makes  me  so  sad?  Nor  about  beauty  foolishly  hover." 

What  is  this  feeling  makes,  me  so  glad?" — Act  II.  — Act  I. 


ACT  I 

SCENE — A  Room  in  the  Chateau,  only 
Half  Furnished 

FIGARO,  in  high  spirits,  is  preparing 
the  room  assigned  to  him  and  Su- 
sanna by  Count  Almaviva.  His  spirits 
are  dashed,  however,  when  Susanna 
points  out  the  proximity  of  the  room  to 
the  Count's  own,  and  suggests  that  the 
Count  has  not  paid  her  dowry  for  noth- 
ing. Figaro  s  rage  at  his  master  finds 
expression  in  a  famous  air,  the"Se  vuol 
ballare,  Signer  Contino"  (Will  You 
Dance?),  in  which  he  expresses  his 
fears  with  some  little  directness. 

But  other  troubles  are  to  beset  the 
erstwhile  Barber  of  Seville.  Old  Dr. 
Bartolo,  whom  he  outwitted  in  former 
days,  yet  bears  a  grudge  against  him. 
Bartolo  discovers  that  in  a  weak  mo- 
ment Figaro  has  promised  to  marry  the 
aged  Mane/Una,  and  that  the  old  dame 
seeks  to  force  him  to  fulfil  the  contract. 
Susanna  overhears  their  plotting,  some 
of  which  is  levelled  against  nerself. 


Bartolo  departs  and  Susanna  and  Mar- 
cellina  exchange  a  few  cattish  remarks, 
in  which  the  younger  girl  comes  off 
rather  best.  Marcellina  departs;  in 
her  place  there  appears  the  adolescent 
Cherubino,  deeply  in  love,  if  you  please, 
with  no  less  a  personage  than  the  Coun- 
tess herself.  He  describes  his  emo- 
tions to  the  amused  Susanna,  in  the 
"Non  so  piu  cosa  son"  (Oh  What  Feel- 
ings!). 

Rarely  has  music  more  subtly 
swayed  to  the  mingled  emotions  of  a 
youth  in  the  throes  of  his  first  love. 
Mozart's  ineffable  genius  has  captured 
one  of  the  most  difficult  moods  in  the 
whole  realm  of  emotion.  This  air  will 
repay  many  hearings,  for  it  does  not 
reveal  itself  to  the  full  at  the  first  per- 
formance. This  is  characteristic  of 
Mozart,  the  past-master  of  the  art  that 
conceals  art  beneath  a  deceptive  and 
always  charming  simplicity. 

The  Count  suddenly  knocks  at  the 
door,  and  Cherubino  hastily  conceals 
himself  behind  a  large  arm-chair.  When 


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VICTROLA     BOOK     OF     THE      OPERA 


the  Count  enters,  it  is  to  exclaim 
against  Cherubino,  whom  he  suspects  of 
paying  court  to  his  Countess.  Yet 
even  as  he  speaks  another  knock  is 
heard.  The  Count  hastily  hides  be- 
hind the  same  chair  as  Cherubino,  the 
page  darting  out  to  the  front  and  con- 
cealing himself  in  the  depths  of  a  chair 
covered  with  one  of  Susanna  s  dresses. 
This  time  it  is  Basi/io,  an  odious  busy- 
body, who  first  taunts  Susanna  with 
flirting  with  the  Count,  and  then  twits 
her  concerning  Cherubino.  The  feel- 
ings of  the  pair  in  hiding  may  be  imag- 
ined. As  soon,  however,  as  Basilio 
mentions  Cherubino' s  name  in  con- 
junction with  that  of  the  Countess, 
Almaviva  can  stand  it  no  longer.  He 
appears  and  indignantly  demands  an 
explanation  of  .all  this  talk.  Count 
Almaviva  then  tells  how  but  a  short 
while  ago  he  discovered  the  boy  flirting 
with  Basilio' s  cousin,  Barbarina,  Cher- 
ubino being  concealed  under  the  table. 
To  show  how  he  found  him  under  the 
table-cloth,  the  Count  reaches  Susan- 
na's dress  from  the  arm-chair  and  so 
discovers — Cherubino! 

The  Count  is  so  enraged,  he  threat- 
ens then  and  there  to  have  the  boy 
killed;  but  Figaro  enters  and  pleads  for 
him;  so  the  Count  is  satisfied  to  give 
the  lad  a  commission  as  Captain  in  his 
own  regiment,  where  he  may  expend 
some  of  his  energies  on  the  field  of 
honor. 

ACT  II 

SCENE — Apartment  of  the  Countess 

SUSANNA  has  confided  to  the 
Countess  the  unwelcome  atten- 
tions of  the  County  and  the  two  women 
are  in  despair.  The  Countess  sings  her 
lovely  appeal  to  Cupid,  the  "Porgi 
amor"  (Love, Thou  Holy  Impulse). 

The  resourceful  Figaro  enters  and 
describes  his  plan  to  make  the  Count 
jealous — by  letting  him  discover  a  note 
making  an  assignation  between  the 


Countess  and  a  lover  in  the  garden.  It 
is  planned  to  send  Marcellina  in  the 
Countess'  place,  and  Cherubino,  dressed 
as  Susanna,  to  meet  the  Count  in  Su- 
sanna's place.  It  is  hoped  that  through 
ridicule  the  Count  will  be  persuaded 
henceforth  to  stick  to  his  Countess. 
With  this  plan  settled,  Figaro  leaves. 
Cherubino  comes,  charmed  at  the  pros- 
pect of  seeing  his  beloved  Countess  be- 
fore joining  the  army.  He  sings  hisdevo- 
tion  to  her  in  a  delightful  air,  the  "Voi 
che  sapete"(What  Is  This  Feeling?). 

The  noted  critic  Otto  Jahn  has 
pointed  out  that  Cherubino  is  not  ex- 
pressing his  emotions  directly,  but  in- 
directly in  a  romance,  directing  his  shy 
but  ardent  glances  toward  the  Count- 
ess in  all  the  bashfulness  of  youth.  The 
guitar-like  accompaniment  of  the 
strings  is  filled  out  by  solo  wind-instru- 
ments which  seem  to  express  delicate 
suggestions  of  the  boy's  inner  feelings. 

The  women  dress  up  the  page  to  rep- 
resent Susanna.  They  have  no  sooner 
done  so  than  the  Count  knocks.  Cher- 
ubino is  concealed  in  the  closet;  and  the 
Count,  observing  his  wife's  confusion, 
and  hearing  the  sound  of  a  falling  chair, 
(clumsily  upset  by  the  terrified  youth), 
demands  entry.  Susanna,  concealed  in 
an  alcove,  hears  the  Countess  refuse  to 
open  the  door — on  the  ground  that  her 
maid  is  dressing  within.  The  suspi- 
cious Count,  however,  goes  out  for  a 
crowbar  to  break  down  the  door,  and 
insists  on  taking  the  Countess  with 
him.  As  soon  as  they  have  gone  Cher- 
ubino emerges,  and  escapes  through  the 
window — a  twenty-foot  drop! — and 
Susanna  quickly  hides  in  the  cabinet  in 
his  place.  When  the  Count  returns, 
prepared  to  batter  a  way,  the  Countess 
finally  confesses  that  Cherubino  is  with- 
in. She  is  therefore  as  startled  as  her 
husband  when  Susanna  suddenly  ap- 
pears! The  Count  quickly  concludes 
he  is  the  victim  of  a  joke,  and  is  almost 
penitent  when  a  half-drunken  gardener 


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VICTROLA      BOOK     OF     THE      OPERA 


arrives  and  complains  that  somebody 
has  dropped  on  his  flower-bed  from  the 
window,  and  smashed  a  valued  flower- 
pot. Quickly  the  Count's  suspicions 
reawaken,  but  Figaro  now  opportunely 
turns  up  and,  grasping  the  situation, 
promptly  announces  that  it  was  he  who 
jumped  through  the  window.  The  gar- 
dener produces  a  paper  dropped  by  the 
runaway,  and  the  thoroughly  perplexed 
but  highly  suspicious  Count  tells  Figa- 
ro that  he  will  believe  him  if  he  will  tell 
what  the  paper  contains.  Through  a 
quick  whisper  of  Susanna's,  Figaro 
learns  it  is  Cherubino's  commission! 
The  situation  looks  hopeless,  but  Figa- 
ro, ever-resourceful,  declares  that  the 
commission  lacked  a  seal,  and  he  had  it 
in  his  pocket  for  attention.  As  the 
commission  actually  does  lack  a  seal, 
the  day  is  saved.  But  Figaro  now  has 
to  face  a  worse  situation.  Marcellina 
now  enters  with  her  lawyer,  and  de- 
mands that  Figaro  shall  keep  his  prom- 
ise and  marry  her.  The  Count, disposed 
to  vengefulness,  avers  he  will  look  into 
this;  assuredly  the  Count  will! 


ACT  III 

SCENE  —  A  Cabinet  in  the  Count's  Res- 
idence 


OUNT  ALMAVIVA  plans  to  force 
Susanna  to  accept  his  attentions 
by  threatening  to  make  Figaro  wed  the 
ancient  Marcellina,  but  Susanna,  un- 
expectedly entering,  and  wishing  to 
further  the  plans  of  her  mistress,  seems 
to  surrender.  The  Count  goes  forth 
happy  in  the  conviction  that  his  ends 
are  gained.  But  he  overhears  Susanna 
explain  to  Figaro,  who  enters  as  he 
leaves,  that  "our  cause  is  victorious." 
He  at  once  grows  suspicious,  resolving 
to  deal  with  Susanna  in  his  own  time, 
but  to  punish  Figaro  at  once. 

Figaro,  however,  is  concerned  with 
another  matter,  having  discovered 
some  clues  which  appear  to  suggest  he 
is  a  man  of  noble  birth.  As  he  is  ex- 
plaining, Marcellina,  with  Bartolo,  the 
Count  and  her  lawyer,  come  to  inform 
Figaro  that  he  must  wed  or  pay  dam- 
ages. He  probably  will  be  rich  enough 
to  pay  the  damages,  but  as  he  is  ex- 


H  EM  PEL  AS 
SUSANNA 


WHITE 

SUSANNA,  COUNTESS  AND  CHERUBINO  IN  ACT  I 
(MATZENAUF.R,  HEMPEI.  AND  FARRAR) 


237 


COPY    i     MISHKIN 

DE  LUCA  AS  FIGARO 


VICTROLA     BOOK     OF     THE      OPERA 


plaining  this,  Marcellina  suddenly  asks 
him  if  he  has  a  spatula  mark  upon  his 
right  arm.  He  has.  By  this  she 
knows  him  to  be  her  long-lost  son.  The 
Count  finds  his  plans  badly  disar- 
ranged. Mother  and  son  embrace — 
and  are  so  discovered  by  Susanna,  who 


CHERUBIXO  S  BALLAD 


is  much  distressed  until  explanations 
are  forthcoming.  Since  there  is  no 
further  obstacle,  preparations  for  the 
wedding  of  Figaro  and  Susanna  are 
begun. 

Susanna  now  seeks  the  Countess  and 
tells  her  of  the  success  of  their  plan. 
The  mistress  then  dictates  a  letter  in 
which  Susanna  is  to  appoint  a  time  and 
a  place  for  the  meeting.  This  results 
musically  in  the  "Che  soave  zeffiretto" 
(Letter  Duet — Song  to  the  Zephyr). 

It  is  a  remarkably  simple,  fluent  duet 
conversation,  full  of  melody.  The 
Countess  dictates,  and  Susanna  takes 


down  the  message,  the  orchestra  al- 
lowing ample  time  for  the  writing — a 
fine  exhibition  of  Mozartian  craftsman- 
ship. 

The  letter  is  sealed  with  a  pin,  which 
the  Count  is  to  return  as  a  sign  that  he 
will  keep  the  appointment.  In  the  next 
scene,  Figaro  and  Susanna  are  married, 
and  Susanna  contrives  during  the  cere- 
mony to  slip  the  note  to  the  Count. 
Some  amusement  is  caused  when  the 
Count,  engaged  in  the  taskof  bestowing 
a  seignorial  kiss  upon  some  of  the  vil- 
lage maidens,  unexpectedly  kisses  Cher- 
ubino,  still  in  woman's  clothes.  The 
page  is  discovered,  and  condemned  to 
marry  Barbarina. 

ACT  IV 

SCENE — The  Garden  of  the  Chateau 

IT  is  night.  Figaro,  having  discov- 
ered the  note  of  Susanna  to  the 
Count,  at  the  place  of  assignation,  solil- 
oquizes upon  the  fickleness  of  women. 
He  then  conceals  himself,  just  as  the 
Countess,  disguised  as  Susanna,  and 
Susanna  disguised  as  the  Countess, 
enter.  The  mistress  hides,  too,  and 
the  maid,  awaiting  the  Count,  and 
knowing  that  her  husband  is  listening, 
sings  her  famous  soliloquy  addressed  to 
her  imaginary  lover.  This  is  with  a  view 
to  harrowing  Figaro. 

Cherubino,  having  an  appointment 
with  Barbarina,  suddenly  appears  on 
the  scene,  and  seeing  the  Countess, 
whom  he  believes  to  be  Susanna,  he  at- 
tempts to  kiss  her.  The  Count  arrives, 
just  in  time  to  see  this,  and  steps  be- 
tween them,  unexpectedly  receiving 
the  kiss  himself.  He  gives  the  boy  a 
violent  box  on  the  ear,  and  the  young- 
ster flies,  his  head  ringing.  The  Count 
then  proceeds  to  make  ardent  love  to 
his  wife,  believing  her  Susanna.  He 
presents  her  with  a  diamond  ring. 

Figaro,  mad  with  rage,  unexpectedly 
meets  Susanna,  whom  he  of  course  be- 


238 


VICTROLA    BOOK    OF   THE    OPERA 


lieves  to  be  the  Countess.  He  accord- 
ingly tries  to  awaken  her  jealousy.  Su- 
sanna, however,  reveals  herself,  and  the 
Count,  seeing  Figaro  apparently  em- 
bracing the  Countess,  promptly  forgets 
the  supposed  Susanna,  and  seizing  Fi- 
garo, calls  for  help.  Explanations  now 
follow,  and  the  Count,  perceiving  him- 
self outwitted,  begs  his  wife's  forgive- 
ness and  promises  to  be  a  model  hus- 
band. Cherubino  and  Barbarina  ap- 
pearing, the  curtain  falls  upon  three 
happy  couples,  about  to  re-enter  the 
palace  to  take  part  in  the  marriage 
festivities. 

THE   VICTOR   RECORDS 

(Sung  in  Italian) 
ACT  I 

SE  VUOL  BALLARE,  SIGNOR    CON- 
TINOR 

(Will  You  Dance?)  GIUSEPPE  DE  LUCA, 
Baritone  64673     10-in.,  51.25 


DOUBLE-FACED  RECORDS 


1.25 


1.75 


NON  SO  PIU  COSA  SON 
(I  Know  Not  What  I'm  Doing) 
AMEI.ITA  GALLI-CURCI,  Soprano 

64748     10-in., 

ACT  II 
VOI  CHE  SAPETE 

(What  Is  This  Feeling?)  NELLIE  MEL- 
BA,  Soprano  88067  12-in., 

CHERUBINO: 

What  is  this  feeling  makes  me  so  sad? 
What  is  this  feeling  makes  me  so  glad? 
Pain  that  delights  me, — How  can  it  be? 
Pleasure  that  pains  me! — 
Fetter'd  though  free! 
Whence,  too,  these  yearnings, 
Strange  to  myself? 
Tell  me  their  meaning,  spirit  or  elf! 

ACT  III 
CHE  SOAVE  ZEFFIRETTO 

(Letter  Duet — Song  to  the  Zephyr) 
MARCELLA  SEMBRICH,  Soprano  and 
EMMA  EAMES,  Soprano  95202  12-in.,  2.50 

ACT  IV 
DEH  VIENI,  NON  TARDAR? 

(Ah,  Why  Delay  So  Long?)  LUCREZIA 
BORI,  Soprano  88633  12-in., 


1.75 


fOverture : Arthur  Pryor's  Band}  35109  i?  in     «1  35 

\    Fra  Diavo/o  Overture  (Auber) Arthur  Pryor's  Band)    ~  '* 

{Porgi  amor  (Love,  Thou  Holy  Impulse) Teresa  Arkel,  Soprano\^,,n  in:.,          gc 

Joglietemi  la  vita  ancor — Romanza Teresa  Arkel,  Soprano)  *' 


239 


HHOTO   BYRON 


THE    FAIR    SCENE 


MARTHA 


MARTHA  (in  Italian  "Marta"), 
perhaps  of  all  operas  most 
deserves  the  appellation  of 
an  "old  favorite."  Friedrich  von  Flo- 
tow,  possibly  as  much  as  von  Weber, 
deserved  Beethoven's  censure,  as  know- 
ing the  "art  of  pleasing";  had 
Beethoven  lived,  he  would  have  placed 
him  in  the  same  category,  as  regarded 
his  effect  upon  the  "popular  mind." 

Flotow  was  of  noble  birth;  he  was  a 
son  of  Baron  von  Flotow  of  Mecklen- 
burg, who  designed  him  for  a  diplo- 
matic career.  He  was  born  in  1812, 
and  he  was  not  so  very  old,  perhaps, 
when  the  Baron  sent  him  to  Paris  for 
study;  for  the  boy  loved  music.  His 
first  opera  was  "Pierre  et  Catharine," 
followed  by  "Stradella";  the  overture 
to  the  latter  work  is  a  concert  favorite, 
even  today. 

Many  great  prime  donne  have  sung 
the  role  of  Martha — Patti,  Nilsson, 
Gerster,  Richings,  Parepa-Rosa — not 
to  speak  of  the  present  generation,  in 
which  Sembrich  and  Hempel  have 
excelled.  The  opera,  though  it  he- 


longs  to  the  "coloratura"  class,  is 
composed  under  the  German  tradition. 
Melody  and  harmony  are  vigorous, 
never  too  "fleshly,"  and  at  times  they 
reach  heights,  if  not  too  exalted 
heights,  of  inspiration,  and  depths,  if 
not  too  profound  depths,  of  musical 
knowledge.  The  work  is  a  lively  one. 

THE  OPERA 

OPERA  in  four  acts.  Libretto  by 
St.  George  and  Friedrich.  Music 
by  Friedrich  von  Flotow.  The  opera 
is  an  elaboration  of  "Lady  Henrietta," 
a  ballet-pantomime,  with  text  by  St. 
George  and  music  by  Flotow,  which 
was  presented  in  Paris  in  1844. 
"Martha"  was  first  produced  at  the 
Court  Opera,  Vienna,  November  25, 
1847,  with  Anna  Kerr  and  Carl  Formes. 
First  London  production  July  1,  1858, 
at  Covent  Garden,  in  Italian,  and  at 
Drury  Lane  in  English.  First  Paris 
production  1858.  In  Italy,  at  Milan, 
April  25,  1859.  Given  in  1865  at  the 
Theatre  Lyrique, Paris,  with  Patti.  First 
American  production  1852,  in  German. 


240 


VICTROLA     BOOK     OF     THE      OPERA 


First  New  Orleans  production  January 
27,  1860,  with  Mile.  Dalmont.  A 
notable  New  York  production  occurred 
in  1887  with  Patti,  Guille,  Del  Puente 
and  Scalchi.  Later  Metropolitan  per- 
formances were  in  1896;  1897  (sadly 
memorable  because  of  the  death  of 
Castelmary  on  the  stage  in  the  second 
act);  1900,  in  English;  the  brilliant 
revival  of  1906,  with  Caruso,  Sembrich, 
Homer  and  Planc.on.  In  1916  another 
production  was  made  with  Caruso, 
Hempel,  Ober  and  de  Luca. 

CHARACTERS 

LADY  HARRIET  DURHAM,  Maid-of- 

honor  to  Queen  Anne.  .  .  .Soprano 
NANCY,  her  friend ....  Mezzo-Soprano 
SIR  TRISTAN  MICKLEFORD,  Lady 

Harriet's  cousin Bass 

PI.UNKETT,  a  wealthy  farmer.  .  .  .Bass 
LIONEL,  his  foster-brother,  after- 
wards Earl  of  Derby Tenor 

THE  SHERIFF  OF  RICHMOND Bass 

Chorus  of  Ladies,  Servants,  Farmers, 

Hunters  and  Huntresses, 

Pages,  etc. 

The  Scene  is  laid,  at  first,  in  the  Castle 
of  Lady  Harriet,  then  in  Richmond 

ACT  I 

SCENE  I — Boudoir  of  Lady  Harriet 

TADY  HARRIET,  a  maid-of- honor 
1  s  to  Queen  Anne,  has  grown  weary 
of  the  elaborate  monotony  of  court 
life.  She  has  admirers  without  number 
— dresses  and  jewels  and  flowers,  social 
position,  all  the  assurances  and  all  the 
distractions,  in  short,  all  the  average 
woman  craves.  Her  faithful  maid, 
Nancy,  discovers  her  weeping.  "Why 
do  you  weep?"  she  is  asked,  and  the 
reply  is  one  familiar  to  all  races  and 
generations  of  humanity.  It  is  the 
expected  one — "I  don't  know!" 

Harriet  has  a  cousin,  Tristan,  a  gay 
but  rather  tottery  old  beau.     Skilled 


in  the  ways  of  women,  he  now  pro- 
poses a  new  list  of  diversions;  but 
Harriet  rejects  them  all,  and  she  "rags" 
the  gentleman  unmercifully.  Hearing 
through  the  open  window,  the  song  of 
the  servant  maids  on  their  way  to 
Richmond  Fair,  Harriet  has  a  charac- 
teristic inspiration — she  will  go  with 
them!  Nancy  and  Tristan  demur,  but 
she  orders  them  along  with  her. 

The  women  go  off  dressed  as  servant 
girls,  and  the  aristocratic  Tristan  as  a 
farmer. 

SCENE  II — The  Fair  at  Richmond 

THE  fair  is  in  full  swing — crowded 
mostly  with  men  and  maidens  in 
search  of  work;  for  it  was  the  old  cus- 
tom for  farmers  to  seek  their  hired 
"help"  at  the  fair.  Two  young  farm- 
ers, Lionel  and  Plunkett,  appear  in  the 
crowd.  Lionel  is  an  orphan,  and 
Plunkett1  s  adopted  brother.  Lionel's 
father,  on  his  deathbed,  it  appears, 
has  bequeathed  to  Plunkett  a  ring, 
which  he  has  been  instructed  to  pre- 
sent to  the  Queen  if  he  ever  gets  into 
trouble. 

The  two  men  sing  of  this  circum- 
stance in  the  familiar  "Solo,  Profugo" 
(Lost,  Proscribed),  an  air  which  has 
become  in  truth  "universally  popular." 
It  has  been  reset  to  various  poems, 
including  a  familiar  hymn: 

ifft'L8  r  E  I^-HT  c  if  1 1  f  c  f  £  if  ^^ 


Plunkett,  in  the  course  of  it,  reaf- 
firms his  life-long  affection  for  his 
foster-brother.  Soon  the  disguised 
ladies  appear,  with  the  harassed 
Tristan,  who  considers  the  whole  affair 
in  monstrous  poor  taste.  The  farmers 
see  the  two  girls,  and,  attracted  by 
their  obvious  good  looks,  they  offer  to 
hire  them.  Carried  off  by  the  spirit  of 
their  prank,  the  two '  'servants  "  accept. 
They  take  the  money  proffered  them, 


241 


not  knowing  that  by  this  they  are 
legally  bound  to  serve  their  masters 
for  a  year.  Tristan  protests,  but  he 
is  hooted  off  the  grounds,  and  the 
now  terrified  girls  are  led  away  by 
the  two  farmers.  Work  threatens. 

ACT  II 

SCENE — A  Farmhouse 

A\  the  curtain  rises,  the  two  men 
enter,  dragging  with  them  the 
new  members  of  their  household.  Then 
follows  the  first  of  the  beautiful  quar- 
tets for  which  this  act  is  especially 
famous,  the  "Siam  giunti,  o  giova- 
nette"  (This  is  Your  Future  Dwelling). 
It  is  followed,  at  once,  by  the  second, 
the  "Che  vuol  dir  cio"  (Surprised  and 
Astounded!).  Harriet ,  asked  her  name, 
gives  it  as  Martha.  Nancy  becomes 
Julia  for  the  time  being. 

Mistress  and  maid  recover  their 
breath;  when  they  realize  that  nothing 
very  frightful  is  going  to  happen  to 
them,  their  temptation  to  plague  their 
employers  becomes  irresistible.  It  be- 
gins in  earnest  when  the  young  men 
endeavor  to  instruct  them  in  their  new 
duties.  Plunkett  shows  them  the  door 
of  their  room.  They  are  eager  to 
escape  and  talk  things  over;  but  half- 
way there,  Plunkett  stops  them.  The 
man  is  hungry;  who  is  going  to  cook 
for  him?  He  gives  them  his  hat  and 
coat  to  hang  up,  and  Harriet  throws 
them  on  the  floor. 

The  men  are  mystified.  Such  in- 
subordination is  not  in  their  philoso- 
phy. They  ask  the  girls  to  exhibit 
their  skill  at  spinning.  Then  follows 
the  beautiful  "Presto,  Presto"  (Spin- 
ning Wheel  Quartet).  The  girls  can- 
not spin,  and  their  employers,  melting, 
volunteer  to  teach  them.  At  the  end 
of  the  quartet,  Nancy  overturns  her 
wheel  and  runs  out,  pursued  by 
Plunkett)  who  quickly  loses  his  temper. 
Lionel  follows  the  beautiful  Martha, 


with  whom  he  already  is  head  over 
heels  in  love.  The  girl  laughs  at  him, 
but  there  is  an  odd  little  catch  in  her 
laughter;  he  is  a  good-looking  and 
manly  youth,  with  an  air  of  distinction 
she  is  not  quite  able  to  account  for. 
Suddenly  he  asks  her  to  sing  for  him, 
and,  taking  the  rose  from  her  bosom, 
she  sings  for  him  the  familiar  "Last 
Rose  of  Summer,"  which  every  so- 
prano of  the  last  seventy-five  years, 
almost,  has  sung  at  some  time  or  other. 

This  air,  as  is  now  generally  known, 
is  not  by  Flotow,  but  is  an  old  Irish 
air,  "The  Groves  of  Blarney,"  to  which 
Thomas  Moore  fitted  the  poem.  First 
criticised  by  musicians  as  an  obvious 
bid  for  popular  favor,  it  is  probably 
the  best  known  of  all  "operatic" 
numbers  even  today. 

At  the  end  of  the  song  Nancy  re- 
turns, followed  by  the  bleating  but 
exasperated  Plunkett.  The  farmers 
now  realize  they  have  engaged  a  couple 
of  "problems."  They  bid  the  girls 
good-night  in  the  exceedingly  beauti- 
ful "Quartette' notturno,"  or  "Good- 
night Quartet." 

The  farmers  retire.  The  girls  peep 
out  from  their  room,  and  seeing  no 
one  near,  they  whisper  their  chances 
of  escape.  Outside,  they  suddenly  de- 
tect the  soft  call  of  Tristan's  voice.  A 
carriage  awaits  them,  and  they  slip 
away  home.  They  sleep  profoundly. 

ACT  III 

SCENE — A  Hunting  Park  in  Richmond 
Forest 

THE  young  farmers,  more  mystified 
than  ever  at  the  defection  of  their 
servants,  have  come  to  watch  the 
Queen  and  her  train  at  the  hunt — in 
the  hope,  thereby,  to  forget  the  bright 
eyes  and  the  bad  manners  of  the  two 
girls.  The  act  opens  with  a  very  mas- 
culine and  very  spirited  apostrophe  to 
Porter,  which  is  an  obsolete  drink 


242 


VICTROLA     BOOK     OF     THE      OPERA 


somewhat  resembling  beer,  but  darker 
in  color  and  somewhat  sweeter  to  the 
taste.  Lionel  attributes  to  porter  the 
leonine  strength  of  the  British  empire. 
The  farmers  disperse,  leaving  Lionel 
alone — to  sing,  forgetting  even  porter, 
his  famous  "  M'appari "  (Like  a  Dream) , 
a  singularly  melodious  air,  telling,  with 
genuine  feeling,  of  his  seemingly  hope- 
less passion  for  the  unknown  Martha. 
In  the  midst  of  the  song,  enters 
Lady  Harriet.  Though  the  young  man 
is  amazed  at  seeing  her  in  the  dress  of 
a  lady,  he  is  frank  enough  to  declare 
his  love,  and  he  still  is  young  enough 
and  unworldly  enough  to  plead  it. 
Lady  Harriet  is  forced  to  call  the  hunt- 
ers, to  whom  she  declares  Lionel  must 
be  insane.  Poor  Lionel  is  nearly  dis- 
tracted, Plunkett  administering  vain 
consolation.  A  beautiful  finale  brings 
the  scene  to  an  appropiate  close. 

ACT  IV 

SCENE  I — Plunkett 's  Farm  House 

PLUNKETT  is  alone,  musing  on 
the  unhappy  plight  of  his  foster- 
brother,  who,  since  his  rejection  by 
Harriet,  is  not  to  be  appeased.  His 
mind  is  clouded,  and  nothing  can  be 
done  for  him.  Nancy  enters,  and  she, 
being  of  common  birth,  is  able  to 
patch  up  peace  with  the  young  man — 
a  peace  which,  if  it  does  not  pass 
understanding,  at  least  develops  into 
it.  The  pair  decide  to  present  Lionel's 
ring  to  the  Queen,  and  thus  clear  up 
the  mystery  surrounding  him. 

SCENE  II — A  Representation  of  the 
Richmond  Fair 

E)NEL'S  ring  has  been  duly  shown 
to  the  Queen,  when  it  transpires 
that  he  is  really  the  son  of  the  banished 
Earl  of  Derby.  He  refuses,  neverthe- 
less, to  accept  his  rightful  rank,  and 
he  continues  to  brood  over  the  insult 
offered  him  in  the  forest.  Being  the 
son  of  an  earl,  things  are  now  arranged 


for  him — the  most  important  being  a 
complete  reproduction  of  the  scene  at 
Richmond  Fair,  into  which  Harriet  is 
introduced,  in  her  servant's  dress. 
Lionel  is  led  in  by  Plunkett,  and  his 
mind  at  once  clears.  He  embraces 
Harriet,  Plunkett  embraces  Nancy,  and 
there  is  a  general  time  of  embracing, 
when  the  curtain  drops. 

THE   VICTOR   RECORDS 

(Sung  in  Italian  unless  noted) 

ACT  I 
SOLO,  PROFUGO 

(Lost,  Proscrib'd)  ENRICO  CARUSO, 
Tenor  and  MARCEL  JOURNET,  Bass 

89036     12-in.,  #2.00 

ACT  II 
SIAM  GIUNTI,  O  GIOVINETTE 

(This  Is  Your  Future  Dwelling)  FRANCES 
ALDA,  Soprano;  JOSEPHINE  JACOBY, 
Contralto;  ENRICO  CARUSO, Tenor  and 
MARCEtJouRNET.Bass  95207  12-in.,  2.50 

CHE  VUOL  DIR  CIO 

(Surprised    and    Astounded)    FRANCES 
ALDA,  JOSEPHINE  JACOBY,  ENRICO 
CARUSO  and  MARCEL  JOURNET 

95208  12-in.,    2.50 
PRESTO,  PRESTO 

(Spinning  Wheel  Quartet)  FRANCES 
ALDA,  JOSEPHINE  JACOBY,  ENRICO 
CARUSO  and  MARCEL  JOURNET 

95209  12-in.,    2.50 

LAST  ROSE  OF  SUMMER 

LUISA  TETRAZZINI,  Soprano    In  English 

88308     12-in.,     1.75 
MARCELLA     SEMBRRICH,     Soprano     In 

English  88102     12-in.,     1.75 

AMELITA     GALLI-CURCI,     Soprano     In 

English  74536     12-in.,     1.75 

ADELINA    PATTI,   Soprano     In    English 

95030     12-in.,     5.00 
ALICE   NIELSEN,  Soprano     In  English 

74121     12-in.,     1.75 

Tis  the  last  rose  of  summer, 

Left  blooming  alone; 
AH  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; 


243 


VICTROLA     BOOK     OF     THE      OPERA 


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! 

QUARTETTO  NOTTURNO 

(Good  Night  Quartet)  FRANCES  ALDA, 
JOSEPHINE  JACOBY,  ENRICO  CARUSO 
and  MARCEL  JOURNET  95210  12-in.,  2.50 

ACT  III 

CANZONE  DEL  PORTER 

(Porter  Song)  MARCEL  JOURNET,  Bass 

64014     10-in.,     1.25 
PLUNK.ETT: 

I  want  to  ask  you,  can  you  not  tell  me, 

What  to  our  land  the  British  strand 

Gives  life  and  power?  say! 

It  is  old  porter,  brown  and  stout, 

We  may  of  it  be  justly  proud, 

It  guides  John  Bull,  where'er  he  be, 

Through  fogs  and  mists,  through  land  and  sea! 

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! 

And  that  explaineth  wher'er  it  reigneth 

Is  joy  and  mirth!  At  ev'ry  hearth 


Resounds  a  joyous  song. 
Look  at  its  goodly  color  here! 
Where  else  can  find  you  such  good  beer? 
So  brown  and  stout  and  healthy,  too! 
The  porter's  health  I  drink  to  you! 

M'APPARI 

(Like  a  Dream)  ENRICO  CARUSO,  Tenor 

88001     12-in.,     1.75 

GIOVANNI  MARTINELLI,  Tenor 

74469     12-in.,     1.75 

EVAN    WILLIAMS,   Tenor      In    English 

74128     12  in.,     1.75 
LIONEL: 

Like  a  dream  bright  and  fair, 

Chasing  ev'ry  thought  of  care, 

Those  sweet  hours  p_ass'd  with  thee 

Made  the  world  all  joy  for  me. 

But,  alas!  thou  art  gone, 

And  that  dream  of  bliss  is  o'er. 

Ah,  I  hear  now  the  tone 

Of  thy  gentle  voice  no  more; 

Oh!  return  happy  hours 

Fraught  with  hope  so  bright. 

Come  again  sunny  days  of  pure  delight! 

Fleeting  vision  cloth'd  in  brightness, 

Wherefore  thus,  so  soon  depart; 

O'er  my  pathway  shed  thy  lightness  once  again. 

And  glad  my  heart. 


DOUBLE-FACED   RECORDS 

/Overture     to     Martha Pryor's  Bandar,-,-, 

\    Nocturne  in  E  Flat  (Chopin)  (Piano  ace.) Victor  Sorlin,  'Cellistr* 

/Last  Rose  of  Summer   (In  English) Elizabeth  Wheeler\->,o-, * 

\     Tannhduser — The   Evening  Star Rosario  Bourdon,  'Cellist) 

/Good  Night  Quartet  (In  English) Lyric  Qi 

\    Madrigal  from  "  The  Mikado  "  (Gilbert-Sullivan) Lyric 

(•Spinning  Wheel  Quartet Victor  Opera  Quartet] 

\     Madame  Butterfly — Some  Day  He'll  Come Kimball] 


fLast  Rose  of  Summer  ...............................  Elizabeth  Wheeler 

\     Tannhduser  —  Evening  Star  ...................  Rosario  Bourdon,  'Cellist 


}451S3 


fLast  Rose  of  Summer  (Violin)  .........................  Samuel  Gan/«fr\  17.,71 

I     Believe  Me  If  All  Those  Endearing  Young  Charms  .............  Gardner]  1AV1 


10-in, 
10-in 

10-in 
10-in 


,  {51.35 
,  .85 
.,  .85 
.,  1.50 
.,  1.00 
.85 


244 


COPY  T  DUPONT 

CARUSO    AS    RICHARD 


COPY  T  MISHKIN 

DE    SEGUROLA    AS    SAMUEL 


THE  MASKED  BALL 


(BALLO    IN    MASCHERA) 

(Italian) 


THE  history  of  "Un  Ballo  in  Mas- 
chera"  is  a  stormy  one,  at  least  in 
its  beginnings.  This  work  was 
written  for  the  San  Carlo  Opera  House 
in  Naples  during  a  period  of  great  po- 
litical stress.  It  was  just  after  the  at- 
tempt of  Orsini  upon  Napoleon  III, 
and  as  it  was  first  called  "Gustavo  III," 
after  an  assassinated  Italian  monarch, 
and  included  in  its  plot  a  similar  mur- 
der, it  not  unnaturally  attracted  un- 
welcome attention  from  the  police. 
Verdi  was  told  outright  to  adapt  his 
music  to  fresh  words.  He  of  course  re- 
fused. He  was  then  sued  for  200,000 
francs  damages  by  the  manager  of  the 
San  Carlo — for  breach  of  contract. 
When  this  became  known,  together 
with  the  fact  that  the  San  Carlo  man- 
ager had  not  sought  permission  to  give 
the  work  as  Verdi  intended,  a  riot  en- 
sued which  nearly  amounted  to  revo- 


lution. The  episode  was  turned  to  po- 
litical account.  Crowds  of  I  talians,  an- 
gered against  Austria,  gathered  under 
Verdi's  window  or  followed  him  through 
the  streets  shouting  "Viva  Verdi!" — an 
innocent  pastime  in  itself  until  the  let- 
ters forming  the  composer's  name  are 
taken  as  initials  of  the  phrase  "^ittorio 
£mmanuele  Re  D'/talia."  In  this  crisis, 
Jacovacci,a  Roman  impresario,  offered 
to  produce  the  work  in  the  Eternal  City, 
making  arrangements  with  the  Roman 
police,  and  undertaking  all  responsi- 
bilities. Verdi  gratefully  accepted 
this  offer,  and  the  work  was  given  a 
Roman  debut,  February  17,  1859. 
It  proved  a  great  success;  but  in  order 
to  meet  the  police  requirements  the 
names  of  the  characters  and  the  locale  of 
the  plot  incidents  were  altered  so  that 
Gustavo  III  became  Richard,  "Count" 
of  Warwick  and  "Governor"  of  Boston. 


245 


VICTROLA     BOOK     OF     THE     OPERA 


TH  E    O  PE  RA 


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 
11,  1861.  Some  notable  Metropolitan 
revivals  occurred  in  1903  with  de 
Reszke;  in  1905,  with  Caruso,  Eames, 
Homer,  Scotti,  Plancon  and  Journet; 
and  in  1913,  with  Caruso,  Destinn, 
Hempel  and  Amato. 

CHARACTERS 

RICHARD,  Count  of  Warwick 

and  Governor  of  Boston Tenor 

REINHART,  his  secretary Baritone 

AMELIA,  wife  of  Reinhart Soprano 

ULRICA,  a  negress  astrologer.  Central  to 

OSCAR,  a  page Soprano 

SAMUEL  )  •        c  ^    r       ^\  Bass 

TOMASO  I  enemies  of  the  Count  I  Bass 

The  Scene  is  laid  in  Boston,  U.  S.  A., 
at  the  end  of  the  Seventeenth  Century. 

(The  Italian  name  of  the  opera  is 
pronounced  Bahl-loh  in  Mahs'- 
keh-rah). 

ACT  I 

SCENE  I — A  Hall  in  the  Governor  s  House 

THE  hall  of  the  Governor  s  audience 
chamber  is  filled  with  people — offi- 
cers, deputies,  gentlemen —  who  have 
come  to  transact  their  sundry  affairs  at 
the  beginning  of  the  day.  They  sing 
the  Governors  praises,  but  not  all  are 
his  friends;  for  among  the  many  most 
loyal  followers  are  Samuel  and  Tomaso, 
his  bitter  enemies.  The  Governor  en- 
ters and  is  warmly  greeted.  A  list  of 
names  of  those  invited  to  the  ball  is 
given  and  he  is  delighted  to  find  Ame- 
lia's name  on  the  list.  His  greeting  to 
his  followers,  and  his  joy  over  Amelia 


find  expression  in  the  delightful  quartet 
and  chorus,  "La  rivedra  nell'  estasi" 
(I  Shall  Behold  Her). 

The  people  unite  in  a  chorus  of 
praise.  Tomaso  and  Samuel  decide  to 
wait  for  some  better  occasion  before 
attempting  the  Governor' s  life.  A 
judge  enters,  with  a  paper  to  be  signed 
condemning  Ulrica,  a  negro  witch,  ac- 
cused of  sorcery.  Richard  laughs  at 
the  charge,  and  refuses  to  sign;  he  in- 
vites his  friends  to  go  with  him  in  dis- 
guise to  hear  the  woman  prophesy. 

SCENE  II— The  Hut  of  Ulrica 

ULRICA'S  hut  is  crowded  with 
people  who  have  come  to  hear  their 
fortunes.  The  sorceress  stands  over 
a  cauldron,  chanting  incantations  and 
invoking  the  powers  of  darkness  to 
aid  her.  The  Governor  arrives,  dressed 
as  a  sailor,  his  companions  with  him, 
including  the  vengeful  Tomaso  and 
Samuel.  All  are  dismissed,  however, 
from  the  witch's  presence,  to  admit  a 
mysterious  lady  visitor.  Richard,  nev- 
ertheless, conceals  himself.  To  his 
amazement  he  hears  Amelia  beg  the  old 
dame  for  something  that  will  yield  her 
peace  of  mind — by  driving  from  her 
he&rt  her  love  for  Richard,  Count  of 
Warwick  and  Governor  of  Boston,  for  she 
is  (and  she  desires  to  remain)  the  loyal 
wife  of  his  friend  Reinhart.  Richard's 
feelingsmaywellbeimagined.  The  witch 
tells  her  that  there  is  a  certain  herb,  but 
to  make  potent  it  must  be  gathered  at 
night  by  the  one  who  suffers  the  pangs 
of  love;  and  it  grows  only  where  the 
moon  shines  upon  a  gallows  where  men 
have  actually  been  hanged.  Here  there 
is  an  interesting  trio,  the  "Delia  citta 
all  'occaso"  (Hard  by  the  Western 
Portal). 

The  frightened  girl  consents  to  go, 
and  Richard  secretly  vows  that  he 


246 


VICTROLA     BOOK     OF     THE      OPERA 


shall  be  there.  When  she  has  gone,  the 
crowd  reenters  the  hut,  and  Richard 
asks  the  witch  his  fortune.  In  his 
character  as  sailor  he  sings  a  barcarolle, 
a  song  of  the  sea:"Di'  tu  se  fedele" 
(The  Waves  Will  Bear  Me). 

This  ballad  is  full  of  humor,  the 
staccato  passages  toward  the  end  in- 
dicating the  Governor  s  impatience  to 
learn  the  future.  He  openly  banters 
the  woman,  asking  if  he  will  meet  with 
storms  on  his  next  voyage. 

But  Ulrica  finds  nothing  to  ridicule. 
She  warns  him  that  he  is  soon  to  die, 
not  sword  in  hand  as  men  desire,  but 
by  the  dagger  of  a  friend — and  that 
that  friend  shall  be  the  next  one  who 
is  to  take  him  by  the  hand.  This 
involves  the  fine  quintet  and  chorus, 
"E  scherzo,  od  e  follia"  (Your  Pro- 
phecy Absurd!) 

The  Governor  scoffs  at  the  notion, 
and  promptly  offers  his  hand  to  all  his 
friends  present.  They  refuse  it  in 
dread,  Tomaso  and  Samuel  being 
especially  uneasy. 

Suddenly,  however,  Reinhart  enters, 
in  some  anxiety  over  his  chief.  Glad 
to  find  all  well  with  him,  he  shakes 
him  warmly  by  the  hand,  addressing 
him  by  name,  to  the  astonishment  of 
those  who  did  not  know  the  Governor 
was  among  them.  Richard  tells  the 
witch  she  is  a  poor  fortune-teller  for 
this  is  the  best  friend  he  ever  had. 
Nevertheless,  he  pardons  Ulrica^  de- 
claring she  has  nothing  to  fear  from 
him,  and  he  throws  her  a  fat  purse  of 
money.  His  bravery  and  his  gallant 
action  win  fresh  applause  of  the  people, 
who  kneel  and  sing  a  hymn  to  his 
honor,  "O  figlio  d'Inghilterra"  (Oh, 
Son  of  Glorious  England). 

ACT  II 

SCENE — On  One  Side  a  Gallows 

UNDER  the  shadow  of  the  gallows, 
the  frightened  Amelia  seeks  the 
magic    herb— in    the    "Ma   dell'arido 


stelo  divulsa"  (Yonder  Plant  En- 
chanted). A  shadowy  figure  terrifies 
her,  but  it  resolves  itself  into  Richard, 
who  now  makes  himself  known.  The 
unhappy  girl  confesses  she  loves  him, 
but  she  begs  him  to  go  away.  A  duet 
follows,  "Ah!  qual  soave  brivido" 
(Like  Dew  Thy  Words  Fall). 

In  this  remote  spot,  the  last  person 
on  earth  they  wish  to  see  suddenly 
appears — Reinhart.  He  has  come  to 
warn  Richard  that  his  life  is  in  danger. 
Richard  refuses  to  escape  down  an 
available  sidepath,  but  Amelia  threat- 
ens to  make  herself  known  if  he  refuses. 
As  Reinhart  does  not  know  who  the 
veiled  lady  is,  the  threat  is  effective, 
and  Richard  consents  to  escape  pro- 
vided Reinhart  will  give  her  his  pro- 
tection back  to  the  city  without 
speaking  or  making  any  attempt  to 
learn  her  identity.  This  Reinhart 
promises,  and  we  have  the  Boccaccio- 
like  situation  of  a  husband  escorting 
his  own  wife  home  from  a  meeting 
with  her  lover.  As  the  Governor  leaves 
however,  hiswould-be  murderers 
appear.  Discovering  that  Reinhart\s  not 
Richard  they  tear  the  veil  away  from  the 
lady's  face,  and  thus  Reinhart  discovers 
Amelia\  The  great  finale  to  the  act 
now  occurs,  the  "Ve'se  di  notte  qui  con 
la  sposa"  (Ah!  Here  by  Moonlight). 

Protesting  her  innocence,  the  un- 
happy woman  almost  faints  with 
shame.  Reinhart  bitterly  upraids  her, 
denouncing  his  false  friend  Richard. 
The  conspirators  depart,  anticipating 
a  sensation  on  the  morrow  when  the 
city  shall  learn  of  the  incident;  but 
before  they  go  Reinhart  makes  an 
appointment  with  them  for  the  morn- 
ing. He  then  tells  Amelia  that  he 
will  escort  her  to  the  city — but  in 
such  tones  as  make  her  tremble  for 
her  life.  As  the  curtain  goes  down,  a 
sensitive  audience  can  easily  share  in 
the  poor  soul's  forebodings.  There  is 
tragedy  in  the  air. 


247 


VICTROLA     BOOK     OF     THE     OPERA 


ACT  III 

SCENE  I — A  Room  in  Reinhart' s  House 

IN  a  terrible  scene,  Reinhart  pours 
down  upon  the  unhappy  Amelia  the 
full  flood  of  his  anger.  Finally  in  an 
access  of  fury  he  bids  her  prepare  for 
instant  death.  The  frightened  woman 
swears  she  is  innocent,  begging  on  her 
knees  for  a  chance  to  bid  farewell  to 
her  child — their  child.  This  is  the 
solemn  and  tender  "Morro,  ma  prima 
in  grazia"  (I  Die,  Yet  First  Implore 
Thee).  It  sobers  Reinhart ,  for  the 
time  at  least,  and  he  grants  her  request. 
Left  alone,  he  repents  his  intention, 
reserving  his  wrath  and  his  vengeance 
for  Richard  in  the  remarkable  "Eri  tu" 
(Is  It  Thou?) 

This  is  the  greatest  air  allotted  to 
Reinhart,  and  perhaps  the  most  famous 
in  the  entire  opera.  At  its  close, 
Samuel  and  Tomaso  enter,  doubtful 
of  their  reception.  Reinhart  proves 
by  a  paper  that  he  is  aware  of  their 
plan  to  attack  the  Governor,  and  as 
they  cower  back  expecting  arrest  he 
unexpectedly  tells  them  that  he,  too, 
seeks  revenge.  To  convince  them  he 
offers  his  own  son  in  hostage.  They 
are  delighted  to  secure  so  influential 
an  ally.  His  only  stipulation  is  that 
his  own  hand  must  deliver  the  blow. 
They  refuse  this,  but  consent  to  draw 
lots.  Just  as  soon  as  these  have  been 
prepared,  however,  Amelia  enters  an- 
nouncing Oscar,  the  Governor  s  mes- 
senger. The  crazed  Reinhart  looks  on 
her  as  an  instrument  of  Fate,  and  he 
forces  her  to  draw  the  scraps  of  paper. 
It  is  her  hand  therefore  that,  by  draw- 
ing a  slip  bearing  Reinharfs  name, 
condemns  Richard  to  death.  With 
her  woman's  instinct,  she  divines  it. 
The  page  enters  with  invitations  to 
the  Governor  s  ball.  And  the  con- 
spirators withdraw  after  deciding  on 
the  password,  and  upon  the  costumes 
to  .be  worn.  The  frightened  Amelia 


overhears  a  word  or  two  and  all  doubt 
dissolves  as  to  the  quality  of  the  men's 
intentions.  They  are  bent  on  murder. 

SCENE  II — The  Governor  s  Private  Office 

MEANTIME,  Richard  decides 
upon  a  beautiful  sacrifice.  By 
sending  Reinhart  and  Amelia  back  to 
England  can  he  avoid  the  peril  of  be- 
traying his  friend.  He  sings  the 
pathetic  romanza,  "Ma  se  m'e  forza 
perdeti"  (Forever  to  Lose  Thee),  a 
recitative,  closely  followed  by  a  lovely 
air.  A  page  brings  a  note  from  an 
unknown  lady,  warning  him  that  an 
attempt  will  be  made  upon  his  life 
at  the  ball.  Remembering,  however, 
that  his  absence  might  be  construed 
into  cowardice,  he  decides  to  go. 

SCENE  III — The  Grand  Ball  Room  in 
the  Governor  s  House 

RLINHART  in  vain  seeks  the 
Governor  among  the  masked 
guests.  At  last  he  meets  the  page 
Oscar,  who,  however,  taunts  him,  in  the 
sprigh  tly  "Saper  vorreste"  (You 
Would  Be  Hearing). 

This  singularly  felicitous  little  scherzo 
is  grossly  out  of  tune  with  the  vengeful 
Reinhart' s  mood.  He  tells  the  page 
harshly  enough,  that  affairs  of  state, 
make  it  imperative  he  should  know  the 
Governor  on  sight.  He  is  told  that 
Richard  is  dressed  in  black  with  a  red 
ribbon  on  his  right  breast. 

Amelia,  in  the  meanwhile,  has  con- 
trived a  meeting  with  Richard  in  order 
to  say  farewell,  and  to  warn  him 
against  her  husband's  vengeance.  As 
the  two  are  mournfully  parting,  Rein- 
hart  rushes  in  and  stabs  the  Governor 
in  the  back.  The  dying  man,  sup- 
ported by  friends,  now  tells  Reinhart 
that  Amelia  is  guiltless;  that  he  him- 
self has  planned,  for  her  happiness  and 
Reinhart's,  to  send  them  both  back  to 
England  out  of  harm's  way.  With  his 
dying  breath  he  forgives  his  friend, 
and  declares  him  innocent  of  harm. 


248 


FAMOUS  OPERA  HOUSES  OF  EUROPE 


VICTROLA      BOOK     OF     THE     OPERA 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  otherwise  noted) 


ACT  I 
LA  RIVEDRA  NELL'  ESTASI 

(I  Shall  Behold  Her)  ENRICO  CARUSO, 
Tenor,  FRIEDA  HEMPEL,  Soprano, 
LEON  ROTHIER,  Bass,  A.  PERELLO  DE 
SEGUROLA,  Bass;  and  Chorus 

89077     12-in.,  ?2.00 
DI'TUSEFEDELE 

(The  Waves  Will  Bear  Me)  ENRICO 
CARUSO,  Tenor,  and  Metropolitan 
Opera  Chorus  87091  10-in.,  1.25 

GIOVANNI  MARTINELLI,  Tenor 

64487     10-in.,     1.25 
RICHARD: 

Declare  if  the  waves  will  faithfully  bear  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  commo- 
tion, 

I  go  now  to  steer  thro'  the  dark  waves  of  ocean, 
The  anger  of  Heav'n  and  Hell  to  defy! 
Then  haste  with  thy  magic,  the  future  explor- 
ing, 
No  power  have  the  thunder  or  angry  winds 

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

QUINTETTE— E  SCHERZO,  OD  £  FOLLIA 
(Your  Prophecy  Absurd)  ENRICO  CA- 
RUSO, Tenor,  FRIEDA  HEMPEL,  So- 
prano, LEON  ROTHIER,  Bass,  A.  PER- 
ELLO DE  SEGUROLA,  Bass,  MME.  Du- 
CHENE,  Soprano,  and  Metropolitan 
Chorus 

89076     12-in.,    2.00 

ACT  III 

MORRO  MA  PRIMA  IN  GRAZIA 
(I  Die,  Yet  First  Implore  Thee)  EMMY 

DESTINN,  Soprano         88636     12-in.,     1.75 

ERI  TU  CHE  MACCHIAVI 

(Is  It  Thou?)     EMILIO   DE   GOGORZA, 

Baritone  88324     12-in.,     1.75 


PASQUALE  AMATO,  Baritone 

88464  12-in.,  1.75 
TITTA  RUFFO,  Baritone 

88544  12-in.,  1.75 
GIUSEPPE  DE  LUCA,  Baritone 

74526  12-in.,  1.75 
MATTIA  BATTISTINI,  Baritone 

92044     12-in.,     1.75 

MA  SE  M'E  FORZA  PERDERTI— 
ROMANZA 

(Forever  to  Lose  Thee)  (Preceded  by 
the  recitative,  "Forse  la  soglia") 
(This  Affair  Must  End)  ENRICO 
CARUSO,  Tenor  88346  12-in.,  1.75 

RICHARD: 

Haply  I  have  decided,  finding  peace  of  mind. 
Reinhart  will  return  to  his  country, 
His  wife,  submissive,  will  follow  him. 
Farewells  unspoken,  the  broad  ocean  will 

divide  us. 

If  compelled  to  lose  thee  now 
To  part  from  thee  forever: 
My  burning  thoughts  will  fly  to  thee, 
Though  fate  our  lot  may  sever. 
Thy  memory  still  enshrined  shall  be 
Within  my  inmost  heart. 
And  now,  what  dark  forebodings 
Around  my  soul  are  thronging? 
When,  once  more  to  behold  thee, 
Seems  like  a  fatal  longing! 


SAPER  VORRESTE 

(You  Would  Be  Hearing)  LUISA  TET- 
RAZZINI,  Soprano       88304     12-in., 


1.75 


OSCAR: 

You  would  be  hearing,  what  dress  he's  wearing 
When  he  was  bidden,  the  fact  be  hidden? 
I  know  right  well  but  may  not  tell 

Tra  la  la  la,  la  la  la! 
Of  love  my  heart  feels  all  the  smart, 
Yet  watchful  ever,  my  secret  never 
Rank  nor  bright  eyes  shall  e'er  surprise! 

Tra  la  la  la,  la  la  la! 


DOUBLE-FACED  RECORDS 

[Ah!  qual  soave  brivido  (Thy  Words  Like  Dew)  1 

Giacomelli  and  Martinez-Patti\  68026     12-in.,  21.35 
I     Forza  del  Destino — Non  imprecare  . .  .  Martinez-Patti,  Preve  and  Giacomelli) 


fO  figlio  d'Inghilterra  (Oh,  Son  of  Glorious  England) 

Huguet,  Salvador,  Cigada,  Sillich  and  La  Scala  Chorus  [ 
I     Ernani — Ernani  involami Maria  Grist,  Soprano) 


63173     10-in.,      .85 


250 


PHOTO  BYRON 


SCENE  FROM  MEFISTOFELE   (ACT  III) 

MEFISTOFELE 


ARIGO  BOITO  was  a  man  of  un- 
usual genius,  but  one  whose 
achievements,  perhaps,  did  not 
quite  reach  his  natural  possibilities.  He 
was  as  much  poet  as  musician,  and  he 
was  the  author  of  a  novel,  some  remark- 
able poems  and  opera  libretti,  includ- 
ing "La  Gioconda,"  and  Verdi's  "Fal- 
staff"  and  "Otello."  In  addition  he 
was  a  composer.  He  was  born  at 
Padua,  1842,  and  died  in  1918.  His 
father  was  Italian,  but  his  mother  was 
Polish,  and  perhaps  this  northern  strain 
in  his  blood  may  account  for  his  philo- 
sophical bent.  His  elder  brother,  an 
architect  of  note,  suggested  Goethe's 
"Faust"  to  the  boy  as  an  opera  theme 
long  before  Gounod's  work  was  pro- 
duced; and  even  in  his  student  days  he 
had  the  work  in  hand.  The  failure  of 
"Mefistofele"  at  its  first  production 
was  partly  due  to  technical  conditions 
— the  role  of  Faust  being  assigned  to  a 
baritone — and  the  scenes  tending  to 
discursiveness.  But  it  was  also  due,  in 
part,  to  a  lack  of  understanding  by  en- 
thusiastic but  unphilosophical  artists 
and  producers.  And  misconceptions 
of  the  work  were  certainly  induced  by 


discussion.  In  a  revised  form,  far 
more  practical  but  perhaps  less  distinc- 
tively original,  "Mefistofele"  was  again 
brought  forward  at  Bologna  in  1875 — 
and  this  time  with  success. 

Boito's  opera  is  never  likely  to  be 
popular,  yet  it  is  a  landmark  in  music — 
especially  in  Italian  opera.  He  has 
sought  to  give  the  whole  of  Goethe's 
"Faust"  and  not  merely  the  Faust-and- 
Marguerite  incident  employed  by  Gou- 
nod and  others.  So  gigantic  a  poem 
cannot  readily  be  condensed  into  a 
four-hour  opera  without  suffering  a 
diffusiveness  highly  perplexing  to  those 
unfamiliar  with  Goethe's  masterpiece. 
Full  appreciation  of  Boito's  "Mefisto- 
fele" calls  for  familiarity  with  the  oper- 
atic score  supplemented  by  much  quiet 
study  of  Goethe's  poem.  It  is  a  really 
significant  work,  in  no  sense  popular, 
yet  one  which  has  strongly  influenced 
many  of  the  best  of  latter-day  Italian 
composers.  Verdi  himself  cherished  the 
greatest  veneration  for  Boito's  genius, 
and  there  is  no  question  thatBoitoinflu- 
enced  the  later  masterpieces  of  the  com- 
poser who  wrote  "Otello"  and  "  Falstaff" 
as  well  as  "Trovatore"  and  "Aida." 


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T  H  E    O  P  £  R  A 


OPERA  in  four  acts.  Text  and 
music  by  Arrigo  Bo'ito;  a  para- 
phrase of  both  parts  of  Goethe's 
"Faust."  The  first  production  at  La 
Scala,  Milan,  1868,  was  a  failure.  Re- 
written and  given  in  1875  with  success. 
First  London  production  July  6,  1880. 
First  American  production  at  the  Acade- 
my of  Music,  November  24,  1880, 
with  Campanini,  Gary  and  Novara. 
Given  at  the  New  Orleans  Opera  in 
1881,  in  Italian,  and  in  1894,  in  French. 
Some  notable  American  productions 
were  in  1896,  with  Emma  Calve;  in 
1889,  in  German,  with  Lilli  Lehmann; 
and  in  1901  with  Mclntyre,  Louisa 
Homer  and  Pol  Plancon;  in  1904  with 
Caruso  and  Emma  Eames;  in  1907, 
for  Chaliapine;  in  1906  at  the  Man- 
hattan Opera;  the  Chicago  opera  re- 
vival for  Titta  Ruffo;  and  the  recent 
Metropolitan  production  with  Caruso, 
Emmy  Destinn,  Frieda  Hempel  and 
Pasquale  Amato. 


CHARACTERS 

MEFISTOFELE Bass 

FAUST Tenor 

MARGARET Soprano 

MARTHA Contralto 

.WAGNER Tenor 

HELEN Soprano 

PANTALIS Contralto 

NEREUS Tenor 

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

PROLOGUE 

SCENE — The  Regions  of  Space 

IN  the  realms  of  space,  invisible  an- 
gels and  cherubim,  accompanied  by 
celestial  trumpets,'  are  singing  in  praise 
of  the  Ruler  of  the  Universe.  As  in 
Goethe's  drama,  Meftsfofele,  represent- 
ing the  Evil  One,  converses  with  the 


FARRAR  AND  MARTIN  IN  ACT  II 


PHOTO  NUMA  BLANC  FILS,  MONTE  CARLO 
MELBA  AS  HELEN 


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VICTROLA     BOOK.     OF     THE      OPERA 


Almighty,  expressing  his  contempt  for 
"that  small  God  of  Earth  who,  like  the 
grass-hopper,  pokes  his  head  among  the 
stars  only  to  fall  back  trilling  into  the 
grass."  The  mystical  choirs  answer, 
"Is  Faust  known  to  thee?,"  much  as  in 
the  Book  of  Job,  which  Goethe  followed 
with  some  faithfulness  in  this  scene. 
"The  Lord  said  unto  Satan,  Hast  thou 
considered  my  servant  Job,  that  there  is 
none  like  him  in  the  earth,  a  perfect  and 
an  upright  man,  one  thatfeareth  God  and 
cschcweth  evil? "  And  as  God,  in  the 
Biblical  narrative,  permitted  Satan  to 
influence  Job,  so  Mefistofele  is  permit- 
ted to  wager  with  Heaven  that  he  can 
lure  Faust  to  his  destruction. 

ACT  I 

SCENE    I — A    Square    in    Frankfort — 
Easter  Sunday 

*  I  AHE  aged  philosopher,  Faust,  and 
JL  his  pupil  Wagner,  while  mingling 
with  the  crowd,  remark  a  Grey  Friar. 
Faust  shortly  observes  that  he  "moves 
slowly  on  in  lessening  circles;  and  with 
each  spiral,  comes  ever  nearer  and 
nearer.  Oh!  as  I  gaze,"  he  continues,"! 
see  his  footsteps  marked  in  fire!"  To 
Wagner  this  sounds  like  mu.'ness;  he 
can  see  nothing  but  a  mendicant  friar. 
Dramatic  necessity  no  doubt  ob- 
liged Boito  to  substitute  a  friar  for 
Goethe's  "pudel,"  and  in  a  note  Boi'to 
justifies  the  change  on  the  ground  that 
in  the  old  Faust  legends  it  is  a  friar 
and  not  a  "water  dog. 

SCENE  II— The  Studio  of  Faust 

[RETURNING  to  his  studio,  Faust 
IV.  does  not  see  the  friar  slip  in  be- 
hind and  conceal  himself  in  an  alcove. 
The  aged  philosopher  delivers  his  solil- 
oquy, "Dai  campi,  dai  prati"  (From 
the  Green  Fields),  in  which  peaceful 
and  serene  melody  he  speaks  of  his  con- 
tentment, his  love  of  God  and  his  fel- 
low man.  The  melody  is  simple  but 


expressive  throughout;  the  middle  sec- 
tion is  distinctly  pastoral  in  character. 
The  friar  suddenly  stands  forth,  and 
throwing  off  his  disguise,  he  reveals 
himself  as  Mefistofele,  arrayed  as  a  cav- 
alier. He  offers  his  services  to  the  phil- 
osopher on  the  same  terms  as  in  Gou- 
nod's work.  But  it  is  no  mere  passion 
for  Margaret  that  so  allures  Faust. 
Boito  follows  Goethe.  The  terms  of 
the  compact  are  that  Mefistofele  binds 
himself  to  Faust's  service  here  without 
restraint.  Below,  the  conditions  will 
be  reversed.  Faust,  always  in  pursuit 
of  greater  knowledge,  is  willing  to  sac- 
rifice immortality  to  win  it;  but  he,  too, 
imposes  a  condition: 

If  it  chance  that  I  say  to  the  fleeting  atom: 
Stay!  thou  art  beautiful!  then  may  I  die! 

By  this  it  will  be  seen  that  Faust  un- 
dertakes to  maintain  his  philosophic 
disinterestedness  in  the  quest  of  Truth 
no  matter  into  what  temptations  of 
love  and  ambition — of  Desire — his 
journey  with  Mefistofele  may  lead. 
Failing  in  this,  he  is  willing  to  sacrifice 
eternity.  The  bargain  is  made,  and 
the  two  set  forth  on  their  adventures. 

ACT  II 

SCENE  I — The  Garden  of  Margaret 

FAUST,  now  a  handsome  young  man 
known  as  Henry,  strolls  in  the  gar- 
den with  Margaret.  Mefistofele,  as  in 
Gounod's  version,  makes  ironic  love  to 
Martha,  who  here  appears  as  Marga- 
ret's mother.  As  with  Goethe,  the 
young  girl  wonders  why  so  magnificent 
a  young  man  deigns  to  notice  her. 
Faust  wishes  to  see  the  girl  alone,  and 
hearing  that  she  sleeps  with  her  mother 
he  gives  her  a  sleeping  draught  for  the 
old  lady.  He  assures  her  this  is  harm- 
less. Then  as  the  scene  closes,  Marga- 
ret surrenders  to  her  love  for  Faust.  "I 
love  thee!  I  love  thee!"  he  cries  as  the 
innocent  girl  surrenders. 


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SCENE  II — The  Summit  of  the  Bracken 

MEFISTOFELE  now  conducts 
Faust  to  a  wild  spot  in  the 
Brocken  mountains,  where,  beneath  the 
moonlight,  he  may  behold  the  people 
over  whom  his  companion  reigns  as 
king.  The  wind  is  shrilling  weirdly,  and 
flames  dart  forth  from  the  jagged  rocks 
at  each  step  as  they  climb.  Once  at 
the  summit,  Mefistofele  summons  forth 
his  infernal  subjects — demons,  witches, 
wizards,  goblins,  imps — -who  acclaim 
him  as  King.  They  dance  in  joy  when 
he  shatters  a  crystal  globe  to  symbol- 
ize his  power  over  the  earth. 

To  this  Saturnalia,  Faust  pays  little 
heed.  He  beholds  a  vision  of  Marga- 
ret, on  her  way  to  prison  for  the  murder 
of  her  babe  and  her  mother.  He  is  es- 
pecially horrified  by  a  red  stain  about 
her  neck,  like  a  crimson  thread — the 
mark  of  the  headsman's  axe.  But 
Mefistofele  bids  him  away.  The  act 
closes  with  an  orgy,  in  which,  however, 


Faust  takes  no  part.  There  is  nothing 
in  this  to  tempt  him  to  say  "Thou  art 
beautiful!" 

ACT  III 

SCENE — The  Prison  of  Margaret 
AS  in  Gounod's  opera,  Faust  and  his 
.xX.  guide  visit  Margaret — -in  prison 
for  drowning  her  babe  and  poisoning 
her  mother  in  a  fit  of  madness.  Faust 
is  torn  with  pity  as  the  doomed  girl  re- 
calls the  scenes  of  their  love-making. 
She  believes  the  newcomers  are  her 
jailers,  come  to  take  her  to  the  scaffold. 
Faust,  however,  reassures  her,  and 
urges  her  to  fly  with  him.  In  this 
scene  is  heard  the  remarkable  "Lonta- 
no,  lontano"  (Far  Away). 

Mefistofele,  who  has  left  them  togeth- 
er to  make  arrangements  for  the  girl's 
escape,  now  returns  and  Margaret  is 
frantic  with  terror  to  behold  him.  She 
refuses  to  leave  the  prison,  where  she 
dies  in  Faust's  arms.  Mefistofele  cries 
out  "She  is  judged!"  but  a  chorus  of 


FAUST  LEAVING  HIS   STUDIO  —ACT  I 


THE  VISION  OF  MARGARET 


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VICTROLA     BOOK     OF     THE      OPERA 


celestial  beings  announces  salvation. 
Faust  and  his  companion  leave,  just  as 
the  headsman  and  jailers  come  to  con- 
duct the  girl  to  the  scaffold.  This 
climax  ends,  by  the  way,  Part  I  of 
Goethe's  poem. 

ACT  IV 

The  Night  of  the  Classical  Sabbath 

THE  next  episode  is  the  meeting  of 
Faust  with  Helen  of  Troy  in  the 
classic  groves  of  Greece.  The  scene 
reveals  an  enchanting  spot  on  the  banks 
of  the  Peneus,  the  moon  shedding  a 
golden  light  upon  Helen,  Pantalis  and 
groups  of  Sirens.  Faust  and  his  de- 
mon-friend now  enter,  but  Mefistofele 
is  uncomfortable  amid  such  scenes  of 
loveliness  and  he  steals  away  to  the 
Brocken.  The  meeting  of  Faust  and 
Helen  has  a  deeper  significance  than  the 
mere  temptation  of  Faust.  "Helen 
and  Faust,"  Boito  tells  us,  "represent 
Classic  and  Romantic  Art  gloriously 
wedded,  Greek  beauty  and  Germanic 
beauty  gleaming  under  the  same  aureole, 
glorified  in  one  embrace,  and  gene- 
rating an  ideal  poesy,  eclectic,  new, 
powerful." 

EPILOGUE 
SCENE-  Faust's  Studio 

WITHERED  and  feeble,  Faust  has 
returned  to  his  studio.  Mefistof- 
ele stands  behind  him.  "O  songs!  O 
memories!"  the  philosopher  cries,  look- 
ing back  on  his  past.  "Thou  hast  de- 
sired, enjoyed,  and  desired  again,"  says 
Mefistofele ,  "nor  hast  yet  said  to  the 
fleeting  atom:  'Stay,  thou  art  beauti- 
fuir "  But  Faust  is  lost  in  his  own 
thoughts:  "Reality  was  grief;  and  the 
Ideal  but  a  dream !"  Yet  to  the  last  he 
seeks  the  Ideal,  and  his  swan-song  is  a 
yearning  desire  to  be  "King  of  a  peace- 
ful realm,"  where  under  wise  laws  he 


may  give  happiness  and  fecundity  to 
the  people.  This  finds  expression  in  a 
famous  epilogue,  the  "Giunto  sul  passo" 
(Nearing  the  End  of  Life). 

As  he  sings,  the  celestial  throngs 
gather  near,  and  the  vision  of  heaven 
becomes  brighter  with  the  approach  of 
death.  As  in  the  Prologue,  celestial 
Phalanxes  cry  their  Aves  to  the  Lord, 
and  bear  upward  to  realms  on  high  the 
soul  of  the  departed  Faust.  A  shower 
of  roses  falls  upon  the  dead  body. 
Roses,  too,  are  showered  upon  Mefistof- 
ele^ stifling  him  with  their  purity  and 
perfume.  He  disappears  as  the  tri- 
umphant host  cry  out  their  Hallelujahs 
against  the  strong,  clear  notes  of  silver 
trumpets.  So  "the  ideal  hymn  is 
chanted  in  heaven." 

NOTE — "Mefistofele"  quotations  are  made  from 
the  Ditson  libretto,  by  permission.  (Copyright, 
1880,  Oliver  Ditson  Company.) 

THE  VICTOR  RECORDS 

(Sung  in  Italian) 

ACT  I 
DAI  CAMPI,  DAI  PRATI 

(From    the    Green    Fields)    BENIAMINO 

GIGLI,  Tenor  64933     10-in.,  $1.25 

FAUST: 

From  the  meadows,  from  the  valleys,  which 

lie  bathed  in  moonlight, 

And  where  paths  silent  sleep,  I  come  return- 
ing; my  soul  filled 

With  calmness,  mysterious  and  deep, 
The  passions,  the  heart  rudely  trying, 
In  quiet  oblivion  are  lying; 
My  spirit  knows  only  its  love  for  its  fellows; 
Its  love  for  its  God! 

ACT  III 

L'ALTRA  NOTTE 

(They  Threw  My  Child  Into  the  Sea) 
FRANCES  ALDA,  Soprano  74651     12-in.,     1.75 
LONTANO,  LONTANO 

(Away  From  All  Strife)   GERALDINE  FARRAR, 
Soprano  and  EDMOND  CLEMENT,  Tenor 

89114     12-in.,    2.00 
GIUNTO  SUL  PASSO 

(Nearing  the  End  of  Life)     BENIAMINO 

GIGLI  Tenor  64942     10  in.,     1.25 


DOUBLE-FACED  RECORD 

fDai  campi,  dai  prati  (  From  the  Green  Fields).  .  .     ...  .Alberto  Amadi, 

IGiunto  sul  passo    (Nearing  the  End  of  Life)  .........  Alberto  Amadi,  Tenor 

255 


10-in.    30  85 


WALTER: 
The  maid  Elysian 
I  saw  in  vision, 
She  whom  my  heart  doth  choose! 

(Meistersinger,  Act  III.) 


256 


DIE    MEISTERSINGER 


(THE    MASTERSINGERS) 


DIE  MEISTERSINGER  differs 
from  Wagner's  other  works — 
all  of  them  except  the  imma- 
ture "Rienzi" — in  the  circumstance 
that  the  characters  in  the  play  all  are 
human.  In  fact,  they  are  historical 
personages.  Foronce  there  are  no 
gods,  no  fairies,  no  magic  potions,  no 
superhuman  interference  in  men's  af- 
fairs. Eva  and  Walter  naturally  fall 
in  love  with  each  other  without  requir- 
ing any  magical  draught  to  awaken 
their  emotions  as  in  the  case  of  Tristan 
and  Isolde.  And  in  the  end,  Walter 
wins  with  his  prize-song  by  sheer  merit, 
both  in  composition  and  presentment; 
and  he  defeats  Beckmesser  fair  and 
square.  In  this  he  more  likely  gains 
the  sympathy  of  Anglo-Saxon  audi- 
ences than  in  Lohengrin,  (say),  whose 
victory  over  Telramund,  thanks  to  the 
magic  of  Monsalvat,  is  a  foregone 
conclusion.  American  audiences  are 
prone  to  cherish  a  sneaking  sympathy 
for  the  villainous  Telramund  in  such  an 
uneven  combat.  The  same  holds  true 
with  the  young  Siegfried,  rather  a  du- 
bious "hero"  without  his  magic  assets. 

The  idea  of  a  "high-born"  hero  with 
magical  embellishments  is  rather  a 
Teutonic  than  an  Anglo-Saxon  concep- 
tion, but  in  Walter  (despite  his  knight- 
ly descent)  we  at  least  have  an  all-hu- 
man hero,  and  one,  also,  who  commits 
an  occasional  mistake.  But  it  is  Hans 
Sachs,  the  chief  of  the  Mastersingers, 
who  is  the  real  hero.  He  is  an  histor- 
ical personage,  as  indeed  was  Beckmes- 
ser also,  and  Wagner  beheld  in  him  the 
last  of  the  Mastersingers,  the  true  poet 
and  musician,  the  real  and  even  sorrow- 
ful arbiter  between  Classicism  and 
Romanticism. 

Mastersingers,  it  may  be  explained, 
were  the  medieval  successors  to  the 
Minnesingers,  and  the  Minnesingers 


(of  whom  Tannhauser  was  one)  were 
knightly  poets  and  musicians  analo- 
gous to  the  troubadours  of  France. 
When  Minne-singing  fell  into  decay,  the 
burghers  of  the  cities  took  up  the  good 
work  with  their  Guilds  in  which  singers 
worked  up  their  way  as"Scholars," 
"Schoolmen, ""Si  ngers,""Poets"and 
finally  "Masters."  The  purpose  of 
the  Guilds  was  to  train  the  minds  of 
the  young,  to  sustain  the  highest  stand- 
ards of  art,  and  encourage  the  develop- 
ment of  genius.  This  was  an  excellent 
purpose  in  itself,  but  not  unnaturally, 
the  Mastersingers'  Guild  in  time  arro- 
gated itself  an  undeserved  importance. 
The  "rules"  grew  irksome,  and  they 
were  too  pedantically  enforced. 

This  is  the  condition  Wagner  satir- 
izes in  the  opera,  using  the  good  Hans 
Sachs  to  typify  the  true  artist's  concep- 
tion, in  which  a  sane  respect  for  system- 
atized principles  really  is  balanced  by 
an  open-minded  tolerance  of  new  de- 
velopments. Itiseasy  to  see  thatffans 
Sachs  is  (as  it  were)  Richard  Wagner 
himself,  and  Beckmesser  the  personifi- 
cation of  his  critics  and  of  those  com- 
posers who  are  tangled  hopelessly  in 
the  barbed  wires  of  pedanticism.  The 
score  is  woven  with  a  richness  of  counter- 
point which  the  scholastic  followers 
of  Richter  and  Jadassohn  could  not 
have  equalled,  had  they  sought  to  pro- 
duce such  polyphony  as  an  end  in  itself; 
yet  to  Wagner  this  elaborately  inter- 
woven musical  texture  is  merely  a 
means  of  expression.  How  openly  he 
laughs  at  tne  tricks  of  the  scholars 
when,  as  an  exhibition  of  that  much- 
vaunted  contrapuntal  device, "Diminu- 
tion of  the  theme,"  he  diminishes  the 
broad,  pompous  theme  of  the  Master- 
singers  by  having  it  played  four  times 
as  fast,  and  thus  makes  it  do  duty  as  a 
theme  for  the"pert  apprentices!" 


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VICTROLA     BOOK     OF     THE      OPERA 


TH  E    OPERA 


OPERA  in  three  acts.  Text  and 
music  by  Wagner.  First  pro- 
duction in  Munich,  June  21,  1868. 
Vienna,  1870;  Berlin  the  same  year; 
Leipsic,  1872;  Milan,  1890.  The  first 
performance  in  England  took  place 
at  Drury  Lane,  May  30,  1882;  an  Ital- 
ian version  was  given  at  Covent  Gar- 
den in  1889,  and  an  English  production 
by  the  Carl  Rosa  Company  at  Man- 
chester in  1896.  In  1888  it  was  given 
for  the  first  time  at  Bayreuth;  and  the 
first  American  production  took  place  at 
the  Metropolitan  Opera  House,  New 
York,  January  4,  1886,  with  Fischer, 
Staudigl,  Kemlitz,  Kramer,  Krauss  and 
Brandt.  Some  notable  American  pro- 
ductions occurred  in  1901,  with 
de  Reszke,  Gadski,  Schumann-Heink, 
Dippel  and  Bispham;  in  1905,  with  Van 
Rooy,  Acte  and  Burgstaller,  and  some 
forty  Metropolitan  performances  under 
Gatti-Casazza,  with  various  fine  casts. 

CHARACTERS 

Die  Meistersinger  (My-ster-zing-er) ,  or  leave|?  ^al/er,  foru  the  first  Vme  (ea™S 

Master-Singers—  * . at     va  Vatner  has  a  singular  plan  in 

TT         c  uui  T>  view:    he  intends  to  give  his  daughter 

HANS  SACHS,  cobbler Bass  L  •  j 

„  i  ,      •  i_  as  bride  to  the  winner  of  the  song-con- 

POGNER,  goldsmith. ^Bass  te§t  Qn  the  morroWj  maki      }t  a  ruie 

VOGELGESANG,  furrier Tenor  that  none  but  a  Master  of  the  guild 

NACHTIGAL,  buckle  maker Bass  may  compete. 

BECKMESSER,    town  clerk Bass          Walter  promptly  decides  to  become  a 

KOTHNER,  baker Bass  Master  and  win  the  contest,  though  he 

ZORN,  pewterer Tenor  has  not  the  faintest  idea  what  may  be 

EISSLINGER,  grocer Tenor  the  processes  involved.     Magdalena  is 

MOSER   tailor  Tenor  called  in  to  assist,  and  she  in  turn  calls 

ORTEL,'soap  boiler  '. '  .  .  Bass  uPon  ?*'?£. the  y°u"8  apprentice,  who 

SCHWARZ,  stocking  weaver Bass  ?n  Pam  of  J1?  sweetheart  s  displeasure, 

^  •  r3  is  to  try  and  instruct  Walter  in  the  rules 

FOLZ  coppersmith . . .  .  .  Bass  of  the  build-master's  art.    As  there  is 

SIR  WALTER  VON  STOLZING,  a  to  be  a  test  immediately,  David  begins 

young  Francoman  knight .  .  .  .Tenor  instruction  at  once)  while  his  brother 

DAVID,    apprentice    to   Hans  apprentices  are  arranging  the  body  of 

Sachs. . .    Tenor  tne  church  for  the  Guild  meeting.   His 

EVA,  Pogner's  daughter Soprano  efforts  make  an  amusing  feature,  ill- 

MAGDALENA,  Eva's  nurse Soprano  calculated  to  help  the  ardent  Walter. 

258 


Burghers  of  all  Guilds,  Journeymen, 

Apprentices,  Girls  and  People. 

Scene:    Nuremberg  in  the  Middle  of  the 

Sixteenth  Century 

ACT  I 

SCENE — Interior  of  St.  Katherine's 
Church 

THE  good  people  of  Nuremberg  are 
gathered  in  the  church  on  the  festi- 
val of  St.  John's  day.  Among  them 
are  Eva,  the  daughter  of  the  wealthy 
goldsmith  Pogner,  and  her  maid  Mag- 
dalena. They  are  engaged  in  singing 
the  last  verse  of  the  last  hymn,  and,  as 
usual  in  German  choirs,  there  is  a  brief 
musical  interlude  between  the  lines  of 
the  verse.  Under  cover  of  this,  the 
young  knight,  Walter  von  Staking,  is 
secretly  making  an  appointment  with 
Eva,  with  whom  he  is  deeply  in  love. 
Wagner  has  cleverly  adapted  the  music 
between  the  stately  lines  of  the  hymn 
to  picture  the  lover's  mood.  When  the 
service  is  over,  and  the  congregation 
Jter  for  the  first  til 


VICTROLA     BOOK     OF     THE     OPERA 


In  due  course  the  Masters  arrive, 
and,  while  they  are  surprised  at  his 
boldness,  they  agree  to  give  Walter  a 
hearing.  A  "Marker"  is  appointed. 
This  is  none  other  than  Beckmesser,  the 
Town  Clerk.  Beckmesser  himself  is 
eager  to  wed  Eva.  He  is  a  formidable 
stickler  for  rules,  and  the  result  may  be 
imagined.  The  uninstructed  Walter  is 
allowed  to  sing,  but  he  is  interrupted 
by  the  scratching  of  the  pencil  on  the 
slate  as  the  Marker  notes  down  his  er- 
rors. At  the  end  of  the  rambling  first 
verse  the  Masters  refuse  to  hear  any 
more.  Hans  Sachs  alone  is  willing  to 
go  further.  Sachs,  himself  a  Master  of 
true  worth,  has  detected  in  the  song  a 
touch  of  genuine  inspiration.  He  ad- 
mits that  it  may  disregard  the  "rules" 
of  the  Guild,  but  he  suggests  that  it 
may  be  governed  by  other  rules  justi- 
fying its  character.  He  is  shouted 
down, however,  and  the  indignant 
young  knight  is  dismissed  amid  the 
jeers  of  the  'prentices.  Thus  is  in- 
novation received  in  the  arts.  But  the 
youthful  Walter, — 
once  more  a  type  of 
Wagner's  own  life  and 
his  struggles  against 
classical  and  scholastic 
p  e  dan  try,  is  not 
beaten,  only  for  the 
moment.  He  will  go 
far  beyond  his  critics. 


OTTO    OORirZ 
AS    HANS    SACHS 


ACT  II 

A  Street  in  Nuremberg.  The  Houses 
of  Pogner  and  Hans  Sachs  Separated 
from  each  other  by  a  Narrow  Alley  y  but 
both  Facing  the  same  Broader  Street,  which 
is  shown  Sectionally  on  the  Stage 

IT  is  night  in  the  city.  The  'pren- 
tices are  putting  up  the  shutters. 
They  are  disposed  to  ridicule  David, 
who  has  suffered  Magdalenas  ire  as  a 
result  of  Walter's  failure.  Sachs  drives 
them  away,  whooshing  Dtfp/Woffto  his 
bed,  but  he  first  has  his  workman's 
bench  so  placed  that  at  the  same  time 
he  can  work  and  watch  the  street.  He 
settles  down  to  a  long  soliloquy.  He 
has  been  greatly  moved  by  Walter's 
song,  for  which  he  half  suspects  the  in- 
spiration. This  affects  him  the  more, 
since,  as  a  middle-aged  widower,  he 
dreams  of  winning  Eva  himself.  In 
this  mood  Eva  appears.  Despairing  to 
change  her  father's  determination  and 
win  Walter  for  a  husband  she  half  sug- 
gests that  Sachs  might  be  a  welcome 
suitor.  She  has  known  and  loved  him 
from  childhood,  and  is  well  aware  of  his 
essential  worth.  But  Sachs  under- 
stands in  his  heart  that  she  loves  Wal- 


BECKMESSER  S  SERENADE 
259 


COPY'T  DUPONT 
FISCHER  AS  SACHS  IN  FIRST 

AMERICAN  PRODUCTION,  1886 


VICTROLA     BOOK     OF     THE      OPERA 


ter,  and  she  leaves  him.  He  shakes  his 
wise  head  over  the  turn  of  events;  he 
observes  Eva  and  Walter  talking  to- 
gether, and  he  half  reveals  his  knowl- 
edge by  means  of  a  song  whose  words 
have  a  meaning  for  the  lovers  alone. 
They  decide  to  elope,  but  Sachs  "acci- 
dentally" places  his  lamp  where  the 
light  will  fall  upon  them,  and  they  are 
deterred  by  fear  of  being  seen.  While 
they  debate,  however,  a  stranger  ap- 
pears and  they  draw  back  into  the 
shadow.  It  is  Beckmesser,  who  has 
come  to  serenade  his  mistress  with  the 
song  he  hopes  to  sing  on  the  morrow. 
Sachs,  hearing  him  tinkle  on  his  lute, 
breaks  in  with  a  lusty  song  of  his  own, 
and  Beckmesser  is  greatly  discomfited. 
He  pretends  he  has  come  to  inquire 
about  a  pair  of  shoes,  and  Sachs,  the 
cobbler,  declares  he  is  working  on  them. 
In  the  meanwhile,  Magdajena,  wonder- 
ing what  has  happened  to  her  mistress, 
appears  at  the  window,  and  Beckmesser 
thinking  her  to  be  Eva,  wishes  to  sing, — 
worse  than  ever.  He  pretends  that  he 
wants  Hans  Sachs  to  criticise  the  song, 
and  Sachs  agrees  to  act  as  "Marker," 


hammering  on  the  shoe  for  every  mis- 
take. In  this  way,  Beckmesser  pro- 
ceeds. In  his  agitation,  however,  his 
song  runs  wild,  and  Sachs  hammers 
loudly.  The  thumping  becomes  more 
and  more  vehement  as  the  mistakes  of 
Beckmesser  increase.  The  disturbance 
arouses  the  neighbors.  David  also  is 
awakened,  and  seeing  the  Town  Clerk 
apparently  serenading  Magda/ena,  who 
is  still  at  the  window,  he  vows  ven- 
geance. Dashing  out,  club  in  hand,  he 
proceeds  to  beat  Beckmesser.  Soon  the 
apprentices  are  out  and  the  different 
guilds — clothiers,  furriers,  goldsmiths 
and  what-not — are  having  a  grand 
free-for-all  fight.  During  the  distur- 
bance Hans  Sachs  draws  Walter  into 
the  cobbler's  shop,  and  Eva  slips  away 
home.  The  joyous  riot  lasts  till  the 
approach  of  the  Night-Watchman,  who 
arrives  after  the  traditional  manner  of 
the  police,  when  the  show  is  all  over. 
Finding  the  street  quiet,  he  gravely  an- 
nounces the  hour  and  bids  the  people 
sleep  in  peace.  The  sound  of  his  horn 
is  distantly  heard  as  he  wanders  off, 
staff  and  lantern,  calling  the  hour. 


copy  r  DUPONT 

HOMER   AS    MAGDALENA 


COPY  T   MISHKIN 

WITHERSPOON    AS    POGNER 


COPY  T   DUPONT 

GADSKI    AS    EVA 


260 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  III 

SCENE  I — Interior  of  Sachs'  Workshop 
''^T'EXT  morning  Sachs,  still  brooding 
-L^l  over  the  song  and  very  conscious 
of  his  fading  romance,  does  not  notice 
when  David  enters  with  a  basket  of  eat- 
ables. David  has  patched  it  up  with 
Magdalena  and  he  is  in  consequence 
happy;  only  David  is  fearful  that  his 
part  in  last  night's  disturbance  will 
bring  down  a  beating  from  his  Master. 
He  begins  to  explain,  declaring  the 
night  before  was  just  a  "polter abend" 
— a  night  of  merrymaking  on  the  festi- 
val of  St.  John.  Sachs  appears  not  to 
notice;  but  suddenly  he  bids  the  won- 
dering youth  sing  the  song  of  the  day — 
a  carol  of  St.  John.  This  tells  the 
quaint  story  of  the  child  of  a  woman  of 
Nuremberg  christened  in  the  River 
Jordan  by  Johannes,  the  saint,  for 
whom  he  was  named;  but  on  his  return 
to  Nuremberg  the  name  was  abbrevi- 
ated to  "Hans,"  and  the  festival  is 
therefore  the  name-day  of  Hans  Sachs 
himself.  Sachs,  though  still  preoccu- 
pied, understands  the  'prentice's  hopes 
and  desires,  and  he  dismisses  him 
kindly. 

Scarcely  has  he  gone  than  Walter, 
who  has  just  awakened,  enters  from 
another  room.  He  is  full  of  a  wonder- 
ful dream  he  has  had  in  which  a  mar- 
vellous poem  and  melody  have  sung 
their  way  into  his  heart.  Sachs  desires 
to  hear  it.  He  is  struck  with  amaze- 
ment at  its  beauty  and  inspiration,  and 
he  tactfully  instructs  the  young  poet- 
composer  in  the  technical  requirements 
necessary  to  make  it  satisfactory  to  the 
judges.  These  instructions,  by  the 
way,  are  so  excellent  that  they  are  seri- 
ously quoted  by  Sir  Charles  Stanford  in 
his  book  on  musical  composition,  as  a 
valuable  exposition  of  Wagner's  own 
methods. 

After  they  have  written  down  the 
poem,  they  leave  the  room.  Beckmes- 
ser  enters,  and  believing  the  song  to  be 


by  Hans  Sachs  himself,  after  the  man- 
ner of  plagiarists  the  world  over,  pock- 
ets it,  intending  to  make  use  of  it  him- 
self. When  Sachs  returns,  the  Town 
Clerk  scolds  him  for  planning  to  enter 
the  contest.  Sachs  denies  this  so  Beck- 
messer  produces  the  manuscript,  and 
Sachs,  perceiving  the  man's  mistake, 
does  not  undeceive  him.  On  the  con- 
trary, he  divines  the  fact  that  Beckmes- 
ser  desires  the  poem,  and  knowing  the 
Town  Clerk  incapable  of  making  good 
use  of  it,  he  gives  it  to  him,  promising 
not  to  make  known  the  real  author. 
Beckmesser  leaves  in  high  glee. 

Eva  next  enters,  in  festival  attire. 
Her  shoe  pinches,  and  Sachs,  knowing 
well  what  is  in  her  heart,  fusses  and 
fumes  in  trying  to  adjust  it.  She 
raises  her  pretty  foot  on  a  low  stool, 
and  while  Hans  Sachs  bends  over  it, 
Walter  enters.  Sachs  pretends  not  to 
see.  Walter,  spellbound,  gazes  at  his 
adored  one,  and  then  softly  sings  the 
last  verse  of  his  prize-song.  Sachs  is 
deeply  moved,  and  when  it  is  over  he 
gravely  gives  the  two  his  blessing.  Eva, 
weeping  for  joy,  falls  into  his  arms  and 
the  kindly  man  comforts  her  as  her  own 
father  could  not  hope  to.  During  this 
moment  of  mingled  tears  and  laughter, 
David  and  Magdalena  enter,  also  in  gala 
attire.  Hans  invites  them  to  a  christ- 
ening— he  seeks  to  name  Walter's  song, 
a  witness  is  needed,  and  as  a  'prentice 
will  not  suffice,  the  kindly  cobbler, with 
twinkling  eyes, gives  David  his  freedom 
by  making  him  a  full  journeyman-cob- 
bler, thus  opening  the  way  to  his  mar- 
riage with  Magdalena.  The  boy  can 
hardly  believe  his  ears,  and  the  curtain 
goes  down  on  a  scene  of  blent  pathos 
and  comedy. 

SCENE  II — A  Field  on  the  Shores  of  the 
River  Pegnitz 

IN  an  open  meadow  on  the  banks  of 
.the  river,  a  great  crowd  of  people  is 
assembling  for  the  song-contest.   There 
is  much  merriment  and  jesting,  which 


261 


VICTROLA     BOOK     OF     THE      OPERA 


DAVID:  "  Forgive  me,  Master,  and 
pardon  the  slip." 

ceases,  however,  as  Eva,  in  bridal  array 
attended  by  many  maidens,  arrives  on 
a  gaily  decked  barge.  Sachs,  in  an  air 
of  nobility,  announces  to  the  various 
Guilds  the  terms  of  the  contest  and  the 
contest  begins  then  and  there,  with  ex- 
ceeding pomp  and  circumstance.  Be- 
cause of  his  years,  Beckmesser  is  given 
first  opportunity.  Still  sore  from  his 
beatingof  the  previous  night,  grievously 
flustered,  with  his  stolen  song  only 
half-learned,  he  attempts  to  wed  the 
poem  to  his  own  serenade-melody.  The 
result  is  a  hopeless  jumble — which  first 
excites  the  wonder,  then  the  derision  of 
the  audience.  Beckmesser,  enraged, 
declares  the  song  is  not  his  own  but  is 
the  work  of  Hans  Sachs.  The  Masters 
believing  this  a  spiteful  joke,  call  upon 
Sachs  for  an  explanation.  He  then  in- 
sists that  the  song  is  a  good  one  if  prop- 
erly sung,  and  persuades  them  to  let  it 
be  interpreted  by  the  young  knight, 
Walter  von  Sfo/zing.  After  some  argu- 
ment, the  young  man,  whose  handsome 
appearance  at  once  wins  the  favor  of 
the  crowd,  is  permitted  to  sing  his 
great  "Preislied,"  or  Prize  Song. 

The  beauty  of  this  melody  beggars 
description.   To  an   intense   degree  it 


EVA  AND  SACHS — ACT  II 


reflects  all  that  is  best  in  Wagner's  most 
inspired  moments. 

Eva,  who  has  listened  with  rapt  at- 
tention, now  advances  to  the  edge  of 
the  platform  and  places  on  the  head  of 
Walter  a  wreath  of  laurel  and  myrtle, 
then  leads  him  to  her  father,  before 
whom  they  both  kneel.  Pogner  ex- 
tends his  hands  over  them  in  benedic- 
tion and  presents  the  emblem  of  the 
Master's  guild  to  the  young  knight. 
But  Walter,  remembering  his  reception 
of  the  day  before,  and  conscious  also  of 
his  noble  birth,  refuses  the  honor. 
There  is  consternation  for  a  moment, 
but  Hans  Sachs,  grasping  Walter  s 
hand,  bids  him  not  to  disparage  the 
Master's  ways,  but  to  show  respect  for 
art.  In  a  splendidly  dignified  passage 
he  bids  the  young  man  forget  his  noble 
birth,  since  he  has  fairly  won  his  Mas- 
tership by  his  gifts  as  a  poet  and  musi- 
cian. Walter  consents,  and  he  leans  on 
one  side  of  Sachs  with  Eva  on  the  other, 
while  Pogner  kneels  as  if  in  homage 
before  the  group.  And  thus  the 
cobbler-musician  and  the  two  lovers 
become  symbols  of  Art  and  Life, 
enshrined  among  music  of  incomparable 
splendor. 


262 


VICTROLA     BOOK     OF     THE      OPERA 


THE   VICTOR    RECORDS 


PRIZE  SONG 

(Preislied)    JOHN    McCoRMACK,   Tenor 

74479     12-in.,  31.75 

EVAN  WILLIAMS,  Tenor    74115     12-in.,     1.75 
MISCHA  ELMAN,  Violin     74186     12-in.,     1.75 

WALTER  (who  has  ascended  to  the  platform  with 
.    firm  and  proud  steps) : 
Morning   was   gleaming   with   roseate   light, 

The  air  was  filled 

With  scent  distilled 

Where,  beauty-beaming, 

Past  all  dreaming, 
A  garden  did  invite. 
Wherein,  beneath  a  wondrous  tree 
With  fruit  superbly  laden, 
In  blissful  love-dream  I  could  see 
The  rare  and  tender  maiden, 
Whose  charms  beyond  all  price, 
Entranced  my  heart — 
Eva,  in  Paradise! 

Evening  fell  and  night  closed  around; 
By  rugged  way 
My  feet  did  stray 
Towards  a  mountain, 


Where  a  fountain 
Enslaved  me  with  its  sound; 
And  there  beneath  a  laurel  tree, 
With  starlight  glinting  under, 
In  waking  vision  greeted  me 
A  sweet  and  solemn  wonder; 
She  dropped  on  me  the  fountain's  dews, 
That  woman  fair — 
Parnassus's  glorious  Muse! 

(With  great  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  Muse,  to  whom  I  bow, 
So  angel — sweet  and  grave. 
I  woo  her  boldly  now, 
Before  the  world  remaining, 
By  might  of  music  gaining 
Parnassus  and  Paradise. 


DOUBLE-FACED  RECORDS 


fPrize  Song Beatrice  Harrison,  Violoncellist^ , 

\     Ate  Maria  (Schubert) Beatrice  Harrison,  'Cellist] 

Prize  Song     In  German  Lambert  Murphy,  Tenor  70080 


12-in.,     1.25 


2k 
.JHcil'tri  limici  POM  llfiuihci  fl 


- 


r.jZrgy**-:'-*!-.-. 

• 

. 


FIRST    PROGRAM    OF    MEISTERSINOER, 
MUNICH,    1868 


263 


MIGNON 


CHARLES  LOUIS  AMBROISE 
THOMAS,  born  at  Metz  in 
1811,  came  honestly  by  his 
creative  genius,  as  he  was  the  son  of  a 
musician.  He  wrote  numerous  oper- 
atic and  other  works.  Like  Gounod,  he 
was  an  artist,  poet,  writer  in  general, 
a  man  of  unusual  and  arresting  versa- 
tility. His  musical  style  is  easy,  fluent, 
brilliant  at  times  in  the  extreme.  To 
many  persons  "Mignon"  is  his  mas- 
terpiece. Its  overture,  known  the 
world  over  for  its  grace  and  delicacy, 
is  a  concert-piece  which  few  orchestras 
do  not  return  to  from  time  to  time. 
It  is  a  typical  example  of  that  grace 
and  ease  so  characteristic  of  the  French 
school  of  operatic  music,  and  by  sum- 
ming up  the  chief  themes  of  the  opera, 
including  Fili  na's  dashing  "Polon- 
aise, "  it  presents,  in  brief  form,  some 
of  the  most  significant  utterances  that 
school  has  made  to  the  world  of 


music. 


THE  OPERA 


OPERA  in  three  acts.  Text  by 
Barbier  and  Carre,  based  upon 
Goethe's  Wilhelm  Meister.  Music 
by  Ambroise  Thomas.  First  pro- 
duction at  the  Opera  Comique,  Paris, 
November  17,  1866.  In  London  at 
Drury  Lane,  1870.  First  New  York 
production  November  22,  1872,  with 
Nilsson,  Duval  and  Capoul.  Re- 
vived at  the  Metropolitan  in  1900, 
with  de  Lussan,  Adams,  Selignac  and 
Plancon;  by  Oscar  Hammerstein  in 
1907,  with  Bressler-Gianoli,  Pinkert, 
Bonci  and  Arimondi,  and  at  the  Metro- 
politan in  1908,  with  Farrar,  Jacoby, 
Abott,  Plancon  and  Bonci. 

CHARACTERS 

MIGNON,  a  young  girl  stolen  by 
gypsies  (Meen'-yohn) 

Mezzo-Soprano 


FILINA   (Fil-lee' -  nah] ,  an   act- 
ress    Soprano 

FREDERICK,   a   young    noble- 
man   Contralto 

WILHELM,  a  student    Tenor 

LAERTES,  (Layr* '-tayz) ,  an  actor  Tenor 

LOTHARIO  (Loh-tah! '-ree-oh) ,  an 

Italian  nobleman,  Basso  Cantante 

GIARNO  (Jahr'-noh],  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 

ACT  I 
SCENE — Courtyard  of  a  German  Inn 

AMONG  the  wine  tables,  at  which 
J~\.  a  number  of  people  are  merrily 
drinking,  an  old  man  wanders,  harp  in 
hand,  singing  strange  songs.  Itis 
Lothario,  an  Italian  nobleman  whose 
memory  has  left  him  so  that  he  knows 
not  even  his  own  name.  His  condi- 
tion is  told  in  the  "Fuggitivo  e  tre- 
mante"  (A  Lonely  Wanderer). 

Though  he  has  forgotten  her,  he  is 
the  father  of  Mignon,  a  young  girl  who 
was  stolen  from  her  home  in  childhood 
by  gypsies  and  who  is  now  forced  by 
the  mercenary  Giarno  to  dance  in  the 
streets  for  a  living.  The  gypsy  band 
appears,  and  Mignon,  a  singular,  half- 
boyish-looking  figure,  rebels  when  she 
is  bidden  to  dance  for  a  troupe  of  act- 
ors in  the  balcony  of  the  inn  and  for  the 
casual  throngs  in  the  courtyard.  She 
refuses  and  her  master  threatens  to 
beat  her.  Lothario  intervenes  but  the 
old  man  is  powerless.  Suddenly,  how- 
ever, Wilhelm  enters,  and,  grasping  the 
situation,  he  forces  Giarno,  with  a  pis- 
tol, to  release  the  girl.  For  this  he  is 
applauded  by  the  actors,  and  one  of 
them  is  sent  by  Filina  with  the  request 


264 


VICTROLA     BOOK.     OF     THE      OPERA 


that  he  shall  visit  them.  Filina  is  an 
actress  of  designing  temperament,  who 
succeeds  in  attracting  Wilhelm  s  at- 
tention,— much  to  the  jealousy  of 
Frederick^  a  young  nobleman.  For 
the  present,  however,  Wilhelm  is  cu- 
rious about  the  girl  he  has  rescued,  and 
he  questions  her  regarding  her  child- 
hood. She  remembers  nothing,  except 
that  she  was  captured  by  gypsies  in  a 
country  she  describes  with  such  elo- 
quence that  Wilhelm  guesses  it  must  be 
Italy.  She  tells  of  it  in  the  "Connais- 
tu  le  pays  ? "-  •"  Kennst  du  das  Land  ? " 
— "Non  conosci  il  bel  suol?"  (Knowest 
Thou  the  Land?).  The  opening  passage: 


ta       •(••>• 


gives  an  idea  of  the  melody,  one  of  the 
loveliest  in  the  entire  range  of  opera. 
The  passionate  longing  of  the  orphan 
child  for  the  home  of  her  infancy  is 
expressed  in  a  superb  climax: 


Moved  to  pity,  Wilhelm  offers 
Giarno  money  to  "buy"  the  girl,  and 
he  goes  into  the  inn  to  complete  the 
bargain.  Lothario, drawn  by  some 
subtle  bond  of  parenthood,  conies  to 
bid  her  farewell,  saying  that  he  must 
go  south,  following  the  swallows.  A 
sprightly  duet  ensues,  "Les  Hiron- 
delles", — "Leggiadre  Rondinelle," 
(Song  of  the  Swallows). 

Filina  is  invited  to  go  to  the  castle 
of  Prince  Tieffenbach  with  the  troupe 
of  players  and  any  guests  she  may  care 
for.  She  promptly  invites  Wilhelm , 
whom  she  desires  to  captivate,  and  he 
is  included  as  playwright  of  the  com- 
pany. Wilhelm  plans  to  leave  Mignon 
behind,  being  somewhat  embarrassed 
by  his  "purchase",  but  she  begs  so 


hard  to  go  with  him  that  finally  she  is 
permitted  to,  disguised  as  a  servant. 
The  gypsy  girl  is  infatuated  with  her 
new  "master",  and  she  causes  him  no 
little  uneasiness.  His  respectful  atti- 
tude toward  her,  only  makes  her  love 
him  the  more  deeply. 

ACT  II 

SCENE  I — A  Boudoir  in  the  Tieffenbach 
Castle 

FILINA  sits  at  her  mirror,  con- 
sidering her  charms  and  laying  on 
cosmetics.  She  is  thinking  of  Wilhelm, 
who  really  has  made  a  "great  impres- 
sion". Presently  he  enters.  With 
him,  however,  comes  Mignon,  who  is 
greeted  by  the  actress  with  civil  yet 
subtly  "cattish"  remarks.  The  poor 
girl  does  not  resent  this,  however,  and 
she  apparently  goes  to  sleep.  Yet  she 
observes,  under  half-closed  lids,  that 
Wilhelm  is  paying  court  to  the  actress, 
to  whom  he  has  given  a  bouquet  of 
blooms  presented  to  him  by  Mignon 
herself.  Presently  Filina  and  Wilhelm 
leave  and  Mignon,  dreaming  that  she 
may  equal  the  actress's  charm,  pow- 
ders her  face  and  "tries  on"  one  of 
Filina  s  manifold  gowns.  At  the  en- 
trance of  Wilhelm,  followed  by  Fred- 
erick^ however,  she  scurries  into  hiding. 
The  two  men  quarrel  over  Filina. 
Swords  are  drawn,  but  Mignon  inter- 
venes, and  they  separate.  Finally, 
left  alone  with  Mignon,  Wilhelm,  in 
the"Addio,  Mignon"  (Farewell,  Mig- 
non), tells  her  he  must  leave  her. 

Mignon  begins  to  weep,  refuses  the 
money,  and  is  about  to  say  farewell. 
At  this  juncture,  however,  enters 
Filina.  Observing  the  girl  decked  out 
in  borrowed  raiment,  she  utters  a  few 
things  which  raise  a  flush  of  anger  in 
Mignon  s  cheeks.  The  girl  dashes 
into  an  inner  cabinet,  where  she  tears 
off  the  dress,  reappears  in  her  own 
gypsy  clothes,  and  finally  runs  out  of 
the  room. 


265 


VICTROLA     BOOK     OF     THE      OPERA 


SCENE  II — The  Gardens  of  the  Castle 

THE  despairing  Mignon,  believing 
her  love  for  Wilhelm  to  be  without 
hope,  decides  to  drown  herself.  She 
is  about  to  jump  into  the  lake,  when 
she  is  stopped  by  Lothario,  who  listens 
sympathetically  to  the  angry  girl's 
talk  of  her  desire  for  vengeance,  and 
her  wish  that  fire  and  thunderbolts 
might  descend  from  heaven  and  burn 
the  castle.  The  half-crazed  minstrel 
starts  curiously  at  the  word  "fire"  and 
goes  off  muttering  to  himself. 

In  the  meantime,  the  performance 
in  the  theatre  having  ended,  the  actors 
and  actresses  and  guests  appear  in  the 
garden.  Filina  has  made  a  brilliant 
success  of  it,  and,  still  flushed  with 
triumph,  she  sings  her  dashing  and 
showy  Polonese  or  Polacca  (French 
Polonaise),  an  exceptionally  difficult 
and  showy  coloratura  soprano  air,  in 
somewhat  different  mood  from  that 
with  which  Chopin  invested  his  won- 
derful polonaises  for  the  piano. 

"lo  sonTitania"(I'm  Fair  Titania!) 
sings  she.  Her  brilliant  and  exacting 
melody,  with  its  fiery  energy  of 
rhythm  is  a  great  favorite,  not  only  in 
the  opera  house  but  on  the  concert 
platform  too. 

Mignon,  arrives  on  the  scene,  and 
Filina,  enraged  at  sight  of  her,  sends 
the  girl  into  the  house  to  find  a  bou- 
quet she  has  lost.  As  Filina  knows 
the  bouquet  is  made  of  flowers 
gathered  by  Mignon  (or  Wilhelm,  there 
is  malice  enough  in  her  request;  yet 
Mignon  goes  without  complaint.  No 
sooner  has  she  gone,  however,  than  the 
word  "Fire!"  springs  from  everybody's 
lips.  The  half-witted  Lothario  has 
interpreted  Mignon  s  wild  talk  only 
too  literally,  and  set  fire  to  the  castle. 
Instantly  there  is  great  commotion. 
Wilhelm,  realizing  that  Mignon  is  in 
danger,  rushes  off  to  her  rescue.  He 
reappears  with  her  in  his  arms  as  the 
curtain  descends.  He  places  the  un- 


conscious girl  on  a  grassy  bank,  and  she 
lies  there  still  clasping  the  bunch  of 
withered  flowers. 

ACT  III 

SCENE — Count     Lothario's    Castle     in 
Italy 

HEADING  south,  as  if  indeed  with 
the  instinct  of  the  swallow,  Lo- 
thario has  brought  Mignon  to  the 
neighborhood  of  an  old  castle  in  Italy, 
which  Wilhelm  is  half  inclined  to  pur- 
chase. Wilhelm,  who  now  realizes 
that  he  loves  Mignon,  has  followed 
them  hither.  The  young  girl  is  re- 
covering from  a  dangerous  illness,  and 
as  Lothario  watches,  outside  her  sick- 
room he  sings  a  beautiful  berceuse  or 
lullaby,  "Ninna  nanna".  Lullabies  for 
bass  voices  are  rarities,  and  this  is  a 
notable  and  delightful  exception. 

Wilhelm  takes  Lothario  s  place  as 
watcher,  and  tells  of  his  new-found  af- 
fection in  a  beautiful  air,  "Elle  ne 
croyait  pas"  (Pure  as  a  Flower). 

Mignon  comes,  with  feeble  step,  to 
the  balcony,  and  seeing  Wilhelm,  she 
becomes  greatly  agitated,  fearing  Fi- 
lina may  be  with  him.  He  soothes  her, 
but  she  insists  that  only  Lothario  loves 
her.  Meantime,  however,  a  strange 
thing  has  happened.  Having  returned 
to  his  home  by  some  strange  instinct 
of  the  blind,  Count  Lothario's  memory 
is  restored,  and  he  now  reappears  in 
his  rightful  character.  His  only  re- 
gret is  the  loss  of  his  daughter,  Sper- 
ata.  At  sound  of  that  name,  the 
floodgates  of  memory  are  opened  in 
Mignon  s  perturbed  consciousness, 
and  when  Lothario  shows  her  the  jew- 
els and  prayerbook  of  his  lost  daughter 
she  not  only  recognizes  them  but  she 
unconsciously  begins  to  sing  the 
prayers  of  her  early  childhood.  In 
this  way,  father  and  daughter  are  re- 
stored and  reunited,  and  Wilhelm  ad- 
mitted to  the  family  circle,  so  that  all 
ends  happily. 


266 


VICTROLA     BOOK     OF     THE      OPERA 


THE   VICTOR   RECORDS 


,    ACT  I 
CONNAIS-TU  LEPAYS? 

(Kngwest     Thou     the     Land?)     MARCELLA 
BRICH,  Soprano.     In  French 

88098    12-in.,  31.75 
LDiNE  FARRAR,  Soprano,     In 
nch  88211     12-in.,     1.75 

GERALDINE  FARRAR-FRITZ  KREISLER, 

Violin.     In  French         89109     12-in.,     2.00 
ERNESTINE  SCHUMANN-HEINK,  Con- 
tralto.    In  German        88090     12-in.,     1.75 
EMMY  DESTINN,  Soprano.     In  German 

MICNON:  88467     12-<     ^ 

Knowest  thou  yonder  land  where  the  orange 

grows, 

Where  the  fruit  is  of  gold,  and  so  fair  the  rose? 
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  straying,  why  ever  linger 

here? 

'Tis  with  thee  I  would  fly! 
Tis    there!     'Tis    there!    my    heart's    love 

obeying, 

'Twere  bliss  to  live  and  die! 
'Tis  there  my  heart's  love  obeying, 
I'd  live,  I  would  die! 

LES  HIRONDELLES 

(Song  of  the  Swallows)  GERALDINE 
FARRAR,  Soprano  and  MARCEL  JOUR- 
NET,  Bass.  In  French  89038  12-in.,  £2.00 

ACT  II 

POLONAISE,  "IO  SON  TITANIA!" 
(I'm  Fair  Titania!)     MABEL  GARRISON, 
Soprano.     In  French     74489     12-in.,     1.75 


LUISA  TETRAZZINI,  Soprano.     In  Italian 

88296    12-in.,  31.75 

AMELITA    GALLI-CURCI,    Soprano.     In 

Italian  74653     12-in.,     1.75 

FILINA: 

Yes;  for  .to-night  I  am  queen  of  the  fairies! 
Observe  ye  here,  my  sceptre  bright; 
(Raising  the  wand) 
I  "m  fair  Titania,  glad  and  gay, 
Thro'  the  world  unfetter 'd  I  blithely  stray. 
With  jocund  heart  and  happy  mien, 
I  cheerily  dance  the  hours  away, 
Like  the  bird  that  freely  wings  its  flight. 
Elfin  sprites  around  me  dance; 
For  I'm  fair  Titania! 
My  attendants  ever  sing, 
The  achievements  of  the  god  of  Love! 
On  the  wave's  white  foam, 
'Mid  the  twilight  grey,  "mid  flowers, 
I  blithely  do  dance! 
Behold  Titania,  glad  and  gay! 

GAVOTTE 

MAUD  POWELL,  Violinist  64454     10-in.,  31.25 

ACT  III 

BERCEUSE 

(Lullaby)     (Ninna,  nanna)     MARCEL 
JOURNET,  Bass.     In  Italian 

74270     12-in.,     1.75 
LOTHARIO: 

I  Ve  soothed  the  throbbing  of  her  aching  heart, 

And  to  her  lips  the  smile  I  have  restored. 

Her  weary  eyes  at  last  have  closed 

In  gentle  slumber; 

By  day  and  night  some  heav'nly  spirit 

The  maiden  doth  protect; 

On  wings  celestial,  it  doth  hover  round 

Protecting  her  from  harm! 


DOUBLE-FACED  RECORDS 

/Overture — Part  1 Victor  Concert  Orchestra 

^Overture— Part  2 .  .  Victor  Concert  Orchestra 


(Adieu,   Mignon    (Farewell,   Mignon)  (In  French)  ..........  M.  Regis, 

lElle  ne  croyait  pas  (Pure  as  a  Flower)  (In  French)  .........  M.  Regis  t  Tenor 


10-in.,  30.85 
10-in.,     1.00 


lo  son  Titania"  (In  French)  ..........  Lucette  Korso/,  Sofrano\^QQ^ 

Lakmf—Pourquoi  dans  les  grands  bois  (In  French)  .  .  Alice  Verlet,  Soprano} 


I  Polonaise, 
I 


1  00 


Gems     from     Mignon Victor  Opera  Col 

"  Away  Ye  Friends" — "  Polonaise  "—Barcarolle,  "  Now  On  We  Sail " 
"Pure  as  a  Flower" — "Dost  Thou  Know" — Finale 
Gems  from   "  Tales  of  Hoffmann  "   Victor  Opera  Co\ 


35337    12-in.,    1.35 


267 


SCENE    FROM    MIKADO 


THE    MIKADO 


COMIC  opera  in  two  acts;  text 
by  W.  S.  Gilbert;  music  by  Sir 
Arthur  Sullivan.  First  pro- 
duced at  the  Savoy  Theatre,  London, 
March  14,  1885.  First  American 
production  at  the  Museum,  Chicago, 
July  6,  1885,  followed  by  the  pro- 
duction at  the  Union  Square  Theatre, 
New  York,  July  20,  1885.  All  star 
revival  by  Messrs.  Shubert  and  William 
A.  Brady  at  the  Casino  Theatre,  May 
30,  1910.  Revived  at  the  Majestic 
Theatre  by  the  Gilbert  and  Sullivan 
Festival  Company,  1913.  The  most 
popular  of  all  the  Gilbert  and  Sullivan 
operettas. 

CHARACTERS 

MIKADO  of  Japan Baritone 

NANKI-POO,  his  son,  disguised 
as  a  minstrel,  in  love  with 
Yum- Yum Tenor 

Ko-Ko,Lord  High  Execution- 
er of  Titipu Comedian 

POOH-BAH,  Lord  High  Every- 
thing Else Bass 

PiSH-TusH,  a  noble  lord Baritone 


YUM-YUM,  PlTTI-SlNG,  PEEP- 

Bo,  wards  of  Ko-Ko Soprano 

KATISHA,  an  elderly  lady,  in 

love  with  Nanki-Poo.  .  .Contralto 
Schoolgirls,  Nobles,   Guards   and 
Coolies 

Time  and  Place — The  Scene  is  laid 
in  Japan;  Present  Time. 

SO  far  as  the  plot  is  concerned,  the 
whole  trouble  begins  with  Nanki- 
Poo,  the  son  of  the  Japanese  Mikado, 
who  has  fled  from  thecourt,disguised  as 
a  wandering  minstrel,  to  avoid  matri- 
mony with  Katisha,  a  lady  of  equiv- 
ocal age  but  unequivocal  temper. 
Nanki-Poo  arrives  in  Titipu,  where 
Ko-Ko  is  Lord  High  Executioner  and 
Pooh-Bah  is  Lord  High  Everything 
Else.  He  has  the  temerity  to  fall  in 
love  with  the  ward  of  Ko-Koy  the 
lovely  Yum-Yum.  As  Ko-Ko  intends  to 
marry  her  himself,  however,  his  wooing 
is  not  a  success.  About  this  time,  the 
Mikado  sends  a  note  to  Ko-Ko  com- 
plaining of  the  lack  of  executions  in 


268 


VICTROLA     BOOK     OF     THE      OPERA 


Titipu,  and  adding  that  unless  some- 
body is  beheaded  during  the  next 
month,  Ko-Ko  will  lose  his  position. 
Pooh-Bah  happens  to  come  upon 
Nanki-Poo  as  he  is  about  to  hang 
himself  for  love  of  Yum-Yum.  He 
persuades  the  young  man  to  consent 
to  be  beheaded  instead,  his  terms 
being  a  month  of  wedded  bliss  with 
Yum-Yum.  To  this  he  agrees,  and 
Ko-Ko  is  forced  to  add  a  somewhat 
grudging  consent. 

At  the  opening  of  the  second  act, 
Yum-Yum  is  preparing  for  the  cere- 
mony, but  a  hitch  occurs.  It  seems, 
that  according  to  law,  when  a  married 
man  is  executed,  his  wife  also  is  buried 
alive,  and  Yum-Yum,  though  she  loves 
Nanki-Poo  dearly,  objects  to  "such  a 
stuffy  death."  Ko-Ko  is  at  first 
elated,  but  news  is  brought  that  the 
Mikado  himself  is  approaching, — to  see 
why  his  orders  are  unobeyed.  Pooh- 
Bah  then  ventures  that  as  Nanki- 
Poo  insists  on  killing  himself  unless  he 
weds  Yum-Yum,  he  had  better  be 
allowed  to  marry  her  and  depart  with 
his  bride  on  condition  that  he  consents 
to  be  the" hero"  of  a  wholly  fictitious 


execution,— to  be  described  to  the 
Mikado  in  great  detail.  Nanki-Poo 
has  no  objection  to  this  and  a  story  is 
appropriately  "cooked  up."  The 
Mikado  duly  arrives,  with  Katisha 
in  his  train.  He  is  delighted  with  the 
account  of  the  execution,  but  the  lynx- 
eyed  Katisha  has  made  out  that 
Nanki-Poo,  the  supposed  victim,  is 
none  other  than  the  Mikado's  heir. 
To  save  themselves  from  "boiling  in 
oil,  or  something  lingering"  the  mis- 
creants are  obliged  to  confess  that 
the  execution  has  never  taken  place. 
This  involves  another  form  of  not-too- 
sudden  death  for  deceiving  the  Mikado, 
but  eventually,  that  great  monarch, 
made  happy  by  the  rediscovery  of  his 
son,  consents  to  pardon  everybody, 
even  Ko-Ko,— except  that  this  very 
gentle  Lord  High  Executioner  is  con- 
demned to  marry  the  formidable 
Katisha,  a  circumstance  which  evokes 
from  him  the  ever-memorable  lines: 

"The  flowers  that  bloom  in  the  spring,  tra-la, 
Have  nothing  to  do  with  the  case; 
I've  got  to  take  under  my  wing,  tra-la, 
A  most  unattractive  old  thing,  tra-la, 
With  a  caricature  of  a  face." 


THE  VICTOR  RECORDS 

Gems  from  "The  Mikado"— Part  I Victor  Light  Opera  Co. 

Quartet,  "Behold  the  Lord  High  Executioner" — Solo  and  Chorus 
"The  Flowers  that  Bloom  in  the  Spring" — Women's  Trio,  "Three 
Little  Maids" — Solo,  "Tit-Willow" — Duet  and  Chorus,  "He's  Gone 
and  Married  Yum  Yum"— Chorus,  "With  Joyful  Shout" 

Gems  from  "The  Mikado"— Part  II Victor  Light  Opera  Co. 

Chorus,  "Gentlemen  of  Japan" — Solo,  "A  Wandering  Minstrel"- 
Solo  and  Quartet,  "A  Song  of  the  Sea" — Solo,  "Moon   Song"- 
Duet,  "Emperor  of  Japan" — Solo  and  Chorus,  "My  Object  All 
Sublime  " — Chorus,  "  We  Do  Not  Heed  " 

/Madrigal— Brightly   Dawns  Our  Wedding   Day Lyric  Quartet\.7J7f-     1ft- 

\         Martha— Good  Night  Quartet Lyric  Quarte.'! 

Mikado  Selection  No.  1 Victor  Concert  Orchestra 

Entrance  of  Mikado,  "Mi-Ya-Sa-Ma" — "A  Wandering  Minstrel" 
"Moon  Song" — Quintet,    "Youth  Must  Have  Its  Fling" — Trio, 
"The  Criminal  Cried" 

Mikado  Selection  No.  2 Victor  Concert  Orchestra 

"Tit-Willow"-  "Three  Little  Maids" — "He's  Going  to  Marry  Yum 
Yum"—  "The  Flowers  that  Bloom  in  the  Spring" — "Here's  a  State 
of  Things"— Finale,  "With  Joyful  Shout"  (arr.  by  Tobani) 

269 


•35551     12  in.   *1.35 


.85 


10-in. 


.85 


MIREILLE 


(MIRELLA) 


MIREILLE — ACT    I 


MIREILLE,  which  came  later 
than  "Faust"  in  order  of  pro- 
duction, is  a  pastoral  romance 
based  on  "Mireio,"  a  poem  by  that 
beloved  poet  of  Provence,  Frederic 
Mistral.  Gounod  has  drawn  freely  upon 
Provencal  folk-songs.  The  plot,  there- 
fore, is  less  significant  than  the 
"atmosphere,"  and  the  work  indeed 
is  but  a  tale  of  simple  peasant  life. 

The  scene  opens  in  a  mulberry  grove, 
where  the  village  girls  are  teasing 
Mirella  over  her  hopeless  love  for 
Vincent,  a  poor  basket-maker.  Tavena, 
the  fortune-teller,  warns  her  that 
Ramon,  the  girl's  father  never  will 
consent  to  the  union.  Mirella  accepts 
the  woman's  help,  but  soon  forgets 
her  when  Vincent  arrives.  The  two 
have  a  passionate  love  scene,  and 
they  arrange  to  meet  at  a  distant 
shrine  if  anything  goes  wrong. 

Mirella  learns  that  her  father  plans 
to  marry  her  to  the  wild  herdsman, 
Ourrias,  but  when  he  arrives,  Mirella 


refuses  him,  and  avows  her  love  for 
Vincent.  Vincent's  father  attempts 
to  gain  the  consent  of  Mirella 's 
father  to  the  union,  but  the  latter 
charges  mercenary  motives.  A  quarrel 
ensues,  and  Mirella' s  plans  seem 
spoiled  forever.  She  therefore  starts 
on  the  journey  across  the  desert  to  the 
distant  shrine. 

The  journey  proves  almost  too  much, 
even  though  Tavena  overtakes  her  and 
assures  her  Vincent  will  be  there.  She 
arrives  so  exhausted  that  her  death 
seems  imminent.  Vincent  attempts  to 
revive  her  but  without  success.  Her 
father  Ramon,  however,  who  has  fol- 
lowed, is  so  overcome  by  her  distress 
that  he  finally  consents  to  the  marriage 
and  Mirella  recovers — so  that  all  ends 
happily — even  under  operatic  law. 

OPERA  in  five  acts.  Words  by 
M.  Carre,  from  Mireio,  Pro- 
vencal poem  by  Mistral;  music 
by  Gounod.  First  version  given  at 
Saint  Remy-de-Provence,  under  the 
direction  of  the  composer,  in  1863. 
Produced  in  Paris  March  19,  1864. 
Reduced  to  three  acts,  with  the  addi- 
tion of  the  waltz,  and  reproduced 
December  15,  1864.  In  London,  in 
Italian  with  five  acts,  as  "Mirella"  July 
5,  1864.  The  first  performance  in 
America  was  given  by  Mapleson,  at 
the  Brooklyn  Academy,  December, 

1884,  with  Nevada,  Scalchi  and  Vicini. 
Given    at    the    New    Orleans    Opera, 
January  29,  1885,  in  Italian.    April  23, 

1885,  given  at  the  Academy  of  Music, 
New  York,   with   Patti   in_  the   cast. 
Revived   at   the   Metropolitan   Opera 
House,   New   York,   March   8,    1919. 


VICTOR  DOUBLE-FACED  RECORD 


fMirella  Overture      .....................    .......  Vessel/a'  s  Italian  Bana'\f-R,7i 

I     Puriiani  Quartet  (Bellini)..  .  .  .  Vessella's  Italian  fla»</f          l 


270 


••H 


THE    DAGGER    DANCE — ACT    II 

NATOMA 


NATOMA,  the  work  of  an  Amer- 
ican composer  and  librettist, 
with  an  American  setting  and 
an  American  first  production  in  Eng- 
lish, may  be  regarded  as  one  of  the 
most  successful  American  operas  this 
country  has  yet  known.  For  this 
reason  alone  it  is  a  notable  achieve- 
ment; at  the  same  time,  its  intrinsic 
merits  ensure  it  the  high  regard  of 
music  lovers  of  all  races. 

THE  OPERA 

OPERA  in  three  acts;  text  by 
Joseph  D.  Redding;  music  by 
Victor  Herbert.  First  produced  by  the 
Philadelphia-ChicagoOperaCom- 
pany,  at  the  Metropolitan  Opera 
House,  Philadelphia,  February  25, 1911. 
First  New  York  production  February 
28,  1911. 

CHARACTERS 

(With  the  Original  Cast) 
DON  FRANCISCO  DE  LA  GUERRA, 

a  noble  Spaniard.  .  Bass  (Huberdeau) 
BARBARA,  his  daughter 

Soprano  (Grenville) 


NATOMA  (Nah-toh'-mah),  an 

Indian  girl Soprano  (Garden) 

PAUL  MERRILL,  Lieutenant  of 
theU.S.Brig"Liberty" 

Tenor  (McCormack) 

JUAN  ALVARADO,  a  young  Span- 
iard   Baritone  (Sammarco) 

JOSE  CASTRO,  a  half-breed 

Baritone  (Preisch) 

FATHER  PERALTA,  Padre  of  the 

Mission  Church  .  .  .  Bass  (Dufranne) 

Pico;  KAGAMA,  Comrades  of 

Castro (Crabbe)  (Nicolay) 

American    Officers,    Nuns,     Convent 
Girls,  Friars,  Soldiers,   Dancers,    etc. 

Scene  and  Period:  California,  under  the 
Spanish  regime,  1820 

ACT  I 

SCENE — Hacienda  of  Don  Francisco  on 
the  Island  of  Santa  Cruz 

FROM  his  island  home  by  the  blue 
waters  of  the  Pacific,  gazing  toward 
the  mountains  of  California,  faintly- 
penciled  against  a  cloudless  sky,  Don 
Francisco  waits  for  the  coming  of  his 


271 


VICTROLA     BOOK     OF     THE      OPERA 


daughter,  Barbara,  whose  school-days 
at  the  convent  are  over.  But  there  is 
another  watcher  with  less  reputable 
purpose.  Aware  that  Barbara  will 
inherit  her  mother's  vast  estates,  her 
cousin,  Aharado,  hopes  to  marry  her, 
and  he,  too,  looks  forward  to  her 
arrival. 

This  expectancy  is  shared,  if  with 
varied  feelings,  by  the  island,  for  the 
lovely  young  girl  is  very  popular. 
None  loves  her  more,  how- 
ever, than  Natoma,  the 
Indian  girl,  within  whose 
veins  is  to  be  found  the 
royal  blood  of  distant 
Aztec  ancestors.  Natoma 
is  deeply  in  love  with 
Lieutenant  Paul  Merrill, 
of  the  U.S.  Brig  "Liberty," 
which  lies  at  anchor  in 
the  bay.  He  and  she  are 
sitting  on  a  hilltop  over- 
looking the  sea,  and  Paul 
regards  with  interest  an 
amulet  of  abalone  shell, 
which  Natoma  wears 
about  her  neck.  She  tells 
him  of  its  proud  history, 
and  then  proceeds  to  tell 
with  loving  pride  of  Bar- 
bara, whom  she  loves  so 
dearly.  Paul  is  charmed 
with  this  beautiful  Indian 
maid,  whom  he  calls  his  "wildflower." 

With  the  arrival  of  Barbara,  Ahara- 
do  at  once  urges  forward  his  suit.  The 
young  girl  regards  him  with  disdain, 
however,  for  her  heart  is  already  given 
to  Paul.  Her  cousin  at  once  plots  with 
Castro,  a  half-caste,  to  carry  Barbara 
off  to  the  mountains  the  next  day,  when 
there  is  to  be  a.  fiesta  in  honor  of  the 
girl's  coming  of  age  and  her  accession 
to  the  estates.  The  plot  is  overheard  by 
Natoma.  That  night,  after  the  guests 
depart,  Barbara  comes  to  the  porch, 
where  under  the  blue  light  of  the 
southern  moon  she  breathes  to  the 


stars  her  love  for,  the  young  American. 
Paul  joins  her,  a^d*  soon  his  arms  are 
about  her.  But  'they  are  not  unob- 
served, for  Natoma  from  her  window 
sees  all,  and  she  learns  that  the  man 
she  loves  is  not  for  her.  Long  into  the 
night  she  battles  with  herself.  A  word 
from  her,  and  the  plot  to  kidnap  Bar- 
bara may  be  thwarted  and  Barbara 
saved — for  Paul!  Silence  on  her  part, 
and  her  only  rival  is  lightly  removed. 

ACT  II 

SCENE — Plaza  at  Santa 


I 


PHOTO    WHITE 

McCORMACK 


T  is  dawn.  The  Span- 
ish soldiers  raise  the 
national  flag  in  the  Plaza 
beside  the  mission  Church, 
while  trumpeters  and 
drummers  yield  it  a  full 
salute.  Hither  creeps  •Na- 
toma, her  problem  still 
unsettled.  She  prays  alter- 
nately to  the  Great  Spirit 
of  whom  Padre  Peralta  has 
taught  her,  and  to  Mani- 
tou,  the  Mighty.  Soon 
the  vaqueros  and  ranche- 
ros  arrive  and  the  fiesta 
begins.  With  the  arrival 
of  Don  Francisco  and  his 
AS  PAUL  daughter  the  ceremonies 
reach  their  height.  The  old 
nobleman  places  upon  his  daughter's 
head  a  woof  of  royal  Castilian  lace, 
— a  pretty  Spanish  custom.  Barbara, 
full  of  love  and  happiness,  sings  the 
delightful  "Spring  Song" — (I  List  the 
Trill  of  Golden  Throat). 

After  this  rich  melody  with  its 
modern  harmonies  and  delicate  or- 
chestration, Paul  arrives  with  a  com- 
pany of  armed  sailors,  to  do  official 
honor  to  the  representative  of  the  race 
which  is  responsible,  through  Col- 
umbus, for  the  discovery  of  his  own 
land.  The  "Panuelo"  or  "dance  of 
declaration"  follows,  in  which  each 


272 


VICTROLA     BOOK.     OF     THE      OPERA 


man  places  his  hat  upon  the  head  of 
the  girl  he  loves.  Alvarado  places  his 
upon  Barbara 's,  but  she  gaily  flicks 
it  into  the  crowd  The  Spaniard  is 
infuriated,  and  the  act  excites  comment. 
Castro,  remembering  the  plan  to  kidnap 
Barbara,  distracts  attention  by  loudly 
demanding  that  somebody  shall  dance 
with  him  the  fiery  dagger  dance.  He 
plunges  his  dagger  into  the  ground  and 
dares  any  girl  to  throw  another  beside 
it.  Suddenly  making  up  her  mind, 
Natoma  responds,  and  throwing  a 
similar  blade  to  the  earth,  she  leaps 
into  the  ring  beside  him.  They  dance, 
to  a  wild  and  barbaric  rhythm,  the  now 
famous  "Dagger  Dance." 

The  crowd  watches  so  intently  that 
nobody  but  Natoma  sees  Alvarado, 
with  an  Indian  follower  to  help  him, 
suddenly  throw  a  scrape  over  Bar- 
bara's head.  Snatching  one  of  the 
daggers,  Natoma  wildly  rushes  past 
Castro  and  plunges  the  knife  into  the 
heart  of  Alvarado.  Instantly  the 
startled  crowd  demands  her  blood,  but 
Paul,  with  his  sailors,  intervenes.  In 
this  crisis  the  good  Padre  appears, 
holding  a  cross  on  high.  At  sight  of 
him  the  people  kneel  in  reverence, 
and  Natoma,  dropping  her  weapon, 
staggers  toward  the  steps  of  the  church 
and  falls  at  the  good  man's  feet.  The 
right  of  sanctuary  is  claimed  and  im- 
plied. Beneath  the  Father's  protec- 
tion the  girl  remains  trembling  as  the 
curtain  falls. 


ACT  III 

SCENE — Interior  of  the  Church 

NATOMA  is  seen  kneeling  at  the 
altar,  invoking  the  Great  Spirit 
to  yield  her  vengeance.  The  old  Priest, 
with  wonderful  penetration,  at  last 
finds  the  "responsive  chord"  in  her 
heart — her  love  for  Barbara.  He  leaves 
her  kneeling  at  the  altar.  A  word 
to  an  acolyte  and  the  Priest  dons  his 
vestments;  the  church  slowly  fills  with 
people,  including  Paul  and  Barbara 
in  opposite  pews.  The  Priest  ascends 
the  pulpit,  and  the  air  is  filled  with 
the  chanting  of  monks  and  nuns. 
Natoma  remains  kneeling.  Presently 
the  singing  stops,  and  the  music  of  the 
organ  dies  down  to  a  pedal-note.  The 
air  is  tense  with  expectancy.  Natoma 
rises  and  walks  down  the  aisle.  Moved 
by  some  strange  impulse,  Paul  and 
Barbara  kneel  in  her  path.  From  her 
neck,  Natoma  takes  the  amulet  of 
abalone  shell,  and  places  it  upon 
Barbara,  whom  she  loves  so  dearly, — 
a  sign  of  renunciation.  Thenwith 
uncertain  steps  she  slowly  makes  her 
way  toward  the  conventgarden,  and  the 
Priest  raises  his  hands  in  benediction 
as  the  doors  of  the  cloister  shut  behind 
her.  Natoma  will  not  leave  them  again. 

THE  VICTOR  RECORD 

SPRING  SONG 

(I   List  the  Trill  of  Golden  Throat) 
ALMA  GLUCK,  Soprano  74274     12-in.,  $1.75 


DOUBLE-FACED  RECORD 


(Dagger    Dance  ..............  ......  ..........  Victor   H"*"*'*  .°rcflfSlr'!\SSll3     12-in.,  $1.50 

\     Sweethearts  -The  Angelus  (Herbert)  ..............  MacDonald-Werrtnrath] 


273 


NORMA  (proudly) :    Then  fulfil  thy  fate,  and  follow  him  !     (Act  I.) 

NORMA 


BELLINI'S  opera,  "Norma",  came 
the  year  after  "La  Sonnambula" 
had  won  exceptional  favor,  and 
it  was  no  less  successful.  The  tech- 
nique of  the  work  is  that  of  the  older 
Italian  Opera  School,  in  which  airs  and 
ensemble  numbers,  based  on  the  sim- 
plest harmonic  and  melodic  architec- 
ture, are  plentiful  enough.  This  does 
not  mean,  however,  that  emotional 
quality  is  absent,  or  even  meager;  and 
such  numbers  as  "Casta  Diva"  or  the 
duet  in  the  final  scene  are  remarkable 
for  their  sincerity  of  emotional  expres- 
sion, notwithstanding  their  clear  sim- 
plicity of  style.  Those  who  weary  of 
declamatory  modern  opera,  in  which 
the  music  is  constantly  changing  in 
agreement  with  the  most  swift  and 
subtle  moods  that  emotion  throws 
upon  the  stage,  at  the  expense  of 
clearly  defined  melody,  will  have  no 
quarrel  with  the  simplicity  of  "Norma." 

THE  OPERA 

OPERA  in    two   acts.    Book   by 
Felice  Romani,  founded  on  a 
French  tragedy  by  Soumet,  pro- 


duced at  the  The  at  re  Fran^ais,  at 
Paris,  about  a  year  before  the  opera. 
Score  by  Vincenzo  Bellini.  First  pro- 
duction December  26,  1831,  at  Milan. 
First  London  production  at  King's 
Theatre,  in  Italian,  June  20,  1833.  In 
English  at  Drury  Lane,  June  24,  1837. 
First  Paris  production,  Theatre  des 
Italiens,  1833.  First  Vienna  produc- 
tion, 1833;  in  Berlin,  1834.  First  New 
York  production,  February  25,  1841, 
at  the  Park  Theatre.  Produced  at  the 
New  Orleans  Opera,  December  31, 
1842.  Other  American  productions: 
September  20,  1843,  with  Corsini  and 
Perozzi;  October  2,  1854,  with  Grisi, 
Mario  and  Susini,  at  the  opening  of  the 
Academy  of  Music;  and  December  19, 
1891,  at  the  Metropolitan,  with  Leh- 
mann.  Recently  revived  by  the  Bos- 
ton Opera  Company. 

CHARACTERS 

NORMA,  High  Priestess  of  the 

Temple  of  Esus Soprano 

ADALGISA,  a  Virgin  of  the  Tem- 
ple   Soprano 

CLOTILDE,  Norma's  attendant, Soprano 


274 


VICTROLA      BOOK.     OF     THE      O     PERA 


POLUONE,  a  Roman  proconsul 
commanding    the    legions    of 

Gaul Tenor 

FLAVIO,  his  lieutenant Tenor 

OROVESO,  the  Arch-Druid, 

father  of  Norma Bass 

Priests  and  Officers  of  the  Temple, 
Gallic  Warriors,  Priestesses  and  Virgins 
of  the  Temple,  two  children  of  Norma 

and  Pollione 

Scene  and  Period:  The  Scene  is  laid  in 
Gaul,  shortly  after  the  Roman  Conquest 

ACT  I 

SCENE — Sacred  Grove  of  the  Druids 

THE  opera  has  an  overture,  which 
has  been  recorded.  The  first  scene 
is  laid  beneath  the  sacred  Oak  of  Irmin- 
sul,  at  the  foot  of  which  is  a  great  Dru- 
idical  stone.  It  is  night,  and  from  be- 
hind the  distant  trees  there  sparkle  the 
torches  of  the  Gallic  army,  which  is 
coming  in  procession  to  this  rough  altar. 
They  are  followed  by  a  procession  of 
priests,  headed  by  Oroveso,  the  father  of 
Norma,  the  High  Priestess.  It  is  their 
hope  the  prophetess  Norma  will  bid 
them  rise  against  their  Roman  con- 
queror, and  they  plan  to  reassemble  at 
the  altar  within  a  short  time.  For  the 
present  they  disperse,  and  Pollione 
enters  cautiously  with  his  lieutenant, 
Flavio;  these  two  Romans  are  enveloped 
in  their  togas.  Pollione,  the  secret  lover 
of  Norma  and  the  father  of  her  two 
children,  now  confides  that  he  has 
ceased  to  love  her,  as  he  longs  for  an- 
other maid,  the  Virgin  Priestess,  Adal- 
gisa, whom  he  hopes  now  to  meet. 

The  sacred  Bronze  is  heard  sounding, 
and  the  two  men  withdraw  as  the  Gauls 
return  singing  a  familiar  march.  Norma 
appears  in  solemn  state,  warning  her 
followers  against  war  with  the  Romans, 
and  dismissing  them  after  the  cere- 
mony of  cutting  the  mistletoe.  She 
then  invokes  peace  in  the  exquisite 
"Casta  Diva"  (Queen  of  Heaven). 
Pollione  tempts  Adalgisa  to  fly  with 


him  to  Rome,  and  the  distraught  girl, 
not  knowing  of  his  previous  romance, 
carries  her  trouble  to  the  High  Priest- 
ess, Norma.  Norma  is  disposed,  in 
memory  of  her  own  love,  to  release  the 
young  priestess  from  her  vows,  but 
when  she  asks  the  name  of  the  lover, 
she  is  confronted  with  Pollione,  for 
whom  she  herself  has  betrayed  her  gods. 
Norma 's  soul  is  filled  with  the  desire 
of  vengeance.  Nearly  frantic  with 
rage,  she  thinks  to  kill  her  husband  and 
children,  and  expiate  upon  the  funeral 
pyre  her  secret  marriage  with  the  nat- 
ural enemy  of  her  race,  for  death  is  the 
punishment  laid  upon  any  priestess 
who  dares  break  her  vows  of  chastity. 

ACT  II 

SCENE — Inferior  of  Norma  s  Dwelling 

THE  children  of  Norma  lie  sleeping 
on  a  Roman  couch  covered  with 
bearskins.  The  crazed  mother  advances 
upon  them  with  uplifted  dagger;  but 
the  sight  of  her  unsuspecting  victims  is 
too  much,  and,  with  a  piercing  cry,  she 
falls  upon  her  knees  before  them.  Her 
maid  Clotilde  enters,  and  Adalgisa  next 
is  summoned.  Norma  then  confides 
her  children  to  her  rival,  vowing  that 
she  will  die  on  the  funeral  pyre  and 
permit  Adalgisa  to  wed  Pollione.  The 
younger  girl,  deeply  affected,  pleads 
with  her  not  to  seek  this  desperate  end, 
promising  she  will  persuade  Pollione  to 
return  to  his  first  love.  Her  generous 
impulse  is  nobly  expressed  in  an  air 
familiar  to  all  opera-goers,  the  "Mira  O 
Norma"  (Hear  Me,  Norma). 

The  effort  is  futile.  Pollione  refuses 
to  return  to  Norma  and  against  her  will 
he  attempts  to  seize  Adalgisa.  The 
now  infuriated  Norma  summons  her 
followers,  to  rouse  them  to  battle  with 
the  Romans.  No  sooner  are  the  men 
assembled  than  Pollione  is  discovered 
in  their  midst,  a  spy.  Norma  claims 
the  right  to  kill  him,  and  advances 
against  him  with  blade  uplifted.  She 


275 


VICTROLABOOKOFTHE    OPERA 


has  not  the  strength,  however,  to  take 
away  the  life  of  the  man  she  continues 
to  love,  and,  declaring  she  wishes  to 
question  the  prisoner,  she  bids  the 
guards  depart.  She  then  tries  to  per- 
suade him  to  give  up  his  guilty  love  for 
Adalgisa^  death  being  the  alternative. 
This  leads  to  the  duet,  "In  mia  mano" 
(In  My  Grasp). 

As  Pollione  continues  to  refuse, 
Norma  strikes  the  sacred  shield,  and 
again  summons  her  hosts.  Before 
them  she  confesses  a  priestess  has  vio- 
lated her  vows  of  chastity  and  that  she 
must  suffer  death.  Pollione  believes 
she  is  about  to  denounce  Adalgisa.  But 
Norma  now  is  bent  upon  confession  for 
herself,  and  to  the  astounded  gathering, 
of  whom  her  own  father,  Oroveso,  is  one, 
she  reveals  her  own  fault  and  claims 
purification  by  death  upon  the  sacri- 
ficial pyre.  Moved  by  her  devotion, 
Pollione  finds  his  love  returning,  and 
begs  leave  to  share  the  flames.  The 


wish  is  granted.  Norma  confides  the 
two  children  to  her  father's  care,  and 
the  lovers,  reunited,  go  out  to  meet 
their  death  as  the  curtain  falls. 

THE   VICTOR   RECORDS 

(Sung  in  Italian) 
CASTA  DIVA 

(Queen  of  Heaven)  MARCELLA  SEMBRICH, 

Soprano  88104     12-in.,  #1.75 

NORMA: 

Queen  of  Heaven,  while  thou  art  reigning 

Love  upon  us  still  remaining, 

Clad  in  pureness,  alone  disdaining 

Grosser  earth's  nocturnal  veil. 

Queen  of  Heaven,  hallow'd  by  thy  presence, 

Let  its  holier,  sweeter  essence, 

Quelling  ev'ry  lawless  license, 

As  above,  so  here  prevail! 

All  is  ended,  be  now  the  forest 

Disencumber'd  of  aught  mortal. 

MIRA  O  NORMA 

(Hear  Me,  Norma)  ALMA  GLUCK,  Soprano 
and  LOUISE  HOMER,  Contralto 

89101     12-in.,     2.00 


DOUBLE-FACED    RECORDS 

fMira  o  Norma   (Hear  Me  Norma) Francis  Lapitino,  Harpi st\ 

\     Lucia — Prelude Francis  Lapitino,  Harpist} 

/Overture Arthur  Pryors  Bana>{-,r,f-f- 

\    Oberon  Overture  (Weber) Arthur  Pryors  Band}3" 


10-in.,  30.85 
12-in.,     1.35 


NORMA:     Now,  for  your  judgment,  a  new  victim  is  offered — I  am  guilty!     (Act  II,  Scene  III.) 

276 


PHOTO    MANUEL 


THE    ENCHANTED    FOREST — ACT    I 

OBERON 

OR  THE    ELF-KING'S    OATH 


WEBER'S  peculiar  gift  was  to 
interpret,  through  the  opera, 
the  romance  and  beauty  of 
the  Fairyland  myths  with  which  Ger- 
man literature  is  so  enriched.  In 
"Oberon"  he  is  especially  successful, 
and  especially  in  this  opera's  Overture. 
From  the  opening  horn-call,  answered 
by  the  fairy-like  tripping  measure  of 
the  wood-wind,  to  the  very  end,  which 
refers  to  the  famous  air  in  the  opera, 
"Ocean,  Thou  Mighty  Monster,"  we 
are  transported  to  the  never-never  land 
of  magical  beauty  which  the  most  so- 
phisticated among  us  longs  for  in  secret. 
Weber  took  us  there  by  melodies, 
harmonies  and  orchestral  effects  ab- 


solutely new  in  style  at  the  time  he 
wrote  them.  His  pioneer-work,  in  this 
direction,  has  affected  all  the  leading 
German  composers;  without  it  Men- 
delssohn would  never  have  given  us 
the  "  Midsummer  Night's  Dream  Over- 
ture" in  its  present  form.  Wagner, 
especially,  was  indebted  to  Weber,  and 
in  his  great  works,  based  on  myths  and 
legends,  he  is  the  earlier  composer's 
natural  successor.  To  anyone  with 
a  musically  historical  sense,  the  im- 
portance and  beauty  of  Weber's  works 
cannot  be  exaggerated,  and  it  has  been 
well  said  that  "  the  historian  of  German 
music  in  the  19th  century  will  have  to 
make  Weber  his  starting-point." 


THE    O  PE  RA 


R)MANTIC  fairy  opera  in  three 
acts.  Text  by  James  Robinson 
Planche;  music  by  Carl  Maria  von 
Weber.  First  produced  at  Covent 
Garden,  London,  April  12,  1826,  in 
English,  under  the  personal  direction 
of  the  composer.  Translated  into 
German  by  Theodor  Hell,  and  given 


in  Leipsic,  December,  1826;  Vienna, 
March  20,  1827;  Berlin  July  2,  1828. 
First  Paris  production  in  German,  in 
1830,  was  a  comparative  failure.  Re- 
vived at  the  Theatre  Lyrique,  trans- 
lation by  Nuitter,  Beaumont  and 
Chazot,  with  success,  February  27, 
1857.  Revived  in  London,  December 


277 


VICTROLA     BOOK  OF     THE      OPERA 

7,   1878.    First  American  production,  ciled  with  him  until  he  shall  have  found 

New  York,  October  9,  1827.    Revived  two  mortal  lovers  who  remain  constant 

at  the  Academy  of  Music,  March  29,  through  trial  and  temptation.    Qberori  's 

1870,    in    English,   with    Parepa-Rosa  "tricky  spirit,"  Puck,  believes  he  has 

and  Mrs.  Seguin.    The  opera  was  first  met  with  such  a  pair  in  Sir  Huon  de 

sung  in  Italian  at  Her  Majesty's,  Bordeaux  and  Rezia,  daughter  of 

London,  July  3,  1860,  with  recitatives  Haroun  of  Bagdad. 
by  Benedict,  and  this  version  was          Sir   Huon    has    killed    the    son    of 

given  in  Philadelphia  in  1870.    Revived  Charlemagne,   and   he  has    been   con- 

in  New  York  in  1912  and  1918.  demned  to  travel  to  Bagdad  to  slay 

the  person  who  sits  at  Haroun  s  left 

CHARACTERS  hand,   and   claim   Rezia   as   his   wife. 

Having  been  permitted  by  Oberon  to 

SIR    HUON    DE    BORDEAUX  see  Rezia  in  a  vision,  Sir  Huon  at  once 

(Oo-on  duh  Bohr-doh)  .......  Tenor  falls  Jn  love  with  her.    He  is  presented 

SHERASMIN,  his  Squire  (Shay-  witn    a    magic    horn,    which,     when 

raz'-meen)  .............  Baritone  sounded,  will  bring  the  forces  of  Fairy- 

OBERON,  King  of  the  Fairies  land  to  his  aid;  thus  armed,  he   sets 

(Oh  -bair-ori)  ..............  Tenor  upon  his  difficult  mission.     Sir  Huon  is 

REZIA,   daughter  of  Haroun  transported  to  Bagdad  accomplishing 

(Ray  -zee  -ah)  ...........  Soprano  his   purpose   and   carrying   off  Rezia. 

FATIMA,  her  attendant  (Fat'-  But  trials  await  the  lovers.    They  are 

ee-mah)  ..........  Mezzo-Soprano  tossed   about   in    a   storm    raised    by 

PUCK  ................  Mezzo-Soprano  Oberon    and    then    shipwrecked   upon 

Two  MERMAIDS  ......  Mezzo-Soprani  a  desert  island.    Rezia  is  abducted  by 

HAROUN  EL  RASCHID,  Caliph  pirates  and  sold  to  the  Emir  of  Tunis, 

of  Bagdad  (Ha-roon  el  Rash'  -id}  wnile  Sir  Huon,  believing  her  dead,  is 

BABEKAN,  a  Saracen  Prince  left  on  the  beach.    He  is  transported 

(Bah  -bay-kahn}      ...  .  .          .....  by   good   fairies,   however,    to   Tunis, 

ALMANZOR,  Emir  of  Tunis    (Ahl-mah-  where   he   enters   the   very   harem   in 

nah-  zohr)       .......        .....  search  of  Rezia.    The  two  are  captured, 

ABDALLAH,     a     Corsair     (Ab-dah-lah)  and  sentenced  to  be  burned  alive.    In 

KOSHANA,  wife  of  Almanzor  ..........  tnis  desperate  crisis  Huon  sounds  the 

Chorus  of  Fairies,  Ladies,  Knights,  etc.  fairy  horn  and  Oberon,  with  Tita'nia, 

comes  to  his  rescue.  The  King  of  the 

THE  opera  opens  in  Fairyland,  Fairies  transports  them  to   the  court 

where  elves  are  dancing  about  the  of  Charlemagne,  where  Huon   is  par- 

form  of  the  sleeping  Oberon,  their  King.  doned.  Titania,    recognizing    the    de- 

Oberon  has  quarreled  with  his  Queen,  votion  of  Sir  Huon  and  Rezia,  forgives 

Titania,  who  vows  never  to  be  recon-  Oberon.     All  ends  happily. 


DOUBLE-FACED  RECORD 

(Oberon  Overture  .........................................  Pry  or'  s  Eand\-lr,fic 

I     Norma  Overture  (Bellini)  .................................  Pryor's  Band) 


1  ,.. 


278 


ELYSIUM — ACT    II 


ORPHEUS  AND  EURYDICE 


THOUGH  produced  in  Vienna, 
before  Gluck's  memorable  pil- 
grimage to  Paris  as  the  prophet 
of  a  new  order  of  opera,  "Orpheus  and 
Eurydicc"  was  a  forerunner  of  the 
ideals  which  culminated  in"Iphigenie." 
"Orpheus"  was  composed  among  a  group 
of  ballets  and  similar  works  written  for 
the  lively  court  of  Vienna.  "Orpheus", 
however,  contains  so  many  lovely  airs 
that  it  was  a  truer  success,  winning  for 
its  composer  an  annuity  of  6,000  francs 
from  Marie  Antoinette,  Dauphiness  of 
France — a  former  pupil  of  his  and  his 
most  powerful  supporter  in  Paris. 


o 


THE  OPERA 

PERA  in  four  acts.  Book  by 
Ramieri  De  Calzabigi;  music 
by  Gluck.  First  production  in  Vienna 
October  5,  1762,  Gluck  conducting. 
First  Paris  production,  1774,  when 
the  role  of  Orpheus  was  transposed  for 
high  tenor.  Revived  at  Paris  1859, 
when  Pauline  Viardot  restored  the 
Italian  contralto  version.  First  London 
production,  Covent  Garden,  1770. 
Some  notable  revivals  were  during  the 


Winter  Garden  season  of  1863;  in  1885" 
(in  German),  by  the  Metropolitan 
Opera;  the  English  production  in  1886 
by  the  National  Opera  Company;  the 
Abbey  revival  in  Italian  in  1892;  and 
the  Gatti-Casazza  production  of  1910, 
with  Homer,  Gadski  and  Gluck. 

CHARACTERS 

ORPHEUS  (Or-fay-us) Contralto 

EURYDICE  (U-ree-dee'-chay}.  .  .Soprano 

LOVE Soprano 

A  HAPPY  SHADE Soprano 

Shepherds  and  Shepherdesses,  Furies 
and  Demons,  Heroes,  etc. 

THE  story  concerns  the  Greek  poet 
Orpheus,  who  grieves  so  deeply 
over  the  death  of  his  wife  Eurydice  that 
he  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  Eurydice  he  will  return  to  earth 
without  once  looking  at  her. 

The  music  accompanying  this  scene 
is  exquisite  and  the  most  familiar  part 
of  it  is  the  beautiful  melody  to  be  found 


279 


VICTROLA     BOOK     OF     THE      OPERA 


in  the  "Ballet  Music"  on  Victor  Rec- 
ords. In  the  orchestral  number  there  is  a 
flute  solo  of  the  most  profound  pathos. 

Orpheus  now  journeys  to  the  Gates 
of  Erebus,  where  he  so  softens  the 
hearts  of  the  Demon  guards  by  his  grief 
and  by  the  exquisite  playing  of  his  lyre, 
that  he  is  permitted  to  enter.  He  finds 
Eurydice  and,  without  looking  at  her, 
takes  her  by  the  hand  and  bids  her  fol- 
low. She  obeys,  but,  failing  to  under- 
stand his  averted  gaze,  upbraids  him 
for  his  apparent  coldness  and  asks  that 
he  shall  look  at  her. 

Orpheus,  knowing  that  to  cast  a  sin- 
gle look  at  his  loved  one  means  death, 
at  first  keeps  his  face  averted,  but 
finally,  unable  to  endure  longer  the 
reproaches  of  his  wife,  he  clasps  her 
in  his  arms,  only  to  see  her  sink  down 
lifeless.  This  scene  includes  the  great 
"Che  faro  senza  Euridice"  (I  Have  Lost 
My  Eurydice). 

"What  have  I  done!  Into  what  gulf 
has  my  fatal  love  cast  me?"  cries  the 
hapless  youth,  and  breaks  into  his 
lovely  and  pathetic  lamentation.  Of 
the  many  beautiful  numbers  in  Gluck's 


drama  this  lovely  aria  of  mourning  is 
the  most  familiar.  Orpheus  is  about 
to  kill  himself  when  Love  appears. 
Eurydice  is  miraculously  restored.  The 
spirit  of  the  beautiful  old  tale  is 
violated,  but  the  work  reaches  a  happy 
end. 

THE   VICTOR   RECORDS 

MELODIE 

(From  "Ballet  Music")  MAUD  POWELL, 

Violin  64075     10-in.,  31-25 

MISCHA  ELMAN,  Violin     74459     12-in.,     1.75 

DANCE  OF  THE  SPIRITS 

("Ballet    Music")    PHILADELPHIA    OR- 
CHESTRA 74567     12-in.,     1.75 

CHE  FARO  SENZA  EURIDICE 

(I    Have    Lost    My    Eurydice)    LOUISE 
HOMER,  Contralto  In  Italian 

88285     12  in.,    1  75 
ORPHEUS: 

I  have  lost  my  Eurydice 
My  misfortune  is  without  its  like. 
Cruel  fate!  I  shall  die  of  my  sorrow. 
Eurydice,  Eurydice,  answer  me! 
It  is  your  faithful  husband. 
Hear  my  voice,  which  calls  you. 
Silence  of  death!  vain  hope! 
What   suffering,   what   torment,   wrings   my 
heart! 


HOMER    AND    GADSKI    AS    ORPHEUS    AND 
EURYDICE 

280 


FROM    THE    PAINTING    BY    BECKER 


OTHELLO    AND    DESDEMONA 


OTHELLO 


SIXTEEN  years  after  "Aida"  had 
seemed  to  be  the  crowning  glory 
of  Verdi's  long  musical  career, 
the  great  composer  astonished  the  mu- 
sical world  with  "Othello."  At  the  age 
of  seventy-four  he  showed,  past  all 
doubt,  that  the  fierce  creative  spirit 
which  burned  within  him  was  not  only 
alive,  but,  if  anything,  brighter  than 
ever.  In  that  sixteen  year  interval 
Verdi  had  kept  close  touch  with  the  de- 
velopment or  modern  music.  "Othello," 
therefore,  is  essentially  modern  in  spirit 
and  technique.  The  characterization  is 
marvellous,  there  are  no  set  airs  and 
ensembles,  the  scenes  fusing  into  each 
other  without  a  break.  Its  power  and 
almost  youthful  energy,  set  upon  a  life- 
time of  practical  musical  and  dramatic 
experience,  give  the  work  a  unique 
place  in  music.  Verdi,  greatly  daring, 


measured  skill  with  Shakespeare  him- 
self, and  he  accomplished  a  success  the 
Elizabethan  dramatist  would  have 
been  the  first  to  applaud. 

Six  years  later — when  Verdi  was  in 
his  eightieth  year — this  incredible  com- 
poser produced  another  great  Shakes- 
pearian work  in  "Falstaff,"  triumph- 
antly bringing  forth  the  most  difficult 
of  all  musical  composition — inspired 
comedy.  Almost  any  gifted  composer 
may,  with  a  few  gloomy  chords,  achieve 
the  semblance  of  tragedy,  but  comedy, 
utterly  devoid  of  burlesque,  and  of 
Shakespearian  breadth  and  humanity, 
is  quite  another  matter.  The  heart 
somehow  goes  out  to  this  intrepid  old 
soul,  bidding  good-bye  to  a  world  in 
which  he  had  had  his  full  share  of  tri- 
umph and  failure,  with  the  strong 
laughter  of  "Falstaff"  as  his  Requiem. 


281 


VICTROLA     BOOK     OF     THE      OPERA 


TH  E    O  PE  RA 


OPERA  in  four  acts.  Text  by 
Arrigo  Bo'ito.  Music  by  Verdi. 
First  production  February  5,  1887, 
at  La  Scala,  Milan,  with  Tamagno. 
First  London  production  May  18, 
1889;  in  English  1893.  'First  American 
production  April  16,  188.8,  with  Camp- 
anini  as  Othello.  Notable  .revivals  oc- 
curred in  1894,  with  Tamagno  and 
Maurel;  in  1902,  with  Eames,  Alvarez 
and  Scotti;  in  1908  at  the  Manhattan, 
with  Melba,  Zenatello  and  Sammarco; 
and  in  1910  at  the  Metropolitan  Opera. 

CHARACTERS 

OTHELLO,  a   Moor,   general   in   the 
Venetian  army  (Oh-tel-loh) .  .  .  Tenor 

I  AGO  (Ee-ah' -goh] ,  his  ensign . .  Baritone 

CASSIO  (Cass'-ee-oh),  his  lieutenant 

Tenor 

RODERIGO  (Roh-der-ee'-goh),  a  Vene- 
tian gentleman Tenor 

LODOVICO  (Loh-doh-vee' '-koh) ,  ambas- 
sador of  the  Venetian  Republic .  Bass 

MONTANO,  predecessor  of  Othello  in 
the  government  of  Cyprus Bass 

DESDEMONA,  wife  of  Othello.  .Soprano 

EMILIA  (Ay-mee'-lee-ah),  wife  of  lago 

Mezzo-Soprano 

Soldiers  and  Sailors,  Venetians,  Cyp- 
rians, an  Innkeeper 

Scene  and  Period:    End  of  the  Fifteenth 
Century;  a  Seaport  in  Cyprus 

ACT  I 

SCENE — Othello's  Castle  in  Cyprus 

A  STORM  rages  and  the  angry  sea  is 
visible  in  the  background.  A  num- 
ber of  Venetians  and  soldiers  watch  the 
vessel  bearing  the  victorious  Othello  as 
it  struggles  in  the  storm.  They  include 
Cassia,  Othello's  lieutenant,  the  villain- 
ous lago,  and  his  co-conspirator,  Roder- 
igo.  lago  privately  expresses  the 
hope  that  the  landing  will  never  be 


282 


made.  But  he  is  doomed  to  disap- 
pointment, for  the  Moor,  Othello,  is 
brought  ashore  in  a  small  boat,  and  he 
announces  a  complete  victory  over  the 
Turkish  fleet,  which  has  been  sunk. 
Othello  enters  his  castle,  to  greet  there 
his  beloved  wife,  Desdemona. 

The  soldiers  begin  drinking.  lago, 
bent  on  his  plan  to  regain  the  power 
which  has  fallen  to  Othello,  induces 
Roderigo  (who  desires  Desdemona}  to 
help  in  plying  Cassia  with  wine.  Cassia 
at  first  refuses,  knowing  his  own  partic- 
ular weakness;  but  when  lago  toasts 
Desdemona,  he  is  obliged  to  respond. 
He  soon  is  hopelessly  befuddled,  lago 
helping  on  the  process  at  the  Brindisi, 
"InafFia  1'uoglia"  (Drinking  Song). 

In  this  vigorous  yet  subtle  air,  the 
shrewd  cunning  of  lago  is  remarkably 
portrayed.  Cassia  becomes  hilarious, 
finally  quarrelsome.  lago  who  has 
watched  every  phase  of  the  process 
with  feline  cunning,  now  forces  him, 
adroitly  enough,  to  pick  a  quarrel  with 
Montana.  Swords  are  drawn,  Montana 
is  wounded,  and  lago  fans  the  disturb- 
ance into  a  small  riot.  This  is  put 
down  by  the  appearance  of  Othello 
himself,  enraged  that  the  sleep  of  Des- 
demona should  be  disturbed  by  the 
troops.  The  Moor  deprives  Cassia  of 
his  command,  exactly  as  lago  has  fore- 
seen. It  is  the  first  step  toward  the 
downfall  of  Othello. 

ACT  II 

SCENE — A  Room  in  the  Castle 

I  AGO  plays  subtler  still  upon  foolish 
Cassia.  He  advises  him  to  beg  Desde- 
mona to  intercede  with  Othello  to  give 
him  back  his  command.  Cassia  goes 
in  search  of  her,  and,  well  satisfied  with 
his  work,  lago,  gazes  after  him.  He 
then  sings  his  superb  "Credo"  (lago's 
Creed). 

This  is  a  free  adaptation  of  lago's 


V1CTROLA     BOOK     OF     THE      OPERA 


last  speech  with  Cassio  in  Shakespeare. 
Verdi  has,  with  remarkable  skill,  made 
his  music  reflect  the  vain  and  cynical 
character  of  lago.  lago  affirms  his 
faith  in  a  cruel  God  who  intended  him 
for  evil,  and  he  declares  his  belief  that 
life  ends  with  death. 

As  soon  as  lago  sees  Cassio  in  conver- 
sation with  Desdemona,  he  seeks  out 
Othello  and'  sows  in  the  heart  of  the 
Moor  the  first  seed  of  jealousy,  when  he 
bids  him  watch  his  wife.  The  Moor, 
much  troubled,  finds  Desdemona  and 
questions  her.  As  she  at  once  begins 
to  plead  Cassia's  cause,  his  suspicions 
are  more  fully  awakened;  and  when  she 


THE  MURDER  OF  DESDEMOVA  (AI.DA  AND  SLEZAK.) 

seeks  to  wipe  his  perspiring  brow 
with  a  handkerchief  that  was  his 
own  first  gift,  he  tears  it  from  her. 
It  is  picked  up  by  Emilia,  Desdemona' s 
maid  and  lagos  wife.  While  Othello 
roughly  berates  his  alarmed  Desde- 
mona, lago  forces  Emilia  to  give  him 
the  kerchief. 

After  the  scene  with  Desdemona, 
Othello  grows  more  jealous  and  sus- 
picious than  ever.  He  lets  this  be 
known  in  a  bitter  soliloquy,  the  "Ora 
e  per  sempre  addio"  (And  Now,  For- 


ever Farewell) — farewell  to  peace  of 
mind,  to  ambition,  to  the  glory  of 
conquest  and  to  the  love  of  Desdemona. 
He  can  not  but  believe  his  wife  guilty. 
lago  now  appears  to  pour  fuel  on  the 
flame  of  jealousy  by  avowing  that  he 
has  seen  Desdemona' s  handkerchief  in 
Cassia's  home.  He  also  declares  he 
has  heard  the  sleeping  Cassio  speak  of 
her  in  his  dreams.  Othello  becomes 
frantic  with  rage,  and  the  act  closes 
with  the  great  scene  in  which  lago  of- 
fers to  help  him  to  vengeance.  They 
swear  an  oath  never  to  pause  until  the 
guilty  shall  be  punished.  This  is  the 
"Si  pel  ciel"  (We  Swear  by  Heaven  and 
Earth).  It  is  a  bit  of  tragedy. 

ACT  III 

SCENE — The   Great   Hall  of  the  Castle 

THE  arrival  of  a  galley  bearing  the 
Venetian  ambassador,  Lodovico, 
is  announced  to  Othello;  but  he  has 
no  interest  in  anything  now  but  his 
own  insane  jealousy.  He  seeks  his 
wife,  and  he  contrives  an  excuse  to 
borrow  the  handkerchief.  She  evades 
him,  sadly  puzzled  both  to  account 
for  its  loss  and  to  comprehend  the 
suspicious  attitude  of  the  sullen  hus- 
band  she  adores.  After  she  has 
gone,  Cassio  enters,  bent  only  upon 
forgiveness  through  the  kindness  of 
Desdemona.  Bidding  Othello  hide  be- 
hind a  pillar,  lago  contrives  with 
devilish  ingenuity  to  keep  up  a  half 
audible  conversation  with  the  demoted 
officer,  taking  care  that  the  remarks 
overheard  by  Othello  shall  be  of  a  kind 
to  inflame  the  Moor's  suspicions.  Cas- 
sio also,  in  all  innocence,  produces  the 
fatal  handkerchief,  saying  he  has  found 
it  in  his  room.  Aside,  to  Othello, 
lago  jokes  over  it.  Cassio,  too,  laughs. 
After  this,  Othello  goes  mad  with  rage. 
He  asks  lago  to  procure  him  poison 
wherewith  to  kill  Desdemona,  swearing 
he  will  himself  attend  to  Cassio.  lago, 


283 


VICTROLA     BOOK     OF     THE      OPERA 


not  wishing  to  be  involved,  suggests 
that  she  had  better  be  strangled  in  the 
bed  she  has  dishonored,  and  Othello 
grimly  accepts  the  task. 

The  Venetian  ambassador,  Lodovico, 
arrives  in  great  pomp,  informing  Othel- 
lo that  he  has  been  called  to  greater 
honors  in  Venice,  while  Cassia  is  ap- 
pointed Governor  of  Cyprus  in  his 
stead.  Desdemona  also  is  present,  but 
every  remark  brings  a  rebuke  from 
Othello  which  does  not  escape  the  won- 
dering attention  of  Lodovico.  Othello 
announces  his  departure  on  the  morrow, 
but  unable  to  contain  his  smouldering 
anger,  he  publicly  insults  Desdemona 
and  flings  her  to  the  ground.  Over- 
come with  his  feverish  emotion,  he,  too, 
falls  to  earth  in  a  fit.  Meantime,  the 
public  outside,  hearing  that  greater 
honors  have  fallen  to  their  hero,  rush  in 
shouting  "Hail  to  Othello!"  But  I  ago, 
standing  erect,  points  with  horrible  tri- 
umph to  the  prostrate  Moor,  ancj  cries, 
"Behold  your  Lion  of  Venice!" 

ACT  IV 

SCENE — Desdemona 's  Bedroom 

ATTENDED  by  Emilia,  the  heart- 
J~\  broken  Desdemona  prepares  to  re- 
tire. She  tells  the  wondering  woman  of 
an  old,  sad  song  of  her  childhood,  the 
song  of  a  maiden  who  waited  in  vain 
for  the  return  of  her  lover,  and  she 
sings  the  pathetically  beautiful  "Sake, 
Salce"  (Willow  Song). 

Too  little  known  to  the  general  pub- 
lic, this  number  is  really  a  little  master- 
piece, not  too  deep  but  always  simple 
and  obvious.  Its  tuneful  phrases, 
though  they  come  haltingly,  are  ex- 
quisitely beautiful,  perfectly  expres- 
sing the  sadness  of  despair  which  is 
deepening  in  the  soul  of  Desdemona. 

The  faithful  Emilia  leaves  her  mis- 
tress, who  kneels  before  the  image  of 
the  Madonna,  and  sings  yet  another 
air,  the  "Ave  Maria"  (Hail,  Mary). 


Scarcely  has  this  wonderful  melody, 
in  its  turn,  died  away,  than  the  final 
scene  commences.  Othello  enters. 
Finding  his  wife  asleep,  he  stands  for  a 
moment  brooding  over  her  couch.  She 
wakes,  and  he  again  charges  her  with 
intriguing  with  Cassio.  Denial  is  use- 
less When  Desdemona  bids  him  bring 
Cassio  himself  in  witness,  Othello  de- 
clares the  man's  tongue  has  been  si- 
lenced forever.  Overcome  with  horror 
the  unhappy  woman  cries  out  for  aid  as 
Othello  takes  her  by  the  throat.  Emilia 
hears  and  knocks  at  the  door.  She  is 
admitted,  but  too  late.  In  reply  to  her 
shrieks,  the  people  rush  in,  lago  among 
them.  Othello  then  denounces  the 
woman  he  has  killed.  Others  demur 
and  he  exhibits  the  handkerchief  in 
proof,  but  Emilia  tells  how  this  murder- 
ous emblem  of  false  evidence  was  taken 
from  her  by  lago,  and  Othello  thus 
learns  of  his  false  friend's  duplicity. 
The  Moor  is  torn  with  remorse.  Gaz- 
ing at  the  body  of  Desdemona,  now 
lovely  in  death,  he  sings  his  last  air,  the 
"Morte  d'Otello"  (Death  of  Othello). 

Unseen  by  the  mystified  watchers, 
Othello  takes  from  his  girdle  a  hidden 
dagger.  He  stabs  himself,  then  with  a 
last  effort,  strives  to  embrace  the  wo- 
man he  has  so  cruelly  wronged.  But 
death  comes,  and  the  miseries  of  Othello 
are  done. 

(Special  attention  is  called  to  the  two 
Victor  records  by  Francesco  Tamagno, 
which  are  of  great  historical  impor- 
tance. They  were  made  as  the  result  of 
a  mission  to  Italy  when  the  Victor 
Talking  Machine  Company  was  in  its 
infancy,  only  a  brief  while  before  the 
great  tenor's  death  in  1905.  They  nat- 
urally do  not  possess  to  the  full  the 
musical  qualities  of  latter-day  record- 
ings, but  dramatically  they  are  re- 
markable, and  historically  they  are  of 
supreme  importance.  Tamagno  was 
the  greatest  of  his  day,  and  his  highest 
fame  dates  from  the  day  he  created  the 


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VICTROLA     BOOK     OF     THE      OPERA 


role  of  Othello  at  the  first  performance  of 
this  masterpiece  at  La  Scala.  He 
studied  the  part  under  the  direction  of 
Verdi  himself,  and  performed  it  in  a 
way  that  gave  the  greatest  satisfaction 
to  the  composer.  These  records  there- 


fore are  the  authoritative  interpreta- 
tions of  a  great  singer  whose  voice, 
without  them,  would  be  silent  forever, 
and  they  form  a  direct  link  with  Verdi 
in  the  time,  perhaps,  of  his  greatest 
triumphs). 


ACT  I 
BRINDISI— INAFFIA  L'UGOLA 

(Drinking     Song)     ANTONIO     Scorn, 
Baritone  88082     12  in.,  31.75 

ACT  II 
CREDO 

(lago's   Creed)         PASQUALE   AMATO, 

Baritone  88328     12-in.,     1.75 

TITTA  RUFFO,  Baritone    88466     12-in.,     1.75 

ORA  E  PER  SEMPRE  ADDIO 

(And  Now,  Forever  Farewell)     ENRICO 

CARUSO,  Tenor  87071     10-in.,     1.25 

FRANCESCO  TAMAGNO,  Tenor 

95003     10-in.,     5.00 
ERA  LA  NOTTE 

(Cassio's  Dream)    TITTA  RUFFO,  Bari- 
tone 88621     12-in.,     1.75 


THE  VICTOR  RECORDS 

(Sung  in  Italian) 

SI  PEL  CIEL 

(We    Swear    by 


Swear  by  Heaven  and  Earth) 
ENRICO  CARUSO,  Tenor,  and  TITTA 
RUFFO,  Baritone  89075  12-in., 


2.00 


ACT  IV 

SALCE,  SALCE 

(Willow  Song)     NELLIE  MELBA,  Soprano 

88148  12-in.,     1.75 
AVE  MARIA 

(Hail,  Mary)     NELLIE  MELBA,  Soprano 

88149  12-in.,     1.75 
MORTE  D'OTELLO 

(Death  of  Othello)  NICOLA  ZEROLA,  Tenor 

74217     12-in.,     1.75 

FRANCESCO  TAMAGNO,      Tenor 

95002     10-in.,    5.00 


DOUBLE-FACED  RECORDS 

f  Fantasia  (Brindisi — Morte  d'Otello) Vessellas  Italian  Eand\ ir< rn 

\     Gioconda— Prelude  (Ponchielli) Vessellas  Italian  Band)3* 


12-in.,  31.35 


COPY  T    MISHKIN 

SCOTTI    AS    IAGO 


285 


LE  THEATRE 


ARRIVAL  OF  THE  PLAYERS ACT  I 

PAGLIACCI 


(PAILLASSE) 

(French) 

PAGLIACCI  was  one  of  the  op- 
eras submitted  in  the  same  oper- 
atic prize  contest  won  by  Mas- 
cagni's"Cavalleria  Rusticana."  It  was 
disqualified,  it  is  said,  because  it  was 
in  two  acts  instead  of  the  required  one. 
Nevertheless,  the  publisher  Sonzogno 
recognized  its  possibilities  and  pro- 
duced it  at  a  time  when  the  success  of 
Mascagni's  work  had  created  a  demand 
for  brief  operatic  works  of  a  direct  and 
passionate  nature.  Its  success  has 
been  overwhelming,  and  it  is  usually 
presented  in  conjunction  with  Mas- 
cagni's masterpiece  to  make  up  an 
evening's  entertainment,  the  two  works 
having  an  underlying  kinship  with 
each  other  from  the  similarity  of  the 
root  idea  in  both  works — the  vengeance 
of  a  jealous  husband. 

"Pagliacci"  was  composed,  one  might 
say,  in  a  fit  of  temper.  Leoncavallo, 
who  had  had  good  music  training 
at  the  Conservatory  of  Naples,  had 
rather  a  hard  time  in  the  world.  An 
early  opera  failed  production  because 


(THE   PLAYERS) 

(English) 

the  impresario  ran  away  with  the  funds 
and  left  Leoncavallo  in  poverty.  He 
managed  to  exist  by  teaching  and  by 
playing  in  cafes,  but  he  arose  out  of 
this  drudgery  as  a  concert  pianist. 
While  touring  over  Europe,  he  outlined 
a  vast  trilogy  which  was  to  do  for 
Italian  music  what  Wagner's  "Ring" 
had  accomplished  for  German.  The 
outline  was  accepted  by  a  publisher 
and  Leoncavallo  completed  the  score  of 
the  first  of  the  three  dramas  in  a  year. 
No  production  followed,  however,  and 
the  composer  waited  for  three  years. 
It  was  while  enraged  at  this  treatment 
that  he  wrote  "Pagliacci"  for  the  rival 
publisher's  contest,  impetuously  com- 
pleting the  whole  work,  libretto  and 
all,  in  five  months.  With  the  success 
of  "Pagliacci"  the  way  was  open 
for  his  trilogy,  but  the  first  opera 
failed,  and  he  never  completed  the 
other  two  parts.  So  long  as  Leonca- 
vallo lived  there  was  always  hope  that 
he  might  produce  another  such  master- 
piece as  "Pagliacci"  but  the  divine 


286 


VICTROLA     BOOK     OF     THE      OPERA 


fire  that  had  flamed  in  his  blood  when 
he  wrote  this  work  afterwards  seemed 
to  flicker  and  burn  low.  His  sub- 
sequent works,  such  as  "Chatterton" 
(1896),"Bohame"  (1897),"Zaza"  (1900) 
and  "Roland"  (written  at  the  invitation 
of  Kaiser  Wilhelm  to  celebrate  the 
Hohenzollerns,  1904)  came  into  varied 
success,  but  it  is  doubtful  if  even  the 
recently-revived  "Zaza"  possessed  the 
compelling  force  of  "Pagliacci." 

Leoncavallo,  the  son  of  the  Chevalier 
Vincont,  an  Italian  magistrate,  was 
born  at  Naples,  1858,  and  died  in 
1919.  He  combined  literary  gifts  with 
his  musical  abilities,  not  only  writing 
his  own  libretti  but  even,  like  Boito, 
occasionally  fulfilling  that  office  for 
others.  The  "play  within  a  play" 
which  gives  "Pagliacci"  its  peculiarly 
ironic  quality,  is  not  new,  and,  as  a 
dramatic  idea,  is  at  least  as  old  as 
Shakespeare's  "Hamlet."  Other  plays 
similar  to  "Pagliacci"  in  theme  have 
also  appeared,  one  by  Catulle  Mendes, 
entitled  "La  Femme  du  Tabarin," 
being  so  much  like  it  that  the  author 
attempted  to  enjoin  the  performance 
of  "Pagliacci"  at  Brussels  on  the 
ground  that  Leoncavallo  had  stolen  his 
plot.  The  Italian  composer,  however, 
had  no  difficulty  in  proving  that  many 
French  and  Spanish  dramas  existed 
along  similar  lines,  and  he  claimed 
also  that  "Pagliacci"  was  based  on  an 
actual  incident  of  Italian  village  life 
which  came  to  his  father's  official 
notice  while  serving  as  magistrate. 

Musically  speaking,  Leoncavallo  had 
a  very  pretty  talent  for  striking  but 
brief  melodies,  treating  them  with  the 
resources  of  modern  harmony  and 
instrumentation,  one  of  his  principal 
resources  being  a  trick  of  startling 
modulation  or  change  of  keys.  This 
is  an  admirable  expedient  in  a  brief 
work  like  "Pagliacci,"  but  as  other 
composers,  including  Edvard  Grieg, 
have  proven,  repeating  the  same  tune 


in  a  new  and  unexpected  key  is  not  the 
same  thing  as  genuine  thematic  de- 
velopment in  which  a  melodic  germ 
undergoes  a  great  number  of  symphonic 
evolutions  in  the  style  Wagner  used 
so  effectively.  Hence  the  failure  of 
Leoncavallo  to  achieve  the  sustained 
interest  necessary  for  long  works,  and 
the  breakdown  of  his  ambitious  but  fu- 
tile dream  of  rivalling  Wagner. 

THE  OPERA 

DRAMATIC  opera  in  two  acts; 
libretto  and  music  by  Ruggiero 
Leoncavallo.  First  performed  at  the 
Teatro  dal  Verme,  Milan,  on  May 
21,  1892;  in  Vienna,  September  17, 
1892;  in  London,  May  19,  1893;  Dres- 
den, January  23,  1893;  Paris,  in  French 
December  17,  1902.  First  New  York 
production  June  15,  1894,  with  Kron- 
old,  Montegriffo  and  Campanari.  Some 
famous  casts  of  recent  years  at  the 
Metropolitan  and  the  Manhattan 
opera:  Caruso,  Farrar,  Stracciari— 
Alvarez,  ScheflF,  Scotti — Farrar,  Bars, 
Scotti — Cavalieri,  Rousseliere,  Scotti — 
Deveyne,  Martin,  Campanari,  etc. 

CHARACTERS 

CANIO  (Kah'-nee-oJi)  (in  the  play 
"Pagttofcio"  [Punchinello]), 
master  of  the  troupe Tenor 

NEDDA    (Ned'-dah)    (in    the   play 
"Columbine"),  his  wife Soprano 

TONIO  (Toh'-nee-oh)  (in  the  play 
"Taddeo"),  the  clown Baritone 

PEPPE     (Pep'-pay)    (in    the   play 
"Harlequin"} Tenor 

SILVIO  (Sil'-vee-oh),  a  villager. .Baritone 
Villagers  and  Peasants. 

The   Scene   is   laid  in    Calabria,   near 

Montalto,  on  the  Feast  of  the  Assumption. 
(The  Italian  name  of  the  opera  is 

"Pagliacci,"      Pahl-yat'-chee\      the 

French  name  is  "Paillasse,"  Pah-yass). 

THE  plot  of  "Pagliacci"  owes  much 
dynamic  force  to  its  simplicity  of 
construction.     Canto,  head  of  a  group 


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VICTROLA     BOOK     OF     THE      OPERA 


of  traveling  players  in  Italy,  discovers 
his  wife,  Nedda,  in  the  arms  of  Silvio, 
planning  an  elopement  for  that  night, 
Nedda  having  been  betrayed  by  the 
clownish  hunchback  Tonio,  himself  a 
base  admirer  ofNeddat  who  has  scorned 
him.  Canio,  however,  fails  to  recog- 
nize Silvio,  or  to  force  his  wife  to  be- 
tray his  identity.  That  night,  by 
chance,  the  players  give  a  play  based 
on  the  very  same  situation,  Canio  play- 
ing the  role  of  a  jealous  husband,  who 
taxes  his  wife  (in  the  role  assumed  by 
Nedda)  with  her  perfidy,  and  demands 
the  name  of  the  other  man.  She  hap- 
pens to  repeat  in  the  play  the  phrase  he 
has  overheard  her  speak  to  her  lover  of 
the  morning,  and  this  so  enrages  Canio 
that  he  stabs  her  in  the  hope  she  may 
cry  out  the  name  of  her  lover.  The 
dying  girl  calls  for  Silvio,  who  leaps  to 
her  defense  from  his  seat  in  the  audi- 
ence. The  jealous  husband,  however, 
slays  him  with  the  same  knife  that 
killed  Nedda,  yielding  himself  to  just- 
ice with  the  bitterly  ironic  comment, 
"The  comedy  is  finished."  This  clas- 
sic phrase,  of  course,  is  Dante's,  and  is 
also  said  to  have  been  almost  the  last 


speech  of  Beethoven  ("Plaudite,  amid, 
comedia  finita  est!"). 

THE  PROLOGUE 

EONCAVALLO  adopted  an  old 
theatrical  custom,  dating  back  to 
Greek  drama, — that  of  having  a  "pro- 
logue," one  of  the  characters,  step  for- 
ward before  the  curtain  and  remind  the 
audience  that  the  players  are  of  like 
flesh  and  blood  with  themselves,  shar- 
ing their  joys  and  sorrows,  their 
angers  and  jealousies,  their  love  and 
laughter.  It  is  a  charming  touch  when 
Tonio  steps  from  between  the  curtains 
to  sing  his  dramatic  introduction, 
worked  into  the  orchestral  prelude,  the 
familiar  "Prologo"  (Prologue). 

The  first,  or  orchestral,  part  of  the 
Prologue  is  in  itself  a  miniature  over- 
ture, containing  the  three  themes  most 
associated  with  the  primary  events  of 
the  drama:  The  first  is  the  motive 
which  always  accompanies  the  appear- 
ance of  the  players,  or  pagliacd: 

Vivace 


COPY'T  DUPONT 

FARRAR  AS  NEDDA 


288 


COPY'T  DUPONT 

CARUSO  SINGING 
"VESTI  LA  GIUBBA* 


VICTROLA     BOOK     OF     THE      OPERA 


The  second  theme  represents  Canto's 
jealousy,  a  sombre  strain  suggesting 
revenge  : 


The  third  represents  the  guilty  love 
of  Nedda  and  Silvio: 


This  theme  frequently  appears 
throughout  the  drama,  not  only  in  the 
love-duet  but  in  the  last  act  when  Ned- 
da,  even  at  the  point  of  death,  refuses 
to  betray  her  lover. 

The  statement  of  these  themes  is  fol- 
lowed by  the  appearance  of  Tonio,  who 
in  the  traditional  clown's  costume  now 
peeps  through  the  curtains.  He  pleads 
for  a  hearing,  and  speaks  of  the  author's 
inspiration. 

The  beautiful  andante  which  follows 
this,  a  melody  in  broad,  sweeping 
style,  is  the  most  admired  portion  of 
the  aria,  and  it  is  indeed  a  noble  strain. 

The  curtain  now  lifts  and  the  orches- 
tra resumes  the  pagliacci  theme. 

ACT  I 

SCENE — The  Entrance  of  a  Village,  where 
two  Roads  meet. 

'TpHE  Italian  sun  smiles  on  a  small 
J_  village  of  Calabria,  where  the  peo- 
ple, determined  to  make  the  most  of 
the  Feast  of  the  Assumption,  are  in  holi- 
day attire.  They  yield  a  special  wel- 
come to  the  troupe  of  players,  headed 
by  Canio,  which  comes  down  the  road, 
with  its  little  tent,  in  a  donkey-cart. 
At  the  back  of  the  cart  is  Nedda  in  the 
gay  costume  of  a  Columbine;  her  hus- 
band, Canio,  wears  the  familiar  Pierrot 
costume  of  Punchinello.  Thecrowd  sings 
its  welcome  to  the  merrymakers 
in  a  lively  chorus:  Opening  Chorus 
— "Son  qua!"  (They're  Here!). 

The  brisk  rhythm  and  the  changes  of 


key  in  this  brilliant  number  are  quite 
familiar.  We  need  but  to  quote  the 
opening  phrase: 


Loag    lift      to  him,  the  print* . 


•(     41      p»  (liM  •  eta! 


The  little  troupe  comes  to  a  halt,  and 
the  noise  redoubles.  Canio  is  given  a 
particular  welcome  as  he  bows  ac- 
knowledgment from  the  top  of  the  cart, 
while  Peppe,  the  Harlequin,  and  Tonio, 
the  misshapen  clown,  make  hideous 
music  with  a  cracked  trumpet  and  a 
bass  drum.  Canio  announces  the  per- 
formance will  be  at  seven  that  evening, 
and  turns  away  to  assist  his  wife  from 
the  cart.  Tonio,  the  clown,  however, 
is  before  him,  and  the  crowd  laughs 
heartily  at  his  maneuver.  This  does 
not  please  the  jealous  Canio,  who, 
under  the  semblance  of  jest,  gives  the 
fool  a  heavy  blow.  The  crowd  rocks 
with  laughter  as  Tpnio  slinks  off,  vow- 
ing vengeance.  Fine  sport,  this!  think 
the  laughing  villagers. 

Canio  and  Peppe  go  off  with  one  of 
the  peasants  for  a  friendly  glass,  and 
the  leader  of  the  troupe  calls  Tonio  to 
go  with  them.  But  the  clown  declares 
he  must  rub  down  the  donkey.  A  vil- 
lager remarks: 

Careful,  Pagliaccio! 

He  only  stays  behind  thee 

For  making  love  to  Nedda! 

Canio  makes  a  wry  smile,  but  his 
temper  is  going,  and  he  shouts  back  a 
caution  to  the  jesters:  "The  stage  and 
life — they  are  different!"  Nedda,  with 
her  guilty  conscience,  understands  only 
too  well  the  black  looks  of  her  husband. 
"What  does  he  mean  ?"  she  asks.  The 
villagers,  too,  are  somewhat  puzzled 
and  they  ask  if  he  is  serious.  With  an 
effort,  however,  he  rouses  himself,  say- 
ing lightly,  "Not  I — I  love  my  wife 
most  dearly,"  kissing  her  on  the  fore- 
head. 

From  the  distance  is  heard  the  wail- 


289 


VICTROLA     BOOK     OF     THE      OPERA 


ing  of  bagpipes  (the  oboe),  and  Canio 
leaves  to  join  in  the  merrymaking. 
Then  follows  the  famous  "Coro  della 
campane"  (Chorus  of  the  Bells),  some- 
times called  the  "Ding  Dong  Chorus," 
becauseofthechimingbells  which 
mingle  with  it  so  effectively.  The 
measure  dies  away  as  the  people  wander 
off  to  the  village. 

Left  alone,  Nedda  falls  to  brooding 
over  Canto's  jealous  temper,  wondering 
if  the  man  really  suspects  her.  She 
shakes  off  her  gloom,  however,  and 
gradually  waking  to  the  brightness  of 
the  afternoon  and  the  joyfulness  of  the 
holiday  spirit,  she  sings  her  delightful 
ballatella,  "Che  vol  d'augelli!"  (Ye 
Birds  Without  Number!).  It  is  nota- 
ble for  a  tremolo  in  the  strings,  the  pip- 
ing of  birds  and  rustling  of  soft  leaves 
in  musical  onomatopoeia.  Nedda  sings, 
though,  of  her  mother,  who  was  skilled 
in  interpreting  bird-songs  and  the 
sounds  of  nature. 


*rmj>o  yiiLito  visn  mai  nffrtttan 


8trl  .  <h>  .  no      !M  •  id,. 
Tbert    oa   bigb   they  crj. 


Ii    -'  bo  -    ra-  men   •    to 
la        free  •  dura    87   .    Ing, 


The  number  is  really  a  sort  of  mod- 
ernized coloratura  song,  set  against  an 
exquisite  orchestral  accompaniment. 
It  serves  to  make  us  better  acquainted 
with  Nedda,  and  to  understand  better, 
too,  the  jealousy  of  Canio  and  the  love 
of  Silvio,  to  say  nothing  of  the  ground- 
ling passion  of  Tonio,  who  now  injects 
himself  into  the  scene.  He  begins  his 
lovemaking  in  a  fashion  that  would  jus- 
tify any  woman's  scorn.  The  scene 
includes  the  "So  ben  che  deforme"  (I 
Know  That  You  Hate  Me). 

The  more  Tonio  persists,  the  louder 
his  inamorata's  laughter.  At  last, 
driven  to  madness  by  her  beauty,  Tonio 
seizes  Nedda  and  fights  to  kiss  her.  She 
leaps  away,  striking  him  across  the  face 
with  her  whip. 

No  sooner  has  Tonio  gone,  than  a 
new  and  more  welcome  lover  approaches 


by  a  secret  path,  lightly  vaulting 
over  the  wall  and  greeting  her  with  a 
laugh.  It  is  Silvio,  one  of  the  villagers, 
whom  Nedda  has  met  before  on  pre- 
vious visits  and  found  much  to  her  lik- 
ing. She  is  alarmed  at  the  sight  of 
Silvio,  but  he  reassures  her  by  telling 
how  he  has  left  Canio  with  Peppe  at  the 
tavern,  where  they  are  drinking,  and 
likely  to  remain. 

Nedda  tells  Silvio  of  the  clown's 
threats,  bidding  him  be  cautious;  but 
the  young  villager  laughs  at  her  fears, 
and  consoles  her  after  the  manner  of 
lovers  the  world  over.  He  asks  her  to 
fly  with  him,  and  the  pair  sing  an  im- 
passioned duet,  the  "De  toi  depend 
mon  sort"  (My  Fate  is  in  Thy  Hands). 
Nedda  remains  fearful,  however,  and 
she  is  so  charming  when  she  implores 
him  not  to  tempt  her,  that  he  only 
grows  worse.  He  reproaches  the  young 
woman  for  her  coldness,  until  at  last, 
throwing  discretion  to  the  winds,  she 
yields  herself  to  the  bliss  of  the  moment 
and  consents  to  go.  The  music  leads 
into  the  "Pourquoi  ces  yeux"  (Why 
Those  Eyes). 

It  leads  to  its  climax  in  another  lovely 
number,  the  music  of  which  is  based 
on  the  melody  first  beard  in  the  orches- 
tral Prelude.  This  is  the  "Nulla  scor- 
dai!"  (Naught  I  Forget!). 


bit      «•        Witt    •    r    mo 


At  this  climactic  moment  the  lovers 
are  far  too  absorbed  to  remark  the  ap- 
proach of  Canio,  who  has  been  warned 
by  the  too-observant  clown.  He  now 
rushes  forward,  having  heard  Nedda 's 
parting  words.  He  has  not,  however, 
seen  Silvio's  face,  and  when  the  lover 
makes  aswift  flight  overthe  wa\\,Nedda 
bars  the  way.  Canio  thrusts  her 
aside  in  fierce  anger,  and  leaps  over  the 
wall  in  pursuit.  He  is  too  late,  for 
Silvio  knows  a  path  hidden  by  the 


290 


VICTROLA     BOOK     OF     THE      OPERA 


brush,  and  Canio  cannot  find  it.  Tonio 
laughs  in  glee,  and  Nedda  rewards  him 
with  a  scornful  "Bravo!  Bravo!  Well 
done,  Tonio!"  The  clown  promises  to 
do  better  next  time.  Canio  returns, 
out  of  breath,  exhausted,  but  maddened 
with  anger.  From  the  orchestra  we 
hear  the  ominous  motive  of  vengeance 
and  jealousy,  the  "Ride,  Pagliaccio!": 


The  outraged  husband  commands 
his  wife  to  pronounce  the  name  of  her 
lover,  but  she  proudly  refuses.  Clean 
beside  himself,  Canio  rushes  upon  her 
with  upraised  knife,  but  he  is  withheld 
by  the  others.  "Restrain  yourself," 
cries  Peppe,  playing  for  time,  "the  fel- 
low will  come  back!"  He  warns  them 
it  is  time  to  dress,  Nedda,  glad  of  an 
excuse,  disappears  in  the  dressing  tent, 
while  Peppe  and  Tonio  also  go  on  about 
their  business.  Canio  is  left  thinking, 
and  the  stage,  for  the  time,  is  his  alone. 


With  bowed  head,  worn  out  by  pas- 
sion and  jealousy,  Canio  remains  to 
consider  his  betrayal,  fanning,  moment 
by  moment,  the  fires  of  vengeance  now 
at  work  in  his  soul. 

The  act  closes  with  the  "Vesti  la 
giubba"  (On  With  the  Play). 

ACT  II 

SCENE — Same  as  Act  I 

WE  have  an  odd  situation.  Nedda 
is  loved  by  Canio,  who  as  her  hus- 
band has  a  right  to  love  her;  by  Silvio, 
who  has  no  right  to  love  her  but  does  so 
anyhow;  and  by  Tonio,  the  clown, 
whose  love  is  something  less  than  love. 
And  now  we  are  to  behold  the  situa- 
tion closely  paralleled  in  the  play  set 
forth  before  the  peasants. 

When  the  curtain  lifts,  we  find  the 
audience  assembling,  Tonio  beating  a 
big  drum  at  the  entrance,  and  drown- 
ing the  chatter  of  the  men  and  women 
from  the  village.  Silvio  arrives,  to 
feast  his  eyes  on  Nedda,  greeting  his 


CANIO  SURPRISES  THE   LOVERS — ACT  II 
291 


VICTROLA     BOOK     OF     THE      OPERA 


friends  as  he  takes  his  place  near  the 
footlights.  The  orchestra  sympathetic- 
ally reflects  the  bustle  of  the  occasion 
in  a  merry  tripping  measure: 


Soon  the  play  begins.  On  the  little 
stage,  Nedda  appears  as  Columbine. 
She  rises  and  looks  out  of  the  window, 
announcing  that  her  husband  will  be 
late  this  evening.  From  beneath  the 
window  comes  the  sound  of  a  guitar, 
cleverly  imitated  by  the  violins,  pizzi- 
cato, and  we  hear  the  voice  of  Harlequin 
(the  Silvio  of  the  play  interpreted  by 
Peppe)  in  the  extravagant  "Serenata 
d'Arlecchino"  (Harlequin's  Serenade). 
Before  Harlequin  can  enter,  however, 
Taddeo  enters  (the  clownish  role  of 
Taddeo  being  rightly  enacted  by  Tonio} 
bearing  a  basket.  He  sings  a  pompous 
greeting,  which  brings  a  roar  from  the 
assembled  villagers:  "E  dessa!"  (Be- 
hold Her!). 


Columbine's  reply  is  to  demand  the 
chicken  he  had  been  sent  for,  and  Tonio 
kneels  before  her,  holding  up  the  fowl 
in  grotesque  devotion. 

His  buffoonery  is  cut  short  by  Har- 
lequin, who  enters  and  leads  him  out 
by  the  ear — to  the  high  delight  of  the 
village  audience.  In  departing,  the 
clown  leaves  the  lovers  a  mock  bene- 
diction: "  Versa  il  filtra  nella  tazza  sua!" 
(Pour  thePotioninHis  Wine)  ad  vises  he. 

With  the  clown  banished  the  "lovers" 
now  make  merry.  Harlequin  gives  his 
Columbine  a  little  vial,  saying: 

Take  this  little  sleeping-draught, 
'Tis  for  Pagliaccio! 
Give  it  him  at  bedtime, 
And  then  we'll  fly! 

Columbine  assents,  but  suddenly  the 


clown  reappears,  bawling  out  in  mock 
alarm : 

Be  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,  the  spectators  applauding  lust- 
ily. Harlequin  leaps  from  the  window, 
and  Columbine  continues  the  scene  by 
repeating  the  lines  which,  by  a  strange 
coincidence,  are  the  very  words  she  has 
spoken  to  Silvio  earlier  in  the  day,  over- 
heard by  her  husband: 


This  is  almost  too  much  for  Canto, 
who  swears,  forgetting  for  a  moment 
his  role  of  Punchinello  as  he  enters  upon 
the  scene.  In  the  lines  of  the  play,  he 
charges  her  with  having  had  a  man 
with  her;  but  she  insists  that  it  was 
only  Taddeo,  the  clown,  who,  con- 
cealed in  a  closet,  cries  out  "Believe 
her,  sir,  she  is  faithful!"  Punchinello 
forgets  his  part  for  a  moment  and  be- 
comes Canto:  "Ah,  they  could  never 
lie,  those  lips  ....!" 

The  audience  applauds  enthusiasti- 
cally, for  the  unhappy  man  touches 
realism,  condemned,  as  he  is,  to  play  a 
role  in  public  all-too-like  that  decreed 
for  him  by  the  real  events  of  the  after- 
noon. Forgetting  his  part,  he  turns 
fiercely  on  the  woman,  demanding  her 
lover's  name.  Nedda,  still  as  Colum- 
bine, protests,  but  in  alarm  cries,  "Pag- 
liaccio!  Pagliaccio!"  This  reminder  of 
his  actor's  role  only  maddens  the  jeal- 
ous actor,  and  he  finally  throws  off  all 
disguise,  becoming  now  the  jealous  hus- 
band: "No,  Pagliaccio  non  son!"  (No, 
Punchinello  No  More!)  cries  he. 

The  audience  applauds  heartily,  still 
unaware  that  anything  more  than  com- 
edy is  going  on  before  them.  For  a 
moment  Canio  recovers  himself,  but 


292 


VICTROLA     BOOK     OF     THE      OPERA 


not  for  long.  He  is  no  longer  an  actor 
but  a  man  quite  probably  honest  and 
sincere,  if  only  in  hate,  whose  feelings 
have  been  outraged.  His  passion 
yields  to  a  softer  strain  when  he  speaks 
of  his  love  for  Nedda,  his  faithfulness 
and  sacrifice  for  her  sake.  Then  comes 
the  finale  to  the  opera. 

The  audience,  not  knowing  that  this 
has  no  part  in  the  play,  cries  "Bravo!" 
Some  of  the  women  begin  to  weep  in 
sympathy.  Nedda  is  by  this  time 
white  with  fear,  but  she  courageously 
faces  her  husband,  striving  with  all  her 
power  to  continue  the  play.  Canto's 
appearance  now  is  alarming. 

As  she  sings  we  hear  the  love  motive 
in  the  orchestra,  triumphantly  sound- 
ing above  her  voice: 


^ 


^JL 


S3 


This  theme,  heard  at  such  a  moment, 
is  reminder  enough  that  the  thought  of 
Silvio  is  in  her  heart,  and  that  fears  and 
all,  she  will  keep  faithful  unto  death. 


Canto  suddenly  hits  upon  the  idea  that 
if  he  could  but  stab  his  wife,  she  might 
call  out  the  name  of  her  lover.  He 
springs  at  her,  knife  in  hand.  Peppe 
and  Tonio  rush  forward  to  restrain  him, 
and  the  audience  crowds  to  help.  The 
shrieking  women,  struggling  from  their 
seats,  knock  down  the  benches,  only 
hindering  the  men  from  getting  at  the 
stage.  The  two  actors  are  powerless 
to  hold  Canto.  He  breaks  away,  and 
stabs  Nedda: 

Take  that! 

Perhaps  in  death's  last  agony 

You  will  speak! 

Nedda  falls,  and  with  a  last  faint  ef- 
fort calls,  "Oh  help  me,  Si/viol"  With 
drawn  dagger,  Silvio  goes  forward,  but 
Canio,  crying  "Ah,  'twas  you!"  stabs 
him  too.  Out  of  the  orchestra  rises 
the  tragic  motive  of  vengeance,  jeal- 
ousy and  death,  booming  forth  with 
terrible  significance.  Canto,  as  if  stupe- 
fied, lets  drop  the  knife  and  surrenders. 
Then,  with  bitter  irony,  he  declares, 
"La  Commedia  e  finita!" — the  Comedy 
is  ended.  Down  go  both  the  curtains. 


IK  THEATRE 


THE  COMEDY  IS   ENDKu! 
293 


VICTROLA     BOOK     OF     THE      OPERA 


THE  VICTOR   RECORDS 

(Sung  in  Italian  unless  noted.) 


ACT  I 
PROLOGO 

(Prologue)  PASQUALE  AMATO,  Baritone 

88326     12-in.,  31.75 
ANTONIO  Scorn,  Baritone 

88029     12-in.,    1.75 
EMILIO  DE  GOGORZA,  Baritone 

88176     12-in.,     1.75 
EMILIO  DE  GOGORZA,  Baritone 

64584     10-in.,     1.25 
Ladies  and  gentlemen! 
Pardon  me  if  alone  I  appear. 
I  am  the  Prologue! 
Our  author  loves  the  custom  of  a  prologue  to 

his  story, 
And  as  he  would  revive  for  you  the  ancient 

glory, 

He  sends  me  to  speak  before  ye! 
But  not  to  prate,  as  once  of  old, 
That  the  tears  of  the  actor  are  false,  unreal, 
That  his  sighs  and  the  pain  that  is  told, 
He  has  no  heart  to  feel! 

No!  our  author  to-night  a  chapter  will  borrow 
From  life  with  its  laughter  and  sorrow! 
Is  not  the  actor  a  man  with  a  heart  like  you? 
So  'tis  for  men  that  our  author  has  written, 
And  the  story  he  tells  you  is  true! 

PROLOGO 

(Prologue)  (Complete  in  two  parts) 
Part  1— Sipuo?(AWord)TiTTARuFFO, 

Baritone  88392  12-in.,     1.75 

RENATO  ZANELLI,  Baritone 

64831  10-in.,     1.25 
Part  2 — Un  nido  di  memorie  (A  Song  of 

Tender     Memories)     TITTA     RUFFO, 
Baritone  88393     12-in.,     1.75 

RENATO  ZANELLI,  Baritone 

64832  10-in.,     1.25 
A  song  of  tender  mem'ries 

Deep  in  his  list'ning  heart  one  day  was  ringing; 
And  then  with  a  trembling  hand  he  wrote  it, 
And  he  marked  the  time  with  sighs  and  tears. 
Come,  then; 
Here  on  the  stage  you  shall  behold  us  in  human 

fashion, 

And  see  the  sad  fruits  of  love  and  passion. 
Hearts  that    weep    and     languish,    cries    of 

rage  and  anguish, 
And  bitter  laughter! 
Ah,  think  then,  sweet  people,  when  ye  look 

on  us, 

Clad  in  our  motley  and  tinsel, 
For   ours   are   human   hearts,   beating   with 

passion. 
We  are  but  men  like  you,  for  gladness  or 

sorrow. 


Will  ye  hear,  then,  the  story, 

As  it  unfolds  itself  surely  and  certain! 

Come,  then!  Ring  up  the  curtain! 
BALLATELLA,  "Che  volo  d'augelli!" 

(Ye  Birds  Without  Number!)  LUCREZIA 
BORI,  Soprano,  88398     12-in.,     1.75 

ALMA  GLUCK,  Soprano     74238     12-in.,     1.75 
NEDDA: 

Ah,  ye  birds  without  number! 

What  countless  voices! 

What  ask  ye?    Who  knows? 

My  mother,  she  that  was  skillful  at  telling 
one's  fortune, 

Understood  what  they're  singing, 

And  in  my  childhood,  thus  would  she  sing  me. 
VESTI  LA  GIUBBA 

(Air  de  Paillasse)   (On  With  the  Play) 

ENRICO  CARUSO,  Tenor  88061     12-in.,     1.75 

GIOVANNI  MARTINELLI,  Tenor 

64484     10-in.,     1.25 

NICOLA  ZEROLA,  Tenor    64169     10-in.,     1.25 

EDWARD  JOHNSON,  Tenor 

64840     10-in.,     1.25 
CANIO: 

To  play!  When  my  head's  whirling  with  mad- 
ness, 

Not  knowing  what  I'm  saying  or  what  I'm 
doing! 

Yet  I  must  force  myself! 

I  am  not  a  man, 

I'm  but  a  Pagliaccio! 

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) : 

Laugh  for  the  pain  that  is  gnawing  your  heart! 

ACT  II 
NO,  PAGLIACCI  NON  SON! 

(No,    Punchinello    No    More!)    ENRICO 

CARUSO,  Tenor  88279     12-in.,     1.75 

CANIO: 

No,  Pagliaccio,  I'm  not! 
If  my  face  be  white, 
'Tis  shame  that  pales  it 
And  vengeance  twists  my  features! 


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  madness! 

(Falls  in  a  chair  overwhelmed.) 


294 


VICTROLA      BOOK.     OF     THE      OPERA 


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! 


DOUBLE-FACED  RECORDS 

I  Prologue    (In  Italian) Reinald    JVerrenrath,    Baritone} 
Carmen — Chanson  du    Toreador   (In  French) Reinald  ff^errenrath>55068     12-in, 
and  Victor  Chorus] 

I  Versa  il  filtro  nella  tazza  sua!  (Pour  the  Potion  in  Hi*  Wine)  | 

Barbaini,  Huguet,  Cigada  and  G.  P/«/'-Cor.r/L-,7r     ,-,  • 
No,  Pagliaccio  non  son!    (No,  Punchinello  No  More!) 
Augusto  Barbaini,  Tenor] 


(Opening  Chorus — "Son  qua"  (They're  Here) La  Scala  Chorus)  ,,<>, , 

\     Trovatore — Per  me  ora  Jatale Ernesto  Caronna  and  Chorus] 


10-in 


{Air  de  Paillasse  (On  With  the  Play)  (In  French).  .  .  .Leon  Campagno/a,  Tenor},---™?     11  • 
Boheme  —  Que  cette  main  estjroide  (In  French)  .  .  .  .Leon  Campagno/a,  Tenor] 

\n  • 


JVesti  la  giubba  (On  With  the  Play)  (In  Italian)  .......  Paul  Althouse, 

\     Tosca—  E  lucevan  le  stelle  (The  Stan  Were  Shining)  .  .Paul  Alt  house,  Tenor  •/*- 

fVesti  la  giubba   (On  With  the  Play)  ................  Pietro,  Accordionist},  -jn±\ 

\     Cavalleria  Rusticana  —  Intermezzo  ..............  Pietro'  s  Accordion  Quartet) 

Gems   from  "Pagliacci"  ................................  Victor  Opera  Co 

Bell  Chorus,  "Ding  Dong"  —  Solo,  "This  Evening  at  Seven"  —  Solo, 
"Ye  Birds  Without  Number"  —  Solo,  Pagliacci's  Lament  —  "Vesti 
la  giubba"  —  Duet,  "Just  Look,  My  Love"  —  Chorus,  "See,  They 
Come  " 
Gems  from  Cavalleria  Rusticana  ........................  Victor  Opera  Co. 

:De  toi  depend  mon  sort  (In  French)  \ 

Mile.  Heilbronner,  Soprano  and  M.  Vigneau,  Baritonet69099 
Pourquoi  ces  yeux    (In   French)  .................  Heilbronner  and  Vigneaul 


,  31.50 

,    1.35 

.,  .85 

.,  1.50 

.,  1.00 

.,  .85 


35343     12-in.,     1.35 


10-in.,       .85 


FROM  "THI  GREAT  OPERAS"  BY  j.  CUTHBKKT  HADDEN 

COLUMBINE  AND  HARLEQUIN  AT  SUPPER 

295 


COPY  T  PACH    BROS.,  N.  Y. 


THE    TEMPLE    OF   THE    GRAIL 

PARSIFAL 


PARSIFAL  has   long    occupied  a 
singular   position    in    the    world 
of  music,  partly  because  of   its 
inherently  semi-religious,   mystical 
character,  partly  because  of  its  sheer 
musical  beauty. 

Its  history  is  interesting.  As  every- 
body knows,  Wagner,  after  a  long 
career  of  tribulation,  found  at  the 
court  of  Ludwig  II  of  Bavaria  the 
sympathy  and  encouragement  which 
were  rightly  his  due.  At  Bayreuth  he 
fashioned  his  own  theatre,  producing 
his  works  in  a  manner  befitting  their 
worth,  permitting  free  play  to  his 
marvellous  and  imaginative  skill  in 
stage  craft;  for  in  addition  to  his  being 
critic,  poet,  conductor,  master-com- 
poser, who  revolutionized  the  develop- 
ment of  the  opera,  this  astounding 
man  was  also  a  stage-manager  and 


producer  who  exercised  a  profound 
influence  upon  the  theatre  of  our  own 
time.  "Parsifal"  was  the  last  of  his 
works.  He  began  to  compose  the 
music  in  his  sixty-fifth  year,  (1878)  the 
poem, long  planned,  already  having  been 
completed.  Interrupted  by  illness,  the 
work  was  not  finished  and  produced 
until  1882,  a  year  before  Wagner's 
death.  It  was  therefore  his  swan-song. 
During  these  years  of  Wagner's  life, 
Bayreuth  became  the  Mecca  of  musi- 
cians and  music-lovers  the  world  over, 
but  after  his  death  his  disciples  were 
to  be  found  in  all  countries,  and  per- 
formances of  "The  Ring,"  "Tristan," 
"Meistersinger"  were  given  in  all  the 
leading  operatic  centres,  not  infre- 
quently better  than  at  Bayreuth  itself. 
Actuated  partly  by  sentimental  reasons, 
his  prudent  and  remarkable  widow, 


296 


VICTROLA     BOOK     OF     THE      OPERA 


Frau  Cosima  Wagner,  daughter  of 
Franz  Liszt,  beheld  in  "Parsifal"  a 
means  of  maintaining  the  Wagnerian 
tradition  and  the  prestige  of  Bayreuth. 
By  simply  enforcing  the  copyright 
law,  performances  of  the  work  were  for- 
bidden anywhere  but  in  Bayreuth, 
Frau  Wagner's  justification  being  in 
Wagner's  known  wishes. 

The  Grail  legend,  which  is  said  to 
have  originated  in  pre-Christian  Wales, 
became  known  to  Wagner  through  a 
medieval  poem  by  Wolfram  Von 
Eschenbach.  The  legend  itself  is  a 
Christian  adaptation  of  a  very  ancient 
talismanic  myth.  The  "Grail"  is 
usually  identified  with  the  chalice  used 
at  the  Last  Supper,  also  the  basin  said 
to  have  received  Christ's  blood  from 
the  Cross.  It  is  analogous  to  the  cup 
of  Hermes  of  the  Egyptians,  the  basket 
of  the  Greek,  Dionysia,  the  vase  or 
basin  of  the  Druid's  used  to  contain 
the  blood  of  the  sacrificial  victim,  and 
similar  European  or  Oriental  mystical 
vessels.  Similarly  the  Holy  Spear  of 
Amfortas,  supposed  to  be  the  spear 
with  which  Christ  was  wounded  on  the 
Cross  in  Christian  legend,  has  been 
identified  with  the  "bloody  spear"  of 
the  Celts,  upon  which  they  swore 
hatred  and  eternal  enmity  to  their 
persecutors.  The  tendency  of  the 
primitive  Church  to  adapt  the  myths 
of  pagan  converts  to  its  own  purposes 
is  familiar  to  students  of  Christian 
symbolism  and  heathen  mythology. 
,  Wagner's  philosophy,  which  is  taken 
very  seriously  by  some,  and  reduced 
to  terms  of  bathos  by  others,  funda- 
mentally isthe  doctrine  of  renunciation. 
In  the  opera  "Parsifal"  (as  in  the 
legend)  the  wounded  Amfortas^  who 
typifies  suffering  humanity,  can  be 
redeemed  only  by  a  "guileless  fool," 
Parsifal,  who  resists  the  temptations  of 
the  sorceress  Kundry  (a  reincarnation 
of  Magdelena,  Herodias,  Gundryggia — 
for  the  lady  figures  in  many  myths 


under  various  names).  Parsifal^  after 
many  privations  and  considerable  self- 
sacrifice,  becomes  the  head  of  that 
mystical  body  of  knights  who  per- 
petuate the  observances  of  the  Last 
Supper  in  the  legendary  domain  of 
Monsalvat.  In  his  music-drama, 
Wagner  draws  obviously  upon  the 
rites  of  the  Last  Supper,  the  Mass  of 
the  Apostolic  Church,  and  the  cere- 
monies of  the  Christian  Masonic 
Order  of  Knights  Templars  in  the 
second  scene  of  the  first  act.  There 
is  also  a  thinly  veiled  reference  to  the 
life  of  Christ,  in  the  baptizing  of 
Kundry  in  the  last  act.  To  some,  this 
employment  of  religious  themes  for 
dramatic  purposes  may  savor  of  open 
sacrilege,  but  it  was  the  essence  of 
Wagner's  teaching  that  the  Stage 
should  be  restored  to  its  place  beside 
the  Church  in  the  exposition  of  religion 
and  ethics.  The  quasi-religious  char- 
acter of  "Parsifal"  has  been  partly 
responsible  for  the  awe  in  which  the 
work  has  so  long  been  held  in  Europe. 
As  regards  the  music,  for  a  time,  this 
opera  was  held  as  Wagner's  master- 
piece, even  by  the  most  discerning  of 
critics.  Modern  commentators,  how- 
ever, less  blinded  by  partisanship, 
detect  in  it,  they  declare,  a  note  of 
senility.  The  score  is  even  more 
complicated  than  those  of  his  previous 
musical  works,  but  has  behind  it  less, 
perhaps,  of  the  driving  inspiration  of 
"Die  Meistersinger",  "Tristan"  and 
"Siegfried."  Some  of  the  vocal  parts 
are  practically  unsingable, — which  was 
rarely  the  case  in  the  most  difficult  of 
his  earlier  works.  Wagner  seems 
always  lucid  in  these  even  when  most 
complicated;  but  here,  it  is  changed, 
he  often  is  needlessly  obscure.  Never- 
theless, there  are  passages  of  unequivo- 
cal grandeur,  especially  in  those 
themes,  so  familiar  to  orchestra  concert 
goers,  represented  in  the  Prelude  and 
in  the  "Good  Friday  Music."  Here 


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at  least,  Wagner's  genius  is  supreme. 
It  is  interesting  to  compare  this  last 
and  most  mature  work  of  the  great 
composer  with  the  earlier  "Lohengrin." 
He  now  has  won  complete  mastery 
over  the  means  of  expression  for  which 
he  was  striving  in  the  earlier  "Grail" 
opera.  He  does  not  disdain  to  quote 
some  of  the  "Swan"  music  in  the 
later  work,  but  references  to  "Lohen- 
grin" have  been  scant,  from  the  contra- 
dictions in  the  two  works.  Lohengrin, 
we  learn,  in  the  earlier  work  is  the  son  of 
)  who  is  necessarily  childless 


in  "Parsifal" !  The  theme  which  Wagner 
borrowed  from  the  Dresden  "Amen" 
(an  old  ecclesiastical  cadence)  and 
used  tenatively  in  "Tannhauser"  and 
"L^ohengrin,"  here  appears  as  the 
"Grailmotiv."  It  is  developed  with 
stupendous  skill,  both  in  the  Prelude 
and  later  in  the  second  scene  of  the 
first  act.  The  orchestration  is  superb, 
and  the  work  as  a  whole  must  be 
conceded  to  be  a  towering  achievement 
even  in  the  life  of  a  master  accustomed 
as  Liszt  said,  to  accomplishing  the  im- 
possible. If  ever,  it  has  been  done  here. 


TH  E    O  PE  RA 


FESTIVAL  drama  in  three  acts. 
Music  and  libretto  by  Richard 
Wagner;  based  on  the  famous  Grail 
Legend.  First  produced  at  Bayreuth, 
July  28,  1882,  but  not  elsewhere 
until  1903,  when  the  work  was 
given  at  the  Metropolitan  Opera,  in 
spite  of  the  determined  opposition  of 
Mme.  Wagner.  A  production  in  Eng- 
lish was  afterward  given  by  Henry 
W.  Savage.  The  copyright  expired  in 
1913  and  productions  at  Berlin,  Paris, 
Rome,  Bologna,  Madrid  and  Barcelona 
followed. 

CHARACTERS 

TITUREL,  a  Holy  Knight  (Tee- 

too-rel] Bass 

AMFORTAS,  his  son  (Ahm-for- 

tas) .  .  .  . Baritone 

GURNEMANZ,  a  veteran  knight 
of  the  Grail  (Goor-neh- 
mantz) Bass 

PARSIFAL,  a  "guileless  fool" 

(Pahr'-see-fahl) Tenor 

KLINGSOR,  an  evil  magician 

(Kling-sohr) Bass 

KUNDRY  (Koon-dree) Soprano 

Knights  of  the  Grail;  Klingsor's  Fairy 
Maidens 


ACT  I 

SCENE  I — A  Forest  near  Monsahat 

IN  the  "world  of  long  ago"  there 
stands  a  dream-citadel,  its  pinnacles 
rising  high  from  a  mountain  top, 
surrounded  by  gardens  of  trees  and 
flowers  that  cannot  fade  because  they 
are  watered  by  the  tears  of  repentant 
sinners.  Within  the  Citadel  is  the 
shrine  of  the  Holy  Grail,  that  blessed 
cup  in  which  flowed  the  Blood  of  the 
Saviour.  Night  and  day  it  is  guarded 
by  the  knights  of  the  Grail,  and  once 
every  year  there  descends  a  dove  from 
heaven  giving  these  a  new  spiritual 
strength  to  carry  on  their  task.  For 
many  years  the  chief  of  these  knights 
was  Titure/,  but  old  age  has  claimed 
him,  so  that  he  can  no  longer  conduct 
the  sacred  rites  and  the  charge  has 
fallen  upon  his  son  Amfortas. 

There  is  a  recreant  knight,  a  kind 
of  Satan  expelled  from  this  earthly 
Paradise,  an  evil  genius  and  magician 
known  as  K/ingsor,  who  covets  the 
power  of  TitureL  He  has  built  a  castle 
over  against  Monsalvat,  where,  with 
his  magic,  it  is  a  pastime  of  his  to 
entice  the  Grail  Knights  to  their 
destruction.  In  his  gardens  of  beauty 


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A    FRAGMENT   OF    WAGNER  S    PARSIFAL  MSS. 


there  lurk  strangely  wonderful 
damsels,  who  so  tempt  the  knights 
with  their  peculiar  charms  that  the 
strength  of  these  becomes  as  water. 
One  woman,  in  particular,  is  a  creature 
of  ineffable  beauty,  a  reincarnation  of 
the  great  temptresses  of  the  past. 
She  is  known  as  Kundry.  With  her 
aid  the  magician  once  lured  Amfortas 
to  his  gardens,  and  when  the  knight 
weakly  surrendered  himself  to  the 
lure  of  the  temptress,  Klingsor  stole 
from  him  the  Sacred  Spear,  that  which 
was  held  by  Longis  the  Roman  soldier 
who  pierced  the  side  of  Christ  upon 
the  Cross.  Rousing  himself,  Amfortas 
sought  to  do  battle  with  Klingsor, 
but  the  magician  smote  him  with  the 
spear.  Amfortas  returned  to  Monsalvat 
grievously  stricken  with  a  wound  which 
could  not  be  healed  except  at  the 
touch  of  the  Sacred  Spear.  The  Spear, 
so  ran  the  rede,  could  be  recovered 
only  by  a  "guileless  fool,"  a  young  man 
without  wisdom,  without  sin,  who 
should  withstand  the  temptations  of 
Klingsor  s  bower,  and  with  pity  and 
self-denial  atone  for  the  sin  of  Amfortas. 
For  many  years,  Amfortas,  deeply 
repentant,  has  suffered  untold  agonies, 
and  his  knights  ransack  the  world  for 
healing  herbs  and  ointments,  but 
without  success.  Kundry ,  who  after 
the  tempting  of  Amfortas  loathes  the 


tasks  imposed  upon  her  by  the 
magician  Klingsor,  is  wont  to  appear 
in  the  grounds  of  Monsalvat  as  a 
strange  woman  who  asks  humbly  to 
serve  the  knights.  But  even  she  can 
find  no  cure. 

As  the  curtain  rises  upon  the  gardens 
of  Monsalvat,  we  find  Gurnemanz,  an 
old  knight  of  the  Grail,  with  two 
novices  who  sleep  under  a  tree  until 
the  time  shall  come  to  assist  Amfortas 
in  the  daily  bath  with  which  he  seeks 
to  cleanse  his  wound  and  assuage  his 
intolerable  sufferings.  A  trumpet  call 
from  the  castle  announces  the  coming 
of  Amfortas ,  and  after  kneeling  in 
prayer  the  two  squires  proceed  to  their 
task.  Two  knights  who  enter,  report 
that  the  ointment  brought  by  Sir 
Gawaine  has  failed  to  heal  the  wound, 
and  Gurnemanz,  who  alone  knows 
what  the  cure  must  be,  shakes  his  head. 
The  squires  beg  for  information,  but 
he  bids  them  tend  the  bath. 

They  note  a  horseman  wildly  riding 
toward  them.  It  is  Kundry,  a  gypsy- 
like  creature,  her  dark  eyes  blazing 
between  the  locks  of  her  wild  black 
hair,  and  her  garments  gathered  about 
her  waist  with  a  long  snakeskin.  She 
brings  yet  another  lotion  for  the 
wound  of  Amfortas.  A  procession 
enters,  bearing  Amfortas  upon  a  litter. 
He  stops  to  receive  the  ointment, 


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COPY'T  PACH  BROS. 


PARSIFAL,  SUNDRY  AND  GURNEMANZ  ENTERING  THE  CASTLE ACT  III 


groaning  with  the  pain  of  his  wound, 
for  which  he  thanks  Kundry,  who  now 
rests  wearily  upon  the  ground,  stirring 
uneasily  at  his  words.  The  procession 
passes  on,  and  the  squires  seek  to 
drive  Kundry  away,  but  Gurnemanz 
bids  them  leave  the  strange  woman 
alone.  Her  ways  are  strange,  but  harm 
always  comes  to  Monsalvat  when  she 
is  absent.  The  youths  depart  to  tend 
Amfortas. 

A  dead  swan  with  an  arrow  in  its 
breast,  falls  at  the  feet  of  Gurnemanz, 
who  is  outraged  at  this  wanton  work, 
the  deed,  it  transpires,  of  a  youth 
who  now  appears.  It  is  Parsifal,  but 
in  answer  to  Gurnemanz'  questions  he 
.is  unable  to  give  either  his  name  or 
his  origin.  He  lives  with  his  mother 
alone  in  the  woods,  and  he  has  fol- 
lowed a  train  of  knights  to  the  hill. 
Kundry  supplies  information.  He  is  the 
son  of  a  knight  slain  shortly  before 
his  birth,  and  his  mother,  has  now 
died  for  grief  at  her  son's  departure. 


Believing  that  here  at  last  may  be  the 
"guileless  fool"  so  long  desired,  Gurne- 
manz bids  the  youth  come  with  him. 
The  scene  now  miraculously  changes 
to  the  interior  of  the  castle;  it  is  effected 
in  the  opera  by  a  scene  moving 
behind  Gurnemanz,  so  that  the  two 
seem  to  be  walking  slowly  along,  at 
first  through  the  forest,  then  into  a 
rocky  gallery  which  ascends  to  the 
Castle.  This  device  was  first  used  at 
Bayreuth  and  afterward  used  in  the 
American  representations. 

SCENE  II— The  Castle  Hall 

THE  two  arrive  at  last  in  a  great 
hall,  so  high  that  the  dome  through 
which  streams  the  illumination  is  lost 
to  view.  Bells  are  heard.  At  the  back 
of  the  hall  is  a  couch  spread  beneath  a 
gorgeous  canopy.  Around  the  sides 
is  the  table  where  the  knights  are 
seated  during  the  ceremonies,  its  long 
surface  bearing  cups  or  chalices.  In 
the  centre  is  an  altar-like  table  with 


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COPY  T  PACH   BROS. 


GURNEMANZ  S    HERMITAGE ACT    III 


a  marble  top.  The  Knights  of  the  Grail 
enter  in  solemn  procession,  the  bells 
pealing  from  the  heights  above  the 
dome,  and  the  Knights  and  Squires 
chanting  solemn  liturgies.  Parsifal 
gazes  upon  the  scene  with  wonder. 
Soon  the  Holy  Vessel  is  produced.  It 
is  draped  in  purple-red  cloth.  Amfortas 
then  is  borne  in  upon  a  litter  and  laid 
upon  his  couch.  In  an  agony  of  suffering 
he  begs  to  be  spared  the  task  of  con- 
secration, but  the  voice  of  the  aged 
Titurel  from  a  tomb-like  chapel  beyond, 
bids  him  continue.  Amfortas  then 
proceeds,  and  a  blinding  light  mirac- 
ulously streams  in  from  the  dome,  as 
the  knights  partake  of  the  Wine  and  the 
Bread.  As  the  ceremony  progresses, 
Amfortas  attains  to  a  certain  rapturous 
exaltation  which  subsides  as  the  light 
fades.  Then  the  wound  breaks  out 
afresh.  He  is  borne  off  in  the  litter, 
and  the  knights  depart.  Gurnemanz, 
believing  that  Parsifal  is  a  mere  dolt, 
opens  a  side  door  and  turns  him 
out.  "Thou  art  nothing  but  a  Fool," 
declares  the  Knight:  "Begone 


Leave  all  our  swans  in   future  alone, 
and  seek  thyself,  gander,  a  goose." 

ACT  II 

SCENE — Klingsors  Magic  Castle 

ON  the  ramparts  of  his  castle  sits 
the  magician  Klingsor,  awaiting 
the  approach  of  Parsifal.  He  gloats 
over  the  boy's  arrival,  knowing  his  des- 
tiny, and  believing  that  by  enticing  him 
with  the  flower-damsels,  he  mav  at  last 
win  the  coveted  office.  He  lights  a 
brazier  of  incense,  which  immediately 
fills  the  lower  part  of  the  castle  with 
a  bluish  vapor,  amid  which  can  be  seen 
the  necromantic  implements  of  his  call- 
ing. He  summons  Kundry,  who  arises 
ghostlike  from  the  mist,  and  who  utters 
a  dreadful  wail,  as  if  she  had  been 
awakened  from  a  deep  sleep  into  unim- 
aginable horrors.  Her  master  informs 
her  that  one  more  task  of  seduction 
awaits,  and  she  vainly  protests  against 
it.  He  reminds  her  that  whoever 
spurns  her  in  reality  sets  her  free,  and 
he  bids  her  try  her  fate  with  the  ap- 
proaching youth  Parsifal. 


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With  a  last  cry  of  anguish  Kundry 
returns  into  the  vapor.  The  tower  itself 
sinks  beneath  the  earth,  and  the  scene 
is  transported,  as  it  were,  to  Klingsor  s 
magic  garden.  Marvellous  flowers  and 
plants  arise  in  the  sunlight.  On  the 
wall  of  the  garden  stands  Parsifal, 
looking  down  with  astonishment  upon 
the  strange  scene.  From  all  sides,  from 
the  garden  and  the  palace,  the  beauti- 
ful denizens  of  the  place  come  forth, 
first  singly,  then  in  numbers.  Their 
robes  are  nastily  flung  about  them  as 
if  they  had  been  awakened  from  sleep. 
They  are  in  alarm,  having  discovered 
that  some  of  their  lovers  have  been 
slain  by  an  unknown  foe.  They  accuse 
Parsifal,  who  admits  victory,  declar- 
ing,'in  all  innocence,  that  had  he 
not  conquered  he  never  could  have 
approached  their  lovely  domain. 

They  soon  accept  him  as  a  friend; 
they  dance  about  him,  touching  his 
cheeks  with  their  soft  hands,  and 
seeking  to  arouse  him  to  a  sense  of 
their  beauty.  But  one  greater  and 
more  lovely  than  any  of  them  now 
approaches.  Beholding  Kundry,  fair 
beyond  the  dreams  of  men,  they 
depart,  laughing  gently,  as  Parsifal 
grows  angry  and  tries  to  flee.  But 
Kundry  calls,  "Parsifal,  tarry,"  and 
the  astonished  boy  remembers  that 
once  when  dreaming  his  mother  had 
called  him  by  that  name.  Kundry 
tells  him  that  she  it  was  who  gave  him 
that  name,  an  inversion  of  the  Arabian 
"Fal  parsi,"  or  "guileless  fool."  She 
further  tells  him  of  his  father,  the 
knight  Gamuret,  of  his  mother,  Her- 
zeleide,  or  "Heart's  Affliction,"  and 
of  the  mystery  of  his  birth  and  life  in 
the  woods.  This  is  the  number  "Ich 
sah  das  Kind"  (I  Saw  the  Child). 

Parsifal  is  greatly  affected,  his  re- 
sistance melts,  and  he  sinks  in  distress 
at  Kundry 's  feet.  She  embraces  him 
tenderly,  seeking  ever  to  conquer  him 
with  her  feminine  charm.  Parsifal 


thinks  it  is  again  his  mother  whose  gen- 
tle embraces  he  is  receiving.  Believing 
that  he  is  fast  becoming  enslaved 
Kundry  presses  her  lips  upon  his  mouth. 

But  the  kiss  has  a  startling  effect. 
It  thrills  him  indeed,  but  not  with  the 
pangs  of  love.  He  starts  up  suddenly 
with  a  gesture  of  terror;  his  face  is 
filled  with  a  look  of  anguish  and  he 
presses  his  hands  to  his  heart  as  if  in 
pain.  "Amfortas!"  he  cries.  "The 
spearwound — the  spearwound!"  With 
heart  of  pity  he  suft'ersthemortal 
anguish  of  the  Knight  of  the  Grail  and 
recalls  the  solemn  festival  held  before 
his  wondering  eyes  in  the  citadel  of 
Monsalvat.  He  feels  for  a  moment  the 
sensuous  thrill  of  love-longing,  but  he 
conquers  it,  and  finally  in  an  agony, 
sinks  to  his  knees  in  despair. 

He  pushes  Kundry  away,  and  the 
woman,  knowing  that  he  has  dis- 
covered her,  makes  one  last  terrible 
effort  to  awaken  Desire  in  his  heart. 
But  he  repels  her  with  growing  firm- 
ness, and  as  she  seeks  once  more  to 
embrace  him,  thrusts  her  away. 

"Hither!"  she  cries  at  last  in  despair. 
"Hither!  Oh  help!  Seize  on  the  caitiff ! 
Oh  help!"  Klingsor  approaches  in 
haste  and  the  damsels  rush  forth  in 
terror.  Klingsor  cries  out  in  scorn. 

He  flings  the  Holy  Spear  of  Amfortas 
at  the  youth,  but  lo!  a  miracle  happens. 
The  Spear  leaps  from  his  hand,  but 
stays  in  mid-air,  halted  in  the  blank 
above  Parsifal.  The  youth  seizes  it, 
and  makes  with  it  the  sign  of  the  Cross. 

As  with  an  earthquake,  the  castle 
falls  to  ruins,  the  flowers  are  consumed 
and  the  garden  withers  like  a  desert; 
the  damsels  lie  like  shrivelled  blossoms 
strewn  upon  the  ground.  Kundry 
sinks  to  the  earth  with  a  dreadful 
cry,  and  Pars  if  a  I  departs  quickly. 
Before  he  leaves,  however,  he  turns 
to  the  temptress,  saying  enigmatically: 

"Thou  know'st — 
Where  only  we  shall  meet  again!" 


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ACT   III 

SCENE — A  Spring  Landscape  in  the 

Grounds  of  Monsalvat.    At  the 

back  a  Small  Hermitage 

MANY  years  elapse  before  we 
again  find  ourselves  at  Monsalvat. 
Gurnemanz,  now  an  aged  man,  dressed 
as  a  hermit  but  still  wearing  the  tunic 
of  a  Knight  of  the  Grail,  emerges  from 
his  hut  and  listens.  He  goes  to  a 
thicket  and  finds  Kundry  there,  seem- 
ingly dead,  but  she  revives  under  his 
ministrations.  Kundry  appears  as  in 
Act  I,  and  she  proceeds  as  before  to 
take  up,  about  the  grounds,  the  humble 
tasks  of  a  serving  maid. 

A  knight  in  black  armor,  bearing  a 
spear,  is  now  discovered.  Gurnemanz 
warns  him  that  no  armed  warrior  is 
allowed  in  the  sacred  environs  of 
Monsalvat,  especiallyonthisday, 
Good  Friday.  Without  a  word,  how- 
ever, the  knight  plunges  the  spear  in 
the  ground;  then  removing  his  helmet, 
he  kneels  in  prayer.  Only  then  does 
Gurnemanz  recognize  him  and  point 
him  out  to  Kundry.  Parsifal  rises,  and 


gazing  calmly  around,  he  recognizes 
Gurnemanz,  and  puts  forth  a  hand  in 
greeting.  He  is  questioned  well.  On 
learning  of  his  wanderings,  Gurnemanz 
at  length  is  assured  it  is  Parsifal,  the 
redeemer  of  sins  to  the  Grail  brother- 
hood. He  informs  the  young  knight 
how  Amfortas  yet  suffers,  and  that 
Titurel  has  just  died.  Gloom  reigns 
at  the  citadel,  and  the  knights  long 
for  his  return  and  their  own  deliver- 
ance. Parsifal,  believing  these  mis- 
fortunes due  to  his  long  delay,  is  deeply 
affected.  He  staggers  and  would  fall" 
but  for  the  hermit's  support.  He 
finally  sinks  down  on  a  grassy  knoll, 
where  Kundry  bathes  his  tired  feet 
and  dries  them  with  her  long  hair. 
Parsifal  asks  Gurnemanz,  who  by  his 
pure  life  has  become  worthy,  to  anoint 
him  with  the  water  of  purification, 
and  the  contents  of  the  golden  vial, 
which  Kundry  produces  from  her 
bosom.  Gurnemanz  then  performs 
his  devotional  act,  bestowing  on  Parsi- 
fal the  title  of  Prince  and  King  of  the 
Grail.  Parsifal  now  looks  with  deep 
compassion  upon  Kundry,  baptising  her. 


COPY'T  MISHKIN 

MATZENAUER  AS   KUNDRY 


COPY  T  MISHKIN 

WITHERSPOON    AS     GURNEMANZ 


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Then  comes  the  wonderful  "Charfrei- 
tagszauber,"  or  Good  Friday  Spell. 

Gurnemanz  explains  that  the  beauty 
of  the  woods  and  fields  is  caused  by 
the  fact  it  is  Good  Friday,  and  that 
the  flowers  and  trees,  watered  by  the 
tears  of  repentant  sinners,  express  in 
their  luxuriousness  the  redemption  of 
mankind.  Kundry,  who  has  sat  with 
bowed  head,  now  looks  up  beseechingly 
upon  Parsifal,  who  in  great  compas- 
sion, kisses  her  upon  the 
brow.  . 

Distant  bells  are 
heard,  pealing  softly  at 
first  but  gradually  swell- 
ing into  majestic  power. 
Wagner  here  uses  the 
same  famous  bell-motiv 
heard  in  the  first  act 
but  in  minor  mode  as 
befits  the  hour's  greater 
sadness  and  solemnity. 
The  moment  has  come, 
and  the  old  hermit 
places  upon  Parsifal  a 
coat  of  mail  and  the 
mantle  of  a  Grail- 
Knight.  As  before,  the 
landscape  gradually 
changes,  and  Parsifal, 
grasping  the  Sacred 
Spear,  follows  Kundry 
and  Gurnemanz.  Once 
more  the  woods  disap- 
pear, and  as  they  approach  the  rocky 
galleries,  a  procession  of  Knights  in 
mourning  garb  is  seen.  Here  devel- 
ops, to  the  deep  tones  of  the  bells  of 
Monsalvat,  the  "Processional  of  the 
Knights  of  the  Holy  Grail." 

At  last  the  whole  immense  hall 
reappears  as  in  the  first  act,  but  with- 
out the  tables.  The  light  is  faint. 
From  the  doors  on  one  side,  Knights 
appear,  bearing  the  coffin  of  Titurel. 
From  another  door  Amfortas  is  borne 
on  his  litter,  preceded  by  the  covered 
shrine  of  the  Grail.  The  bier  is  erected 


fur  die  Milglieder  des  Paironal-Vereins, 

am  30.  JuU,  I.  1. 6.  S.  II.  li  la  l&  2"!  22. 35. 27. 29.  Aug.  18! 

oflferitliche  Auffukrungen  des 

PARSIFAL 

lit  Baiaiawjiifiiupiii  »)a  SiCHASD  WACSES. 


ORIGINAL  PROGRAM  OF  PARSIFAL 
(BAYREUTH,  1882) 


in  the  centre  of  the  hall;  behind  it  is 
the  canopied  couch  where  Amfortas  is 
set  down.  Then  is  heard  Amfor- 
tas' Gebet,  "Mein  Vater!"  (Amfortas' 
Prayer,  "My  Father"). 

All  have  shrunk  back  in  awe,  and 
Amfortas  stands  alone  in  fearful  ecstasy. 
Parsifal,  accompanied  by  Gurnemanz 
and  Kundry,  has  entered  unperceived. 
He  now  steps  forward  with  the  Spear, 
and  before  the  wondering  knights,  he 
touches  the  wound  of 
Amfortas  with  its  point. 
The  face  of  the  stricken 
man  shines  with  holy 
rapture,  his  wound  is 
miraculously  healed  and 
he  knows  in  verity 
"peace  after  pain." 
Gurnemanz  supports 
him  as  he  steps  away 
and  gives  place  to  the 
"  guileless  fool "  who  has 
now  become  the  chief 
guardian  of  the  Grail. 
Parsifal  stands  intent, 
holding  the  Spear  aloft, 
and  gazing  upon  its 
gleaming  point  he  bids 
the  squires  open  the 
shrine.  Parsifal  takes 
from  it  the  Grail,  and 
kneels  in  devotion. 
The  Sacred  Vessel  glows 
with  a  strange  light, 
and  a  halo  of  glory  pours  down  from 
above.  Titurel,  for  the  moment  re- 
stored to  life,  raises  himself  from  his 
coffin,  lifting  his  hands  in  benediction. 
From  the  dome  descends  a  white  dove, 
which  hovers  above  the  head  of  Par- 
sifal, who  lifts  the  Grail  for  the  adora- 
tion of  the  Knights.  Kundry,  her  task 
accomplished,  and  her  redemption 
assured,  sinks  in  death  to  the  ground. 
Amfortas  and  Gurnemanz  kneel  in 
homage  before  Parsifal,  and  the  cur- 
tain falls  upon  this  most  extraordinary 
of  all  operatic  works. 


304 


VICTROLA     BOOK     OF     THE      OPERA 


THE  VICTOR   RECORDS 

(Sung  in  German) 
ACT  II 

1CH  SAH  DAS  KIND 

(I      Saw      the      Child)      MARGARETE 
MATZENAUER,  Contralto 

88364     12-in.,  ?1.75 
KUNDRY: 

I  saw  the  child  upon  its  mother's  breast; 

Its  infant  lisping  laughs  yet  in  my  ear: 

Though  filled  with  sadness, 

How  laughed  then  even  Heart's  Affliction, 

When,  shouting  gladness, 

It  gave  her  sorrow's  contradiction! 

In  beds  of  moss  'twas  softly  nested, 

She  kissed  it  till  in  sleep  it  rested: 

With  care  and  sorrow 

The  timid  mother  watched  it  sleeping; 

It  waked  the  morrow 

Beneath  the  dew  of  mother's  weeping. 

All  tears  was  she,  encased  in  anguish, 

Caused  by  thy  father's  death  and  love: 

That  through  like  hap  thou  shouldst  not  lan- 
guish, 

Became  her  care  all  else  above. 

Afar  from  arms,  from  mortal  strife  and  riot, 

Sought  she 'to  hide  away  with  thee  in  quiet. 

All  care  was  she,  alas!  and  fearing: 

Never  should  aught  of  knowledge  reach  thy 
hearing. 

Hear'st  thou  not  still  her  lamenting  voice, 

When  far  and  late  thou  didst  roam? 

For  days  and  nights  she  waited, 

And  then  her  cries  abated; 

Her  pain  was  dulled  of  its  smart, 

And  gently  ebbed  life's  tide; 

The  anguish  broke  her  heart, 

And — Heart's  Affliction — died. 

ACT  III 

CHARFREITAGSZAUBER 

(Good  Friday  Spell— Part  II)  (Du  siehst, 
das  ist  nicht  so,)  HERBERT  WITHER- 
SPOON,  Bass  74144  12-jnv  1.75 


GURMEMANZ: 

Thou  see'st,  that  is  not  so. 

The  sad  repentant  tears  of  sinners 

Have  here  with  holy  rain 

Besprinkled  field  and  plain, 

And  made  them  glow  with  beauty. 

All  earthly  creatures  in  delight 

At  the  Redeemer's  trace  so  bright 

Uplift  their  pray'rs  of  duty. 

To  see  Him  on  the  Cross  they  have  no  power: 

And  so  they  smile  upon  redeemed  man, 

Who  with  dread  no  more  doth  cower, 

Through  God's  love  made  clean  and  pure: 

And  now  perceives  each  blade  and  flower 

That  mortal  foot  to-day  it  need  not  dread; 

For,  as  the  Lord  in  pity  man  did  spare, 

And  in  His  mercy  for  him  bled, 

All  men  will  keep,  with  pious  care, 

To-day  a  tender  tread. 

Then  thanks  the  whole  creation  makes, 

With  all  that  flow'rs  and  fast  goes  hence, 

That  trespass-pardoned  Nature  wakes 

Now  to  her  day  of  Innocence. 

AMFORTAS'  GEBET,  "MEIN  VATER." 

(Amfortas'     Prayer,     "My     Father") 
CLARENCE  WHITEHILL,  Baritone 

74406     12-in.,     1.75 

AMFORTAS  (raising  himself  on  his  couch): 

My  father! 

Highest  venerated  hero! 

Thou  purest,  to  whom  once  e'en  the  angels 
bended! 

Oh!  thou  who  now  in  Heavenly  heights 

Dost  behold  the  Saviour's  self, 

Implore  Him  to  grant  that  His  hallowed  blood, 

He  pour  upon  these  brothers. 
SEVERAL  KNIGHTS  (pressing forward): 

Uncover  the  shrine! 

Do  thou  thine  office! 
AMFORTAS  (  (in  a  paroxysm  of  despair): 

No! — No  more! 

I  bid  ye  to  slay  me! 

(Tears  open  his  dress.) 

Behold  me! — the  open  wound  behold! 

Here  is  my  poison — my  streaming  blood. 

Take  up  your  weapons! 

Kill  both  the  sinner  and  all  his  pain: 

The  Grail's  delight  will  ye  then  regain! 


DOUBLE-FACED  RECORD 

Charfreitagszauber  (Good  Friday  Spell-Part  I)  Mein  erstes  Amt  verricht*     1 

>ch  so ; Karl  Jorn,  Tenor,  Jean  Miiller,  Bassl^rr^i 

Charfreitagszauber  (Good  Friday  Spell-Part  II)  Du  siehst,  das  ist  nicht  sof 

Jorn-Mii/M 


2-in.,  $1.50 


305 


PHOTO   WHITE 


BUNTHORNE    AND    THE    LOVE-SICK    MAIDENS 


PATI  E  N  C  E 


COMIC  opera   by  Gilbert  and 
Sullivan.    First  produced  at 
the  Opera   Comique,   London, 
April  23,  1881.     First  American  pro- 
duction at  the  Standard  Theatre,  New 
York,  September  23,  1881. 

PATIENCE  is  Gilbert's  famous 
satire  on  the  esthetic  craze  of  the 
early  '80s,  which  did  not  long  survive 
the  witty  ridicule  this  gifted  librettist 
aimed  at  it. 

In  the  first  act  twenty  love-sick 
maidens  are  singing  plaintively  of  their 
love  for  Bunthorne.  Patience,  a  buxom 
milkmaid,  ridicules  them,  telling  them 
the  Dragoon  Guards  are  expected 
shortly;  but  though  the  maidens  doted 
upon  the  Dragoons  a  year  ago  they 
scorn  them  now.  The  Guards  arrive, 
also  Bunthorne,  followed  by  the  fair 
twenty,  who  pay  no  attention  whatever 
to  the  Dragoons — who  leave  in  a  rage. 
Patience  appears,  and  the  poet  makes 
love  to  her.  She  is  frightened  and 
runs  to  Lady  Angela,  who  tells  her  it  is 
her  duty  to  love  some  one.  Patience 
thereupon  declares  she  will  not  per- 
mit the  day  to  go  by  without  falling 
in  love. 

Grosvenor,  the  idyllic  poet,  and  an 


old  playmate  of  Patience,  enters,  and 
she  promptly  falls  in  love  with  him, 
but  he  remains  indifferent.  Bunthorne, 
unable  to  decide  between  the  maidens, 
puts  himself  up  as  the  prize  in  a  lottery, 
but  Patience  interrupts  the  drawing 
and  announces  that  she  will  be  his 
wife.  She  is  accepted,  whereupon  the 
fickle  maidens  transfer  their  affections 
to  Grosvenor. 

In  the  second  act  we  see  a  rather 
ancient  damsel, .  Jane,  mourning  be- 
cause of  the  maidens'  desertion  of 
Bunthorne,  who  is  content  with  a 
milkmaid.  Grosvenor,  followed  by 
Patience,  who  tells  him  that  she  still 
loves  him,  and  Bunthorne,  with  Jane 
clinging  to  him,  enter.  Finally,  Bun- 
thorne in  a  jealous  rage  at  Patience's 
regard  for  the  rival  poet,  exits  with 
Jane.  Now  the  maidens  grow  tender 
to  the  Dragoons,  and  the  poets  quarrel. 
Burnthorne  asks  Grosvenor  how  to 
make  himself  less  attractive,  and  he 
is  told  to  dress  himself  in  a  more  com- 
monplace manner.  When  the  maidens 
find  he  has  given  up  esthetics  they 
find  suitors  among  the  Dragoons; 
Patience  deserts  Bunthorne  for  Grosve- 
nor, and  Jane  goes  over  to  the  Duke, 
leaving  Bunthorne  disconsolate. 


306 


COPY  T  WHITE 


PESCATORI   DI   PERLE 


(LES  PECHEURS  DES  PERLES) 

(French) 


(THE  PEARL  FISHERS) 

(English) 


NOT  until  the  success  of  "Carmen" 
did  the  world  ask,  too  late  for 
him  to  hear,  what  other  operas 
this    brilliant    composer    might    have 
produced.  "The  Pearl  Fishers"  had 
previously  met  with  little  success,  but 
once  disinhumed,  it  revealed  a  wealth 
of    unregarded,    almost    unsuspected 
beauty.    Based  on  an  oriental  theme, 


it  is  picturesque  and  colorful,  even 
though  it  lacks  the  electric  thrill,  the 
dash  and  the  tragic  sense  of  "Carmen. " 
The  melodies  in  it  are  lovely,  and 
they  are  coming  into  the  better  ap- 
preciation they  deserve.  In  especial, 
Bizet's  gifts  as  a  composer  for  the 
orchestra  are  well  revealed  in  the 
beautiful  Prelude. 


TH  E    O  PE  RA 


OPERA  in  three  acts.  Text  by 
Carre  and  Cprmon.  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  Pescatori  di  Perle, 
May  18,  1889.  Recently  revived  at 
Covent  Garden  for  Tetrazzini.  First 
performance  in  America  occurred  at 


Philadelphia,  August,  1893,  in  English. 
First  New  York  production  (two  acts 
only)  January  11,  1896,  at  the  Metro- 
politan Opera  House,  with  Calve.  Re- 
vived at  the  Metropolitan  in  1916,  with 
Caruso,  Hempel  and  de  Luca.  It  is 
interesting  to  recall  that  Caruso  and 
de  Luca  sang  together  in  this  opera 
twenty  years  ago  in  Genoa,  at  the  very 
beginning  of  their  operatic  careers. 


307 


VICTROLA     BOOK     OF     THE      OPERA 


CHARACTERS 

LEILA,  a  priestess  (Lay'-laK). .  .  Soprano 
NADIR,  a  pearl  fisher  (Nah-deer)  Tenor 
ZURGA,  a  chief  (Zoor'-gah). .  .Baritone 
NOURABAD,  high  priest  (Noo- 

rah-bad] Bass 

Priests,    Priestesses,    Pearl    Fishers, 
Women,  etc. 

Scene  and  Period:  Ceylon;  Barbaric 
Period 

(The  original  French  name  of  the 
opera  is  pronounced  Lay  Pay-shur- 
day  Pairl;  the  Italian,  Pes-kah-toh'- 
ree  dee  Pair-kh). 

ACT  I 

SCENE — The  Coast  of  Ceylon 

THE  time  has  come  to  select  a 
new  chieftain  in  the  little  world 
of  the  Cingalese  fishermen  who  gather 
together  for  a  ceremonial  dance  and 
festival,  before  their  ancient  pagoda. 
The  choice  falls  on  Zurga,  who  accepts 
the  office.  Scarcely  has  he  been  inaugu- 
rated than  a  long  lost  friend  of  his 
youth  appears,  Nadir.  They  greet 
each  other  with  affection,  and  speak 
of  the  days  when  they  were  foolish 
enough  to  quarrel  over  a  beautiful 
girl,  a  priestess  in  the  temple'of  Brahma, 
known  to  them  as  Leila.  Of  her  they 
sing  the  duet  "Del  tempio  al  limitar" 
(In  the  Depths  of  the  Temple),  one  of 
Bizet's  finest  inspirations.  It  is  begun 
by  Nadir,  who  describes  the  scene 
impressively.  Believing  themselves  now 
cured  of  their  old  infatuation,  they 
swear  eternal  friendship,  pledging 
themselves  to  remain  blood-brothers 
to  the  end. 

A  fisherman  announces  the  arrival 
of  a  mysterious  veiled  priestess  whose 
custom  it  is  to  come  once  a  year,  in  a 
boat  from  the  sea,  to  pray  for  the  suc- 
cess of  the  fishermen,  who  look  upon 
her  as  their  guardian.  No  one  dares 
approach  the  place  of  her  devotions, 


upon  the  rocks  above  the  village,  but 
all  treat  her  with  veneration.  She  in- 
variably comes  among  them  close- 
veiled,  and  as  she  goes  toward  the 
temple  the  folk  sing  a  chorus  of  prayer 
in  which  she  herself  joins, — the  "Brah- 
ma gran  Dio"  (Divine  Brahma). 

Before  she  enters  the  temple,  Zurga 
adjures  her  to  pray  for  the  people 
night  and  day,  promising  that  if  she 
keeps  her  oath  of  chastity  she  shall 
receive  a  pearl  of  great  price.  If  she 
breaks  it,  however,  death  will  be  her 
portion.  .,Slje  is  about  to  swear  when, 
with  a  stkrt,  she  observes  Nadir.  The 
High  Priest,  Nourabad,  reminds  her 
that  even  now  she  may  revoke  her 
vows,  if  she  desires  it,  but  she  refuses, 
entering  the  temple.  Nadir,  left  alone, 
is  shaken  by  the  discovery  that  the 
veiled  woman  is  none  other  than 
Leila;  more  than  this  he  realizes  he 
still  loves  her.  In  a  lovely  air,  he  re- 
calls his  memories  of  the  first  time  he 
beheld  her,  the  "Mi  par  d'udire 
ancora"  (I  Hear  as  in  a  Dream). 

Nadir  decides  he  must  tell  Zurga. 
Meanwhile,  he  is  somewhat  weary,  and, 
throwing  himself  on  the  ground  he  falls 
asleep.  As  he  lies  there,  returning 
priests  build  a  fire  on  the  rocks,  where 
Leila  sings  a  song  of  prayer  to  Brahma. 
Nadir  awakens,  and  calls  to  her  softly. 
She  subtly  answers  in  her  song  with- 
out awakening  the  suspicions  of  the 
priests.  Under  cover  of  the  growing 
darkness,  Nadir  forgets  Zurga,  hasten- 
ing to  the  side  of  his  lost  love. 

ACT  II 

SCENE — A  Ruined  Temple 

NEAR  an  ancient,  ruined  temple, 
Leila  begins  her  lonely  watch, 
Nourabad  reminding  her  of  her  oath 
— her  renunciation  of  marriage  and  her 
devotion  to  her  people.  She  tells  him 
of  a  vow  she  made  when  a  child  to 
protect  a  fugitive,  who  implored  her 


308 


VICTROLA     BOOK     OF     THE      OPERA 


to  save  his  life.  Even  though  a  dagger 
was  held  to  her  breast  by  his  enemies, 
she  kept  her  vow,  and  he  escaped, 
leaving  her  as  remembrance,  a  golden 
chain.  This  story  is  told  in  the 
number  "Siccome  un  di  caduto"  (A 
Fugitive,  One  Day). 

The  priest  reminds  her  of  the 
punishment  which  is  certain  to  over- 
take her  should  she  now  violate  her 
oath.  "Shame  and  death  shall  be 
thy  portion!"  warns  the  harsh  and 
bitter  old  man.  So  she  is  left  alone 
with  her  thoughts,  the  mysterious 
night-sounds  of  the  jungle  for  her 
only  companionship.  Bound  by  her 
oath,  yet  conscious  of  her  love  for 
Nadir,  she  sinks  down  in  an  agony  of 
despair.  She  is  roused  by  the  voice 
of  her  lover,  who  comes  to  the  Temple, 
his  heart  awake  in  passionate  longing. 
Nadir  sings  the  beautiful  "De  mon 
amie"  (My  Love). 

Rushing  to  her,  the  priestess's  lover 
implores  her  to  defy  the  priests,  her 
oath  to  Brahma,  and  to  fly  with  him. 
She  refuses,  but  the  love  in  her  heart 
is  too  strong,  and  she  soon  finds 
herself  in  his  arms.  Then  follows  the 
"Non  hai  compreso  un  cor  fedel" 
(You  Have  Not  Understood). 

Now  begins  the  tragedy.  Unknown 
to  the  lovers,  Nourabad  has  been 
watching.  He  alarms  the  people,  tell- 
ing them  Leila  has  proven  faithless. 
The  fishermen  advance  toward  the 
couple  with  drawn  knives,  demanding 
death  as  their  punishment.  Zurga 
steps  forward,  fcnd  orders  them  to  be- 
gone. As  they  go,  Nourabad  tears  the 
veil  from  the  girl's  face,  and  thus 
reveals  to  the  astonished  Zurga  that 
she  is  none  other  than  Leila,  the 
woman  Nadir  has  sworn  with  him  to 
forget  forever.  Enraged  at  what  he 
regards  as  his  friend's  betrayal,  he 
orders  both  to  death.  Nadir  is  carried 
off  in  chains,  and  the  priests  lead 
awav  Leila. 


ACT  III 

SCENE  I — The  Camp  of  Zurga 

BEFORE  the  tent  where  Leila  is 
held  under  guard,  Zurga  stands 
brooding  over  the  impending  death  of 
his  friend  and  of  the  woman  he  loves. 
Leila  comes  to  the  entrance  of  the 
tent,  and  calls  softly.  She  begs  him  to 
dismiss  the  guards  and  talk  to  her 
awhile,  and  he  does  so.  Then  Leila 
pleads  for  Nadir  in  an  aria  of  great 
dramatic  power,  the  "Temer  non  so 
per  me"  (I  Fear  Not). 

Zurga  declares  his  love,  and  openly 
reveals  his  jealousy  of  Nadir;  but  the 
girl  scorns  him;  she  is  too  proud  to 
sue  for  her  own  life.  Her  refusal 
angers  him.  Nourabad  comes  to 
announce  the  forthcoming  sacrifice, 
and  to  him  she  gives  the  chain  of  the 
fugitive,  imploring  him  to  send  it  to 
her  mother. 

SCENE  II — The  Place  of  Execution 

IN  a  wild  part  of  the  jungle,  the 
funeral  pyre  has  been  set  up, — and 
hither  are  brought  Leila  and  Nadir. 
As  they  mount  the  pyre  a  red  glow  is 
seen  in  the  sky,  which  is  heralded  by 
the  people  as  the  dawn.  Then  Zurga 
enters  to  warn  them  that  what  they 
have  seen  is  not  the  dawn,  but  the  red 
glow  of  their  burning  homes,  and  they 
fly  to  save  their  children  and  their 
household  goods.  The  two  prisoners 
and  Zurga  remain,  secretly  watched 
by  Nourabad,  who  thus  hears  Zurga 
explain  that  he  has  kindled  the  fire 
to  save  them  both.  With  a  great 
battle-axe,  Zurga  smashes  the  chains 
that  bind  them.  They  speak  their 
gratitude  in  a  splendid  trio,  "Fascino 
etereo." 

The  lovers  praise  the  generosity  and 
greatness  of  Zurga,  who  for  the  sake  of 
friendship  has  done  a  deed  which  may 
cost  him  his  own  life.  They  depart 
as  the  voices  of  the  enraged  Indians, 


309 


VICTROLA     BOOK     OF     THE      OPERA 


returning  for  vengeance,  draw  nigh. 
With  his  knife,  Zurga  holds  them  off 
until  Nadir  and  Leila  are  seen  from 
afar,  high  among  the  rocks.  Zurga 
then  is  overpowered,  and  forced  to 
mount  the  funeral  pyre.  As  the  flames 
roar  about  him,  it  is  seen  that  the 
forest  itself  is  on  fire,  and  reading 
in  this  last  catastrophe  the  anger 
of  Brahma  himself,  the  people  pros- 
trate themselves,  as  the  flames  envelop 
them  too.  In  this  tremendous  "suttee" 
the  community  perishes  with  the  lovers. 
In  this  fashion  is  consummated  one 
of  the  most  remarkable  tragedies  in 
French  opera,  a  tragedy  set  to  music 
of  extremely  high  and  original  power. 


THE   VICTOR   RECORDS 

(Sung  in  French  unless  otherwise  noted) 

ACT  I 
DEL  TEMPIO  AL  LIMITAR 

(In  the  Depths  of  the  Temple)  ENRICO 
CARUSO,  Tenor  and  MARIO  ANCONA, 
Baritone  In  Italian  89007  12-in.,  32.00 

EDMUND  CLEMENT,  Tenor  and  MARCEL 
JOURNET,  Bass  76022  12-in.,  2.00 

JE  CROIS  ENTENDRE  ENCORE 
(I  Hear  as  in  a  Dream)  ENRICO  CARUSO, 
Tenor  88580     12-in.,     1.75 

ACT  II 
DE  MON  AMIE 

(My    Love)    ENRICO    CARUSO,    Tenor 

COMME  AUTREFOIS     87269    """-    ^ 
(As  in  Former  Times)  AMELITA     GALLI- 
CURCI,  Soprano  74718     12-in.,     1.75 


COPY  T  WHITE          ZURGA: 

"Hold  you!     Mine  alone  is  the  right  to  judge!" — Act  II 


310 


LA   PERLE  DU  BRESIL 


(THE   PEARL  OF   BRAZIL) 


ERICAL  drama   in   three    acts. 
Words  by,  Gabriel  and  Sylvain 
Saint     Etienne;     music    by 
Felicien  David.    First  produced  at  the 
Theatre  Lyrique,  Paris,  November  22, 
1851.     Revived  at  the  same  theatre 
March,  1858,  with   Mme.    Miolan- 
Carvalho;  and  at  the  Opera  Comique, 
1883,  with  Emma  Nevada. 

CHARACTERS 

(With  the  Original  Cast) 

ZORA Mile.  Duez 

LORENZ,  her  lover Soyer 

ADMIRAL  SALVADOR Bouche 

Sailors,  Brazilians,  etc. 

E,  PERLE  DU  BRESIL,  (Pairldu 
Breh-zeel'}  was  David's  first  dra- 
matic work.  It  is  the  story  ofLorenz,  a 
sailor,  and  Zora,  a  young  girl  found  by 
Admiral  Salvador  in  Brazil,  and  whom 
he  intends  to  educate  and  eventually 
to  marry. 

They  set  sail  from  South  America, but 
Salvador  soon  finds  that  Zora  has  a 
lover,  Lorenz,  a  young  lieutenant,  who 
has  disguised  himself  as  a  sailor  and 
is  on  board  in  order  to  be  near  his 
sweetheart.  A  storm  arises  and  the  ship 
is  compelled  to  seek  shelter  in  a  harbor 
of  Brazil.  The  natives  attack  the  ship 
and  almost  overpower  the  sailors,  when 
Zora  chants  a  hymn  to  the  Great  Spirit, 
and  the  Brazilians,  recognizing  their 
compatriot,  make  peace.  In  gratitude 
for  the  young  girl's  act,  which  has 
saved  the  lives  of  all  on  board,  the 
Admiral  gives  his  consent  to  her 
marriage  with  Lorenz. 


The  "Charmant  oiseau"  is  perhaps, 
the  most  beautiful  number  in  David's 
opera.  It  is  one  of  the  most  famous 
of  coloratura  airs,  and  one  of  which 
sopranos  are  very  fond,  as  it  exhibits 
their  art  to  perfection,  especially  in 
the  duet  with  the  flute. 

THE  VICTOR  RECORDS 

(Sung  in  French) 

CHARMANT  OISEAU 

(Thou    Charming    Bird)     With    Flute 
obbligato.  LUISA  TETRAZZINI,  Soprano 

88318     12-in.,  £1.75 

EMMA  CALVE,  Soprano     88087     12-in.,     1.75 

AMELITA  GALLI-CURCI,  Soprano 

74552     12-in.,     1.75 

MABEL  GARRISON,  Soprano 

74542     12-in.,     1.75 

Delightful  bird  of  plumage  glowing 

With  sapphire  and  with  ruby  dyes, 

'Mid  the  shade  his  rare  beauty  showing 

Before  our  wonder-stricken  eyes; 

When  on  the  branch  with  blossoms  trembling, 

He  poises  swinging  gay  and  bright, 

His  checkered  pinions'  gleams  resembling 

A  many-colored  prism  of  light. 

How  sweet  is  he,  the  Mysoli! 

When  day  appears  his  joyful  singing 
Awakes  the  dawn's  enchanted  rest; 
When  evening  falls  his  notes  are  ringing, 
While  fiery  day  fades  from  the  west. 
A-down  the  grove  the  silence  doubles, 
As  now  his  plaintive  dulcet  lay, 
That  breathes  of  love's  ecstatic  troubles, 
From  out  the  tulip  tree  dies  away. 
How  sweet  is  he,  the  Mysoli! 

From  Ditson  edition — Copy't  Oliver  Ditson  Co 


311 


H.  M.  S.  PINAFORE 

OR  THE  LASS  THAT  LOVED  A  SAILOR 


KiCENT  revivals  of  this  opera 
have  proven  that  it  has  lost 
nothing  of  its  original  charm 
and  wit,  though  both  librettist  and 
composer  have  passed  away,  together 
with  the  noble  lord  satirized  by  Sir 
Joseph  Porter.  Strangely,  this  most 
successful  of  all  light  operas  was  not 
accepted  with  favor  at  its  first  pro- 
duction in  London.  It  owed  its 
success  to  Americans  who  found  it  a 
genial  satire  upon  English  officialdom 
which  could  be  applied  to  human 
nature  generally.  Sullivan's  sparkling 
melodies  soon  were  universally  whistled 
and  the  American  success  was  repeated 


in  London,  actually  leading  up  to  the 
establishment  of  the  Savoy  Theatre 
and  a  long  string  of  delicious  operettas 
such  as  "The  Mikado,"  "The  Pirates 
of  Penzance' '  and  "Patience. "  W.  S. 
Gilbert's  death,  which  occurred  in 
1911,  was  a  Gilbertian  affair  in  itself, 
the  librettist,  well  advanced  in  years, 
leaping  into  a  shallow  ornamental 
lake  to  save  a  lady  from  drowning,  of 
which  in  fact  she  was  in  no  danger! 
Sullivan's  "Pinafore"  music  was  com- 
posed while  the  composer  was  suffering 
acute  gastric  trouble,  much  of  it  being 
written  in  bed.  At  that,  its  humor — 
and  brilliancy — did  not  suffer  a  whit. 


TH  E    O  PE  RA 


COMICopera  in  two  acts.  Text 
by  W.  S.  Gilbert;  music  by  Sir 
Arthur  Sullivan.  First  produced  at 
the  Opera  Comique,  London,  May  28, 
1878.  First  American  performance 
occurred  in  New  York  in  1878,  but 
was  unauthorized,  and  was  followed  by 
the  first  important  production  at  the 
Boston  Museum,  in  November,  1879. 
Successfully  revived  in  New  York  in 
191  land  again  in  1912. 

CHARACTERS 

RT.  HON.  SIR  JOSEPH  PORTER, 
K.  C.  B.,  First  Lord  of 
the  Admiralty Baritone 

CAPTAIN  CORCORAN,  Com- 
manding "H.  M.  S.  Pina- 
fore " Baritone 

RALPH  RACKSTRAW,  able  sea- 
man   Tenor 

DICK  DEADEYE,  able  seaman Bass 

BILLY  BOBSTAY,  boatswain's 

mate Bass 

BOB  BECKET,  carpenter's  man 


TOM  TUCKER,  midshipmite 

SERGEANT  OF  MARINES 

JOSEPHINE,      the     Captain's 

daughter Soprano 

HEBE,     Sir     Joseph's     first 

cousin Mezzo-Soprano 

LITTLE  BUTTERCUP,  a  bum- 
boat  woman Contralto 

First  Lord's  Sisters,  his  Cousins  and 
Aunts,  Sailors,  Marines. 

Time  and  Place:  The  Scene  is  laid  on  the 

Quarterdeck  of'H.  M.  S.  Pinafore" 

Time,  1878. 

ACT  I 

THE  sailors  on  "H.  M.  S.  Pinafore" 
are  busy  scrubbing  the  decks  for 
the  expected  arrival  of  Sir  Joseph 
Porter,  K.  C.  B.  The  ship  is  in  the 
harbor,  and  Portsmouth  is  seen  in  the 
distance.  Little  Buttercup,  a  bumboat 
woman  who  is  by  no  means  as  small  as 
her  name  would  imply,  comes  aboard 
with  the  stock  of  "snuff  and  tobaccy 


312 


VICTROLA     BOOK     OF     THE      OPERA 


and  excellent  jacky,"  not  to  mention 
the  "excellent  peppermint  drops." 
It  transpires  that  a  handsome  young 
sailor,  Ralph,  is  in  love  with  the 
Captain's  daughter,  Josephine,  and 
aside  from  the  difference  in  their 
station,  Josephine  is  to  be  betrothed 
to  Sir  Joseph  Porter,  who  duly  arrives, 
attended  by  his  "sisters  and  his 
cousins  and  his  aunts."  In  the  mean- 
time, Ralph  plans  to  elope  with 
Josephine,  the  crew  assisting.  The 
plot  is  overheard  by  Dick  Deadeye,  the 
lugubrious  boatswain. 

ACT  II 

/CAPTAIN  CpRCORAN,  in  dis- 
\^A  grace  for  using  a  "big,  big  D" 
in  public,  sings  to  the  moon,  (ac- 
companied by  a  mandolin)  and  Little 
Buttercup  reveals  her  affection  for  him. 
He  tells  her,  however,  that  he  can  only 
be  her  friend,  and  she  hints  darkly  that 
a  change  is  in  store  for  him — "Things 
are  seldom  what  they  seem."  Sir 
Joseph  then  enters  complaining  that 
Josephine  does  not  favor  his  suit,  when 
the  Captain  comforts  him  by  averring 
she  is  awed  by  his  lofty  station,  and 


suggesting  that  he  plead  his  cause  on 
the  ground  that  love  levels  all  rank. 
Josephine  does  not  respond,  being 
naturally  determined  to  marry  Ralph. 
Dick  Deadeye  now  reveals  the  elope- 
ment plans  and  he  and  the  Captain 
lie  in  wait  for  the  crew,  "Carefully  on 
tip-toe  stealing."  The  elopers  are 
captured,  and  the  Captain  is  so  ex- 
asperated that  he  actually  swears, 
using  a  "big,  big  D"  which  is  over- 
heard by  Sir  Joseph  Porter.  For  this 
serious  breach  of  morals,  a  horrible 
example  of  depravity  before  the  whole 
crew,  the  Captain  is  ordered  to  his 
cabin.  Affairs  are  interrupted  by 
Little  Buttercup,  who  discloses  her 
secret,  telling  how  the  Captain  and 
Ralph  had  been  accidently  exchanged 
while  they  were  both  babies.  Where- 
upon, Sir  Joseph,  revealing  the  crown- 
ing absurdity  of  Gilbert's  plot,  sends 
for  Ralph,  giving  him  command  of  the 
ship  and  reducing  the  Captain  to 
Ralph's  humble  grade  of  "able 
seaman."  Sir  Joseph  nobly  consents 
to  the  marriage  of  Ralph  and  Josephine, 
and  the  Captain  consoles  himself  with 
Little  Buttercup. 


DOUBLE-FACED  RECORDS 

Gems  from  "Pinafore"  (Part  I) Victor  Light  Opera  Company 

Opening  Chorus,  "We  Sail  the  Ocean  Blue," — "A  Maiden  Fair  to 
See" — "I  am  Monarch  of  the  Sea  " — "  I'm  Called  Little  Buttercup"- 
" Captain    of  the    Pinafore" — Finale,    "His    Foot   Should  Stamp" 

Gems  from  "Pinafore"  (Part  II) Victor  Light  Opera  Company 

"The  Gallant  Captain  of  the  Pinafore" — "When  I  Was  a  Lad"- 
"The  Merry  Maiden  and  the  Tar" — "Carefully  on  Tip-Toe  Stealing" 
"Baby  Farming" — "Farewell,  My  Own  " — "For  He  is  an  Englishman" 

Pinafore  Selection  (Part  I) Victor  Concert  Orch. 

"Now  Give  Three  Cheers  for  the  Sailor's  Bride" — "A  Maiden  Fair 
to  See"-  '"We  Sail  the  Ocean  Blue" — "I'm  Called  Little  Butter- 
cup"— "Admiral's  Song  "--"When  I  Was  a  Lad" 

Pinafore  Selection  (Part  II) Victor  Concert  Orch. 

"Fair  Moon" — "Carefully  on  Tip-Toe  Stealing" — "Refrain,  Auda- 
cious Tar" — "He  is  an  Englishman" 


> 35386    12-in.,  31.35 


18176    lain.,      .85 


313 


PIQUE  DAME 

(THE  QUEEN  OF  SPADES) 


OPERA  in  three  acts.  Text  by 
Modeste  Tschaikowsky,  the 
composer's  brother,  taken  from 
Puschkin's  novel  of  the  same  name. 
Music  by  Peter  Ilyitsch  Tschaikowsky. 
First  production  at  St.  Petersburg, 
December,  1890;  in  Vienna,  under 
Gustav  Mahler,  1902;  at  La  Scala, 
Milan,  1905-6;  Berlin,  1907,  with  Des- 
tinn,  Goetz,  Griswold  and  Griming. 
First  American  production  at  the 
Metropolitan  Opera  House,  New  York, 
March  5,  1910,  in  German,  under 
Mahler,  with  Destinn,  Slezak  and 
Alma  Gluck.  This  was  the  first  pro- 
duction in  America  of  any  of  Tschai- 
kowsky's  operas,  an  odd  fact  in  view 
of  the  great  popularity  of  his  concert 
music,  although  "Eugen  Onegin"  had 
previously  been  given  in  concert  form. 

Time  and  Place:   St.  Petersburg; 
Eighteenth  Century 

THE  story  of  "Pique  Dame"  is  a 
melodramatic  story,  filled  with 
superstition  and  tragedy.  The  Queen 
of  Spades  (Pique  Dame),  is  an  elderly 
countess  who  possesses  the  secret  of 
the  three  fateful  cards  which  bring 
luck  at  the  gaming  table.  Her  grand- 
daughter, Lisa,  betrothed  to  Prince 
Jeletski,  is  deeply  in  love  with  Her- 
mann, a  young  officer,  who  is  seek- 
ing a  way  to  make  a  fortune  that  he 
may  marry  the  young  girl.  Lisa  gives 
her  lover  the  key  to  her  grandmother's 
rooms,  where  he  goes  at  night  in  an 
effort  to  extract  from  the  old  Countess 
the  secret  of  the  three  cards.  The 
Countess  will  not  listen  to  his  plead- 
ings and  she  orders  him  from  her  apart- 
ment. When  he  draws  his  pistol  in  an 
effort  to  compel  her  to  reveal  to  him 
the  names  of  the  cards,  she  falls  dead 
from  terror. 


The  next  scene  shows  Hermann  in 
his  barrack  room.  As  the  funeral  of 
the  Countess  passes  the  barracks,  a  gust 
of  wind  blows  the  window  open,  and 
the  ghost  of  the  Queen  of  Spades  ap- 
pears, declaring,  "Your  fate  is  sealed! 
These  are  the  cards — ace,  seven, 
three."  She  vanishes,  and  the  officer 
goes  out  to  meet  Lisa,  who  is  waiting 
for  him  on  the  banks  of  the  Neva.  The 
young  girl  fails  in  her  effort  to  prevent 
Hermann  from  carrying  out  his  de- 
termination to  go  to  the  gambling 
house,  and  as  he  leaves  her  she  throws 
herself  into  the  Neva.  In  the  last  act 
Hermann  is  gambling  madly  with  the 
Prince.  He  has  won  on  the  first  two 
cards,  but  when  the  third  card,  the 
queen  of  spades,  turns  up,  he  loses  all. 
The  spectre  of  the  Countess  appears, 
ancl  Hermann,  imagining  she  has  come 
for  his  life,  stabs  himself. 

Tschaikowsky  has  written  much 
beautiful  music  for  this  work,  but  the 
gems  of  the  opera  are  probably  the 
delightful  duet  for  Lisa  and  Pauline  in 
the  second  scene  of  Act  I,  which  re- 
minds one  somewhat  of  the  lovely 
Tales  of  Hoffman  "Barcarolle";  the 
solo  of  Lisa  in  Act  III,  given  as  she 
waits  on  the  banks  of  the  Neva  for  her 
lover  Hermann;  and  the  duet  from  the 
Carnival  Scene,  Act  II,  sung  by 
Daphnis  and  Chloe  in  the  little  pastoral 
given  for  the  amusement  of  the  guests. 

THE  VICTOR   RECORDS 

ACT  II 

O  VIENS  MON  DOUX  BERGER 
(My  Dear  Shepherd)   EMMY  DESTINN, 
Soprano      and      MARIA      DUCHENE, 
Soprano  In  French       89118     12-in.,  32.00 

ACT  III 

ES  GEHT  AUF  MITTERNACHT 

(It  is  Nearly  Midnight)  EMMY  DESTINN, 
Soorano   In  German      88518     12-in.,  1.75 


314 


THE  PIRATES  OF  PENZANCE 


COMIC  ppera  in  two  acts.  Text  by 
Sir  W.  S.  Gilbert;  music  by  Sir 
Arthur   Sullivan.     First   per- 
formance on  any  stage,  New  York, 
December  31,  1879,  under  the  super- 
vision of  the  authors.  Produced  at 
the  Opera  Comique,  London,  April  3, 
1880.  Occasional  amateur  productions. 

Time  and  Place:  The  Scene   is  laid  on 
the  Coast  of  Cornwall;  time  1879 

THIS   little   opera   is   a   satire   on 
British  respectability  and  the  ex- 
aggerated moral  sense  of   the  Victo- 
rian era.    In  this  it  is  a  triumph. 

In  Act  I,  the  Pirates  celebrate 
the  twenty-first  birthday  of  Frederic, 
whose  apprenticeship  is  ended.  He 
wishes  to  give  up  his  calling,  though  he 
has  to  berate  the  Pirates  for  a  soft- 
hearted lot, — through  their  tenderness 
with  orphans.  Being  orphans  them- 
selves, they  feel  compelled  to  be  kind 
to  other  orphans,  and,  as  the  fact  is 
known,  all  their  victims  claim  exemp- 
tion upon  the  ground  of  common 
orphanhood.  Ruth,  a  "female  pirate," 
Frederic's  nurse  in  childhood,  who  got 
him  into  this  scrape  by  binding  him 
'prentice  to  a  pirate  instead  of  a  pilot, 
expects  now  to  marry  him.  Frederic 
never  has  seen  any  other  woman,  and 
consents,  while  suspecting  that  younger 
women  may  have  more  charm.  His 
suspicions  are  confirmed  when  General 
Stanley's  daughters  arrive.  He  con- 
ceals himself  behind  a  rock,  but  as  the 
ladies  decide  to  paddle  in  the  water  his 
modesty  obliges  him  to  step  forth 
when  each  of  the  girls  has  removed  one 
shoe.  He  thus  meets  Mabel,  who  con- 
sents to  reform  him  from  his  piratical 
ways.  The  Major-Genera/  himself 


arrives,  just  as  the  Pirates  capture  the 
girls.  In  order  to  save  them  and  him- 
self he  tells  them  he  is  an  orphan,  and 
the  tender-hearted  Pirates  are  com- 
pelled to  release  their  captives. 

In  the  second  act,  the  Genera/ 
laments  his  deception  as  to  his  having 
been  an  orphan,  and  he  is  brooding 
in  misery  beside  the  tombs  of  his 
ancestors,  whom  he  feels  he  has  dis- 
graced. Frederic  tries  to  console  him 
with  the  thought  that  he  only  bought 
the  place  a  year  ago,  ancestors  and  all. 
But  the  Genera/  is  not  convinced;  he 
bought  the  ancestors  along  with  the 
place,  and  no  matter  whose  ancestors 
they  were,  they  are  now  his!  The 
Police  arrive  to  help  Frederic  "jug" 
the  Pirates,  and  Frederic  bids  Mabel 
goodbye.  The  Pirate  King  and  Ruth, 
however,  interfere  with  his  plans  by 
informing  him  that  he  was  bound 
apprentice  to  the  Pirates  until  his 
twenty-first  birthday,  and  since  he 
happened  to  be  born  on  the  29th  of 
February,  he  has  yet  had  but  five 
birthdays  and  consequently  is  still 
a  member  of  the  band  for  some  sixty- 
four  years.  His  sense  of  duty  compels 
him  to  return  to  the  Pirates,  and  to 
inform  them  that  the  General  was  not 
really  an  orphan  after  all.  The  Police 
attack  the  Pirates  and  are  defeated. 
The  Police,  however,  arrest  them  in 
the  name  of  Queen  Victoria,  and  at 
the  mention  of  this  august  monarch 
the  Pirates  reverently  yield  themselves 
up.  It  is  discovered,  then  that  the 
Pirates  are  themselves  all  English 
noblemen  gone  wrong,  and  the  Police 
at  once  respectfully  release  them,  on 
condition  that  they  give  up  their 
piracy.  They  willingly  do  so,  and 
Frederic  is  thus  free  to  marry  Mabel. 


315 


PHOTO  WHITE 


PRINCE    IGOR    DEPARTS    FOR    THE    WAR ACT    I 

PRINCE  IGOR 


A  THOUGH  Borodin  wrote  many 
symphonic  works,  "Prince  Igor" 
was  his  only  opera,  and  even 
this  was  not  finished  when  he  died  in 
1887,  although  begun  twenty  years 
earlier.  It  was  completed  by  the  com- 
poser's friends,  Rimsky-Korsakoff  and 
Glazounoff.  The  Italian  version,  writ- 
ten by  Antonio  Lega  and  Giulio  Setti, 
was  used  in  the  American  production. 
The  music  is  wild,  free,  and  whether 
completed  by  Borodin  or  his  friends,  it 
is  highly  original.  The  ballet  music 
frequently  has  been  danced  by  the 
Ballet  Russe  and  its  successors. 

THE  OPERA 

OPERA  in  a  prologue  and  three 
acts.  Libretto  by  the  composer 
and  his  friend,  Vladimir  Stassoff,  based 
on  "The  Epic  of  the  Army  of  Igor," 
an  old  historical  Russian  chronicle, 
supposed  to  have  been  written  by  a 
literary  monk  in  the  twelfth  century. 
Music  by  Alexander  Porphyrievich 
Borodin.  First  production  at  Imperial 
Opera  House,  St.  Petersburg,  October 
23, 1890.  First  American  production 


in  New  York,  December  30,  1915,  with 
the  cast  given  below. 

CHARACTERS 
PRINCE  IGOR  SVIATOSLAVITCH 

(Ee-gohr'  Svee-aht-oh-slav'-itcti) 

Pasquale  Amato 
PRINCESS  JAROSLAVNA,  his  wife 

(Ya-roh-slav-nati) .  .  .  Frances  Alda 
VLADIMIR  IGOREVITCH,  his  son 

(Ee-gohr-ay' -vitch} .  .  Paul  Althouse 
PRINCE  GALITZKY  AND  KONTCHAK 
{Gah-litts-kee  and  Kohnt-chak] 

Adamo  Didur 

KONTCHAKOVNA,  his  daughter 
(Kohnt-cha-kohvr -nah) 

Flora  Perini 

OVLOUR  (Ohv-loor) ....  Pietro  Audisio 
SCOULA  (Skoo-lah) .  Andrea  de  Segurola 
EROCHKA  (Ay-roc h-kafi) .  .Angelo  Bada 
A  YOUNG  GIRL.  .Raymonde  Delaunois 

IN  the  Prologue,  which  takes  place 
in  a  square  in  Poutivle,  Prince  Igor 
and  his  expedition  are  about  to  depart 
for  battle  with  an  Oriental  tribe.  An 
eclipse  occurs,  which  overawes  the 
people,  but  Igor  refuses  to  heed  the 
warnings  of  his  wife  and  departs  with 


316 


VICTROLA     BOOK     OF     THE      OPERA 


diversion, and  the  actends  with  a  ballet. 

The  third  act  shows  another  part  of 
the  enemy's  camp,  where  Kontchak' s 
triumphs  over  the  Russians  are  being 
celebrated.  Igor  is  supposed  to  make 
his  escape,  while  Kontchak  orders  his 
soldiers  not  to  pursue. 

The,  last  act  shows  the  city  walls  and 
public  square  in  Poutivle.  Jaroslavna, 
grieving  for  her  absent  husband,  sud- 
denly sees  two  horsemen  approaching, 
and  is  overjoyed  to  recognize  her  hus- 
band and  Ovlour.  Jaroslavna  and  Igor 
go  into  the  citadel,  while  the  rascals, 
Scoula  and  Erochka,  who  have  been 
drinking,  enter  and  sing  a  song  ridi- 
culing Igor  and  praising  Galitzky.  Sud- 
denly they  perceive  Igor  in  the  door  of 
the  citadel,  and  tremble  for  fear  of 
punishment.  "Ring  the  town  bell," 
says  the  resourceful  Scoula,  and  they 
pull  the  rope  lustily.  This  brings  the 
townspeople,  who  greet  their  king  with 
much  rejoicing.  And  all  ends  well. 


his  son  Vladimir,  after  entrusting  the 
care  of  his  wife  to  his  brother,  Prince 
Galitzky,  whose  ambition  it  is  to  usurp 
Igor's  place,  and  who  bribes  the  rogues, 
Scoula  and  Erochka,  deserters  from 
Igor's  army,  to  give  him  their  support. 

Act  I  shows  feasting  and  carousing 
in  the  courtyard  of  Galitzky 's  house. 
Young  girls  bewail  the  fact  that  one  of 
their  number  has  been  abducted  and  is 
kept  a  prisoner  in  Galitzky' s  hold.  They 
ask  for  her  return,  but  the  Prince,  who 
is  actually  the  abductor, frig h tens 
them  and  they  run  away.  Jaroslavna, 
brooding  over  the  absence  of  her  hus- 
band, is  appealed  to  by  the  girls,  but 
on  the  appearance  of  Galitzky  they 
flee  in  terror.  Jaroslavna  reproaches 
her  brother,  but  he  defies  her.  Worse 
troubles  are  in  store  for  her,  however, 
as  a  delegation  of  Boyars  appears  to 
tell  the  Princess  that  Igor  is  wounded 
and  a  prisoner,  together  with  his  son, 
in  the  enemy's  camp.  Distant  flames 
are  seen,  and  the  people  cry  that 
the  enemy  is  advancing. 

As  the  curtain  rises  on  the  second 
act  it  is  evening  in  the  enemy's  camp, 
where  Prince  Igor  and  Vladimir  are 
prisoners.  A  chorus  of  girls  is  singing, 
among  them  Kontchakovna,  daughter  of 
Kontchak,  the  Oriental  chief.  Prince 
Vladimir,  who  has  fallen  in  love  with 
Kontchakovna,  enters  and  tells  the 
young  girl  that  Igor  disapproves  of  his 
attachment  to  the  daughter  of  his 
enemy,  but  she  says  that  her  father 
will  consent  to  their  union.  Igor  ap- 
pears, lamenting  his  predicament,  but 
when  Ovlour,  who  is  on  guard,  offers  him 
ahorse  as  a  means  of  escape,  he  refuses. 
Kontchak  promises  Igor  his  freedom  if 
he  will  agree  never  to  fight  again. 
The  slaves  are  ordered  to  dance  for  his 

DOUBLE-FACED  RECORD 

f  Coro  di  donnc  (Chorus  of  the  Tartar  Women,  Act  II)  (In  Italian) 

Metropolitan  Opera  Chorus  [45133     iQ_\n.t 

|  Coro  e  Danza  (Chorus  of  Slaves,  Act  II)  (In  Italian) 

Metropolitan  Opera  Chorus) 

317 


PHOTO  WHITE 

AMATO    AND    AXDA    AS   THE    PRINCE   AND 
PRINCESS 


SCHUMANN-HEINK 
AS  FIDES 


LE   PROPHETE 


(THE  PROPHET) 


THIS  opera  was  one  of  the  last  of 
Meyerbeer's  works,  representing 
thereforethe  finalchange  of 
style  in  a  curiously  changeable  com- 
poser. Meyerbeer  seems  to  have 
applied  a  special  method  for  each 
work.  The  general  public,  expecting 
another  "Huguenots,"  was  at  first 
somewhat  disappointed;  but  "Le  Pro- 
phete"soon  established  itself,  for  all 
its  gloomy  and  tragical  character,  the 
gorgeous  pageantry  of  the  Cathedral 
scene,  the  brilliant  ballet  and  excellent 
music  serving  to  compensate  for  the 
lack  of  love-interest  and  the  mixed 
character  of  the  "  hero" — who  redeems 
himself  at  the  end  only  by  blowing  up 
a  castle  with  himself  and  his  enemies. 
A  thin  but  tragic  love-romance  gleams 
through  the  work,  but  the  chief  love- 
interest  really  is  that  of  a  mother  for 
her  son,  a  most  unusual  main  theme 


in  opera.  The  plot  is  based  on  the  up- 
rising of  the  Anabaptists  of  the  six- 
teenth century.  This  was  a  semi- 
religious,  semi-social  movement  char- 
acteristic of  the  early  Renaissance 
period.  It  knew  some  qualities  which 
appealed  to  the  downtrodden  masses, 
but  it  was  badly  marred  by  the 
charlatanry  of  its  leaders,  including 
John  of  Leyden,  whose  character 
appears  to  be  the  foundation  for  the 
Prophet  of  the  present  work.  The 
music  was  completed  with  most  lavish 
care  by  Meyerbeer,  and  it  includes 
some  of  his  best-known  arias  and 
concerted  numbers,  such  as  "Ah,  mon 
fils,"  and  the  familiar  "Coronation 
March" — the  latter  still  recognized  as 
one  of  the  great  processional  marches 
and  frequently  used  in  European  state 
functions,  not  to  speak  of  its  popularity 
among  us  here  in  the  United  States. 


THE    OPERA 


OPERA  in  five  acts.  Text  by 
Scribe.  Music  by  Giacomo 
Meyerbeer.  First  presented  in  Paris, 
April  16, 1849.  First  London  pro- 
duction July  24,  1849.  First  Ameri- 
can production  at  the  New  Orleans 
Opera,  April  2,  1850.  First  New  York 
production  November  25,  1854.  Re- 
vived in  1898  at  the  Metropolitan  with 
Brema,  de  Reszke  and  Lehmann;  in 
1903  with  Alvarez  and  Schumann- 
Heink;  in  1909  at  the  Manhattan 
Opera  with  d' Alvarez,  Lucas  and 
Walter-Villa;  and  in  1918  with  Caruso, 
Muzio,  Matzenauer  and  Didur. 

CHARACTERS 

JOHN  OF  LEYDEN  (Ly'-deri),  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  ]  three  f   Bass 

JONAS  Anabaptist       JTenor 

MATHISEN  j          preachers         [   Bass 

Nobles,   Citizens,    Peasants,   Soldiers, 
Prisoners 

Scene  and  Period:  Holland  and  Germany; 

in  i 543)  at  the  Time  of  the  Anabaptist 

Uprising 

(The  original  French  name  of  the 
opera  is  "Le  Prophete,"  Leh  Pro-feht; 
the  Italian,  "II  Proktu,"  Eel  Pro-fay '- 
tah}. 


319 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  I 

SCENE — A  Suburb  of  Dordrecht 

JOHN  OF  LEYDEN  is  the  son  of 
Fides,  a  widowed  innkeeper  of 
Leyden,  a  man  of  strange  mystical 
character.  He  is  about  to  wed  Bertha, 
an  orphan  girl  of  great  beauty.  But 
as  the  girl  is  a  vassal  of  Count  Oberthal, 
and  her  home  in  Dordrecht,  Bertha  is 
obliged  to  seek  the  Count's  consent 
to  her  wedding.  She  and  Fides  go  to 
the  castle  at  a  moment  when  a  group 
of  peasants,  armed  with  sticks  and 
staves,  are  about  to  start  a  riot,  invoked 
by  the  preaching  of  three  Anabaptists. 
The  trouble  is  easily  suppressed  on 
the  appearance  of  the  Count,  his 
followers,  and  his  soldiers,  who  tend 
to  make  merry  over  it.  TheCount 
hears  the  girl's  plea,  but  is  so  im- 
pressed with  her  beauty  that  he 
desires  her  for  himself,  and  he  has  her 
and  Fides  cast  into  the  dungeons  of 
his  castle.  Such  was  ancient  justice. 


ACT  II 

SCENE — The  Inn  of  Fides  in  the  Suburbs 
of  Leyden 

DRIVEN  from  the  castle,  the  three 
Anabaptists  enter  the  inn  of 
Fides,  where  they  meet  John.  They 
are  much  struck  with  his  resemblance 
to  the  portrait  of  the  guardian  saint, 
David,  at  Munster,  and  recognising 
him  as  a  possible  tool,  who  might  pass 
with  the  crowd  as  a  reincarnation,  they 
try  to  persuade  him  into  becoming  a 
leader  in  their  movement.  He  tells 
them  of  a  dream  he  has  had.  In  this 
he  was  venerated  by  a  crowd  of 
people  in  a  great  cathedral;  the  Ana- 
baptists eagerly  strive  to  use  this 
dream  to  work  upon  John's  feelings. 
But  he  refuses  because  of  his  approach- 
ing marriage  to  Bertha.  The  girl  her- 
self, however,  having  escaped  from 
the  castle,  suddenly  appears  with  news 
of  the  Count's  dastardly  act.  She  is 
concealed  by  John  as  the  Count's 


COPY'T  WHITE 

CARUSO    AS    THE    PROPHET 


COPY'T  WHITE,  N.  Y. 
CARUSO  AND  MATZENAUER  AS  JOHN  AND  FIDES 


320 


VICTROLA      BOOK     OF     THE      OPERA 


soldiers  rush  in  to  recapture  her. 
John  refuses  to  betray  her.  He  is  told 
that  unless  he  yields  her  up,  his  own 
mother  will  suffer  death.  In  the 
struggle  between  two  desires,  his 
filial  loyalty  prevails,  and  he  yields 
his  betrothed.  Fides  is  released  and 
sings  her  gratitude  in  one  of  the  most 
pathetic  of  airs,  the  "Ah,  mon  fils!" — 
"Ach,  mein  Sohn!"  (Ah,  My  Son!). 

Left  by  his  mother  to  his  bitter 
reflections,  John  now  hears  the  Ana- 
baptists in  the  distance,  and  he  resolves 
to  join  them  as  a  means  of  vengeance 
against  the  Count.  A  compact  with 
the  three  conspirators  is  soon  made, 
and  they  depart,  leaving  bloodstained 
garments  to  make  Fides  believe  her 
son  has  been  slain  by  the  Count's 


assassins. 


ACT  III 


SCENE — Camp   of  Anabaptists 

ADED  by  Johns  mystical  zealotry 
and  his  resemblance  to  the  saint, 
the  Anabaptists  have  no  difficulty  in 
persuading  the  rabble  that  he  is 
indeed  the  Prophet.  Under  his  leader- 
ship, the  uprising  has  been  partly 
successful,  and  the  rebels  now  stand 
before  the  walls  of  Munster.  An  at- 
tempted attack  on  the  city  has  failed, 
and  the  rebels  are  for  the  moment  out 
of  hand.  Johns  vigorous  preaching, 
however,  restores  them.  He  makes 
them  kneel  and  pray  for  victory.  They 
chant  the  Miserere,  and  John  sings 
his  noble  hymn:  "Re  del  cielo  e  dei 
beati"  (Triumphal  Hymn,  "King  of 
Heaven"). 

ACT  IV 

SCENE  I — A  Public  Square  in  Munster 

^  I  AHE  insurgents  have  captured  the 
A  city,  but  the  Prophet  is  received 
with  mixed  feelings,  some  denouncing 
him  as  an  impostor,  despite  the  plain 
fact  his  leadership  has  won  victory. 
John  is  in  fact  weary  of  the  bloodshed 


he  has  caused.  He  has  led  the  insur- 
gents mainly  because  he  has  known 
Bertha  is  in  the  city.  Now,  for  his  part 
in  the  fighting,  John  is  to  be  solemnly 
crowned  King.  But  on  the  same  day 
his  mother,  in  beggary,  arrives  at 
Munster  intending  to  buy  masses  to 
be  said  for  the  soul  of  the  son  whom 
she  believes  dead.  She  meets  Bertha, 
and  tells  her  that  John  is  dead.  Bertha 
believes  that  his  death  was  caused  by 
the  Prophet  and  goes  out  swearing 
vengeance  on  the  Prophet  himself! 

SCENE  II — The  Munster  Cathedral 

GLITTERING  pageantry,  gorgeous 
decoration,  supplemented  by  peal- 
ing of  bells,  solemn  chants  and  the 
stately  Coronation  March,  have  made 
justly  celebrated  this  scene  of  John's 
enthronement. 

As  John,  in  processional  pomp,  is  led 
into  the  church,  Fides  appears  from 
behind  a  pillar  and,  in  a  transport  of 
joy,  greets  him  as  her  son.  To  ac- 
knowledge this  would  be  to  deny  the 
divine  origin  imputed  to  the  Prophet, 
and  John  is  compelled  to  repudiate  it. 
To  save  her  from  death,  he  pro- 
nounces his  mother  insane  and  obliges 
her  to  kneel  before  him;  then  standing 
over  her  with  hands  upraised  and 
magnetic  fire  in  his  eyes  he  bids  the 
soldiers  slay  him  if  she  should  answer 
to  his  question  that  she  is  his  mother. 
Poor  Fides,  alarmed  for  him,  at  once 
answers"no,"and  all  exclaim, "a 
miracle,"  believing  her  miraculously 
cured  of  her  insanity.  Fides  is  then 
carried  away  to  prison,  and  John 
regains  his  power. 

ACT  V 

SCENE  I— The  Crypt  of  the  Palace 

BEING   certain    that   her   son   will 
contrive  to  see  her,  the  old  woman 
awaits  John  in  her  prison  cell.    She  at 
first  denounces  the  "Prophet's"  con- 
duct, but  later,  with  magnificent  elo- 


321 


VICTROLA     BOOK     OF     THE      OPERA 


COPY  T   WHITE 


JOHN: 

"May  God  the  choice  determine! 
Upon  your  head  fall  the  lightning  of  his  curse!" 


quence,  prays  for  his  penitence  and 
redemption.  This,  of  course,  is  the 
great  "Prison  Scene." 

An  officer  enters,  announcing  the 
arrival  of  the  Prophet,  and  her  sorrow 
is  transformed  to  joy.  When  John 
enters,  Fides  denounces  the  bloody 
deeds  of  the  Anabaptists,  and  she 
calls  on  her  son  to  repent  and  put  off 
his  false  robes.  His  hands  are  reeking 
with  the  blood  of  those  he  has  de- 
ceived by  his  blasphemous  assumptions. 
He  acknowledges  the  truth  of  what  he 
is  hearing,  and  just  as  a  faithful  officer 
enters  to  tell  him  that  his  associates 
have  betrayed  him  to  the  Emporer's 
forces,  he  renounces  his  apostacy  and 
kneels  to  receive  the  blessing  of  his 
mother.  The  Emperor's  troops  are 
marching  on  the  city. 

In  a  moment,  Bertha  enters  through 
a  secret  passage  revealed  to  her  by 
her  grandfather,  once  keeper  of  the 
palace.  She  is  bent  on  slaying  the 
Prophet.  But  on  discovering  him  to 
be  her  former  betrothed,  she  is  torn 


between  irreconcilable  emotions.  Un- 
able to  bear  the  strain  of  love  and  hate 
combined,  she  stabs  herself,  collapsing 
into  the  arms  of  Fides.  John  plans 
a  terrible  vengeance,  in  which  all  shall 
go  to  death  together,  including  himself. 

SCENE  II  —  The  Great  Hall  of  the  Palace 


A?TER  the  Emperor's  troops  have 
forced  an  entrance,  John  orders 
the  gates  closed.  Count  Oberthal,  the 
source  of  all  his  troubles  and  one  of  the 
leaders  of  the  Emperor's  forces,  now 
comes  to  him  saying,  "You  are  my 
prisoner."  But  John  answers"Nay, 
ye  are  all  my  captives!"  He  has 
secretly  had  thecellarsfilled  with 
gunpowder,  and  even  as  he  speaks  a 
terrific  explosion  takes  place;  the 
walls  fall  and  flames  leap  on  every  side. 
Amid  the  lurid  scene  of  death  and 
destruction,  a  woman  with  dishevelled 
hair  rushes  through  the  ruins  into 
John's  arms.  "My  mother!"  he  cries. 
She  has  indeed  come  to  pardon  him  and 
to  share  his  death.  "Welcome,  sacred 


322 


VICTROLA      BOOK.     OF     THE      OPERA 


flame,"  they  chant  together  as  the  fire 
mounts  about  them  and  the  curtain 
falls. 

THE  VICTOR  RECORDS 

ACT  II 
AH,  MON  FILS! 

(Ah,  My  Son!)  ERNESTINE  SCHUMANN- 
HEINK.,  Contralto  In  French 

88187     12-in.,  31.75 
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; 
My  son,  blessed  be  forever  more! 

From  Operatic  Anthology,  by  permission 
"of  G.  Schirmer.  (Copy't  1899) 

ACT  III 

RE  DEL  CIELO  E  DEI  BEATI 

(Triumphal  Hymn,  "King  of  Heaven") 
FRANCESCO  TAMAGNO,  Tenor  In  Italian 

95005     10-in.,  35.00 


ACT  V 

PRISON  SCENE— PART  II 
ERNESTINE  SCHUMANN-HEINK, 
Contralto  In  French     88095     12-in.,  31.75 

FIDES  (alone): 

O!  my  cruel  destiny!  Whither  have  you  led 

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

footsteps. 

I  am  no  longer  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! 

Fioes  (joyfully): 

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! 


DOUBLE-FACED  RECORDS 

/Coronation  March  ................................  Vessella^s  Italian  Band 

I     Carmen  Selection  (Bizet)  .........................  Vessella's  Italian 


,.,  •       «i  ic 
1/'ln>'  *K 


/Coronation  March  ..................................  Arthur  Pryor's  Band\-,.fo^     ,  9  • 

l     Wedding  March  (Sousa)  ................................  Sousa's  Bandi^          U~m'> 


JOHN    DENYING    HIS    MOTHER — ACT   IV 
323 


I  PURITANI 

(THE   PURITANS) 


I  PURITANI  was  the  last  of  Bel- 
lini's operas,  and  with  it  his  all- 
too-brief  career  came  to  a  glori- 
ous end.  Bellini,  like  Chopin,  Mendels- 
sohn, Weber,  Mozart  and  Schubert,  died 
in  "the  fatal  thirties" 
(1801-1835),  being  but 
thirty-fourwhen  attacked 
by  an  insane  delirium  on 
a  visit  to  England  shortly 
after  "I  Puritani"  had 
been  the  success  of  the 
London  season.  His  bi- 
ographer asserts  that  his 
end  was  hastened  by  his 
habit  of  sitting  at  the 
piano  playing  feverishly 
day  and  night  until  he 
was  "obliged  forcibly  to 
leave  it."  The  actual 
cause  of  death  was  prob- 
ably hastened  by  the  pri- 
vations of  a  life  which, 
despite  his  many  suc- 
cesses, really  was  spent 
in  hardship  and  poverty. 
He  received  pitifully 
small  sums  for  his 
numerous  operas. 

Directly  after  his 
death,  on  the  eve  of  his 
funeral,  "I  Puritani"  was  produced 
in  Paris.  Not  many  hours  after  this 
successful  but  dolorous  event  the 
singers  were  repeating  the  melodies 
but  using  the  words  of  the  Catholic 
service  for  the  dead.  As  this  is  not, 
perhaps,  a  cheerful  introduction  to  the 
opera,  we  may  point  out,  not  without 
thankfulness,  that  "I  Puritani"  de- 
parts from  the  usual  run  of  operas 
in  its  having  a  happy  end. 

The  music  of  the  work  is  essentially 
melodious,  and  the  "mad  scene" 
especially  vies  in  popularity  with  that 
of  Donizetti's  "Lucia."  Perhaps, 
however,  the  best  airs  are  written  for 


COPY  T   VICTOR   GEORG 

GALLI-CURCI    AS    ELVIRA 


the  tenor  role,  but  these  lie  so  high 
that  few  can  sing  them  effectively. 
They  were  designed  for  Rubini,  a 
tenor  with  an  exceptional  range.  And 
most  of  them  died  with  Rubini. 

THE  OPERA 

OPERA  in  three  acts. 
Book  by  Count  Pe- 
poli;  music  by  Vincenzo 
Bellini.  First  presented 
at  the  Theatre  I  tali  en, 
Paris,  January  25,  1835, 
with  a  famous  cast — 
Grisi,  Rubini,  Tambu- 
rini  and  Lablache.  First 
London  production, 
King's  Theatre,  May  21, 
1835,  under  the  title  of 
Puritani  ed  i  Cavalieri. 
First  New  York  produc- 
tion, February  3,  1844. 
Produced  at  the  New  Or- 
leans Opera,  March  3, 
1845;  and  at  the  Metro- 
politan Opera  in  1883 
with  Sembrich.  Revived 
in  1906  at  the  Manhat- 
tan Opera,  with  Pinkert, 
Bonci  and  Arimondi;  in 
1908  with  Tetrazzini, 
Constantino  and  de  Segurola;  Galli- 
Curci  at  the  Chicago  Opera;  and  at 
the  Metropolitan  in  1918,  with  Barri- 
entos,  Lazaro  and  de  Luca. 

Scene  and  Period:    England,  near  Ply- 
mouth, in  the  Reign  of  Charles  I 
(The  Italian  name  of  the  opera  is 
pronounced  Ee  Poo-ree-tah'-nee). 

ACT  I 

SCENE  I — Exterior  of  a  Fortress, 
near  Plymouth 

IT  is  a  time  of  Civil  War  in   England, 
when  the  conflict  of  Puritans  and 
Cavaliers  has  arrayed  brother  against 


324 


VICTROLA     BOOK     OF     THE      OPERA 


brother,  father  against  son,  and  shat- 
tered even  the  ranks  of  the  nobility 
upon  the  rocks  of  divergent  ideas.  We 
find  ourselves  in  the  grounds  of  the 
Fortress  held  at  Plymouth  by  the 
Puritans.  Sir  Richard  Forth  has 
learned  that  his  adored  Elvira  has  no 
mind  to  marry  him;  and  rather  than 
urge  her  into  a  union  she  does  not  de- 
sire, her  father  has  consented  to  her 
marriage  with  Lord  Arthur  Talbot,  one 
of  the  hated  Cavaliers.  He  is  so  torn 
with  anguish  and  jealousy  that  he 
little  heeds  the  invitation  of  Bruno  to 
become  one  of  the  Puritan  leaders. 

SCENE  II — Elvira  s  Room  in 
the  Castle 

MEANTIME,  Elvira,  the  daughter 
of  Lord  Walton,  the  Puritan 
Governor-General,  learns  from  her 
uncle,  Sir  George,  that  he  has  per- 
suaded her  father  to  consent  to  her 
marriage  with  the  man  of  her  choice. 
Trumpets  sound  a  shrill  blast  of  wel- 
come, and  to  her  surprise,  entrance  is 
permitted  her  Cavalier  lover  for  the 
express  purpose  of  the  marriage.  She 
greets  Lord  Arthur  rapturously  when  he 
enters,  attended  by  squires  and  pages. 

SCENE  III — A  Vast  Armory  of 
Gothic  Architecture 

THE  wedding  festivities  are  hast- 
ened. Already  the  pages  bring  in 
the  nuptial  gifts,  including  a  splendid 
white  veil,  which  is  soon  to  play  an 
important  part  in  the  drama.  Vil- 
lagers and  soldiers  arrive  and  toast  the 
betrothed  pair,  after  which  Elvira, 
Arthur,  Sir  George  and  Lord  Walton, 
sing  the  famous  quartet,  "A  te  o  cara" 
(Often,  Dearest). 

A  somewhat  mysterious  lady  is  in- 
troduced to  Lord  Arthur,  who  subse- 
quently discovers,  in  a  brief  scene 
alone  with  her,  that  she  is  the  widow 
of  Charles  I,  Queen  Henrietta,  under 
sentence  of  death.  As  a  loyal  Cavalier, 


he  is  naturally  horrified,  and  seeks  a 
way  to  aid  her  escape.  At  this  mo- 
ment Elvira  enters,  in  all  her  charm 
and  gaiety.  She  is  already  dressed  in 
bridal  array,  wearing  the  veil  given 
her  by  Lord  Arthur,  and  in  sport  she 
insists  on  placing  the  veil  over  the  head 
of  the  unhappy  prisoner,  who  smiles 
wanly.  To  Lord  Arthur  this  opens  a 
way  of  escape,  and  when  Elvira  leaves 
the  room,  he  suggests  that  under  cover 
of  the  veil,  the  Queen  may  depart  with 
him  from  the  castle.  To  carry  out  the 
plan  will  mean  the  sacrifice  ot  his  mar- 
riage to  Elvira,  but  to  the  royalist 
Cavalier  this  is  nothing  more  than 
honorable.  The  Queen  is  persuaded, 
and  they  are  about  to  leave  when  Sir 
Richard  Forth  enters,  bent  on  ven- 
geance. Swords  are  drawn,  but  the 
Queen  intervenes.  In  doing  so  her 
veil  is  disarranged,  and  Forth  recog- 
nizing her  and  guessing  the  plan  of 
escape,  bids  them  depart,  perceiving 
that  the  union  of  Elvira  and  Lord 
Arthur  at  once  becomes  impossible. 

The  escape  is  soon  discovered,  and 
Lord  Arthur  is  denounced.  The  effect 
on  the  unhappy  Elvira,  who  supposes 
her  lover  has  deserted  her  on  her 
wedding  day,  is  madness. 

ACT  II 

SCENE — The  Pilgrim  Camp 

IN  the  camp  of  the  Puritans,  Sir 
George  Walton  announces  that  Par- 
liament has  decreed  the  death  of  Lord 
Arthur  for  his  part  in  aiding  the  escape 
of  the  Queen.  Elvira  enters,  a  pathetic 
figure,  to  sing  her  famous  air,  somewhat 
resembling  the"Mad  Scene" in"Lucia," 
"Qui  la  voce"  (In  Sweetest  Accents). 
Her  father  and  Forth  try  vainly  to 
appease  Elvira,  and  her  uncle, hoping 
that  the  sight  of  her  lover  may  restore 
her,  begs  Forth  to  pardon  the  young 
man.  Forth  consents  provided  Arthur 
comes  helpless — and  at  his  own  peril — 
to  the  camp;  but  if  he  comes  bearing 


325 


VICTROLA     BOOK     OF     THE      OPERA 


arms  against  the  Puritans  he  must  die. 
Sir  George  agrees  to  this  and  they 
pledge  themselves  to  fight  together  for 
their  country. 

ACT  III 
SCENE — A  Garden  near  Elvira's  House 

IN  accordance  with  the  plan,  Arthur, 
fleeing  from  the  enemy,  enters  the 
grounds  of  the  castle 
in  hope  to  see  Elvira 
before  leaving  Eng- 
land forever.  She 
issues  from  the  castle, 
pensively  singing  an 
air  which  he  himself 
has  sung  to  her  in 
days  gone  by.  The 
young  man  is  touched 
to  the  heart.  She 
recognizes  Arthur, 
and  better  than  this, 
comprehends  his  ex- 
planation that  his 
acts  were  inspired  by 
loyalty  to  his  Queen. 
She  is  overjoyed  and, 
temporarily  at  least, 
sane.  They  sing  the 
lovely  duet,  "Vieni 
fra  queste  braccia" 
(Come  to  My  Arms). 


COPY  T   WHITE 

SIR  GEORGE  AND  SIR 


Forgetting  present  danger,  they  think 
only  of  their  love  and  the  conscious- 
ness they  are  once  more  in  each 
other's  arms.  But  the  sound  of  a 
drum  reawakens  the  delirium  which 
afflicts  Elvira.  She  cries  out  for 
help,  believing  in  her  madness  that 
Arthur  wishes  to  leave  her.  Her 
cries  have  an  evil  result.  Soldiers  rush 
in,  Arthur  is  recog- 
nized, captured  and 
sentenced  to  death 
on  the  spot. 

Just  as  the  exe- 
cution is  about  to 
take  place,  however, 
a  messenger  arrives, 
bearing  news  that 
the  Stuart  forces 
have  been  defeated, 
and  that  Cromwell 
has  granted  pardon 
to  all  captives. 
Elvira's  reason  at 
last  returns,  and  the 
lovers  are  united.  In 
this  case,  all  is  well. 
Few  operas  end  so 
happily,  a  circum- 
stance well  worth 
rememberinginaday 

RICHARD-I  PURITANI 


THE  VICTOR  RECORDS 

(Sung  in  Italian) 


QUI  LA  VOCE 

(In      Sweetest 


ACT  II 


MARCELLA 


Accents) 

SEMBRICH,  Soprano       88105     12-in.,  31.75 
AMELITA  GALLI-CURCI,  Soprano 

74558     12-in.,     1.75 
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  I  die!  (Her  mood  changes.) 

'Tis  no  dream,  by  Arthur,  oh,  my  love! 

"Ah,  thou   art   smiling — thy  tears  thou  driest. 

Fond  Hymen  guiding,  I  quickly  follow! 

(Dancing  toward  Richard) 

Come  to  the  altar! 


DOUBLE-FACED    RECORD 


f  Quartet  from  Puritani  ...........  .  ................  Vessellas  Italian 

X     Mirella  Overture—  Allegro  (Gounod)  ...............  Vessellas  Italian  Eand 


,  ^  . 
12'm'' 


326 


REGINA  DI   SABA 

(THE   QUEEN  OF   SHEBA) 


MOSENTHAL'S  story  tells  of 
the  struggle  ol  Assad,  a  court- 
ier of  Solomon,  against  fleshly 
temptation,   and   of  his   final   victory 
which  involves  the  sacrifice  of  the  hap- 
piness of  his  betrothed,  Sulamith. 

For  this  text  Goldmark  has  written 
some  of  the  most  beautiful  and  original 
music  in  the  entire  range  of  opera, 
and  it  is  an  interesting  detail  that  after 
he  had  finished  his  work  and  had  sub- 
mitted it  to  the  Imperial  Opera,  Vienna 
it  was  not  accepted  on  the  ground  that 
it  was  too  "exotic"!  Later,  through 
the  influence  of  Princess  Hohenlohe,  it 
was  presented,  and  it  became  a  success. 

THE  OPERA 

OPERA  in  four  acts.  Text  by 
Mosen thai, founded  upon  the 
Biblical  mention  of  the  visit  of  the 
Queen  of  Sheba  to  Solomon.  Music 
by  Goldmark.  First  production  1875, 
in  Vienna.  In  New  York,  December 
2,  1885,  with  Lehmann  and  Fischer. 
English  version  given  by  the  National 
Opera  Company  in  1888.  Given  No- 
vember 29,  1889,  at  the  Metropolitan 
with  Lehmann,  which  was  the  last  New 
York  production  until  the  revival  in 
1905,  with  Walker,  Rappold,  Knote 
and  Van  Rooy. 

CHARACTERS 

KING  SOLOMON Baritone 

HIGH  PRIEST Bass 

SULAMITH  (Soo-lah-mit),  his 

daughter Soprano 

ASSAD  (Ahs-sadd),  Solomon's 

favorite Tenor 

QUEEN  OF  SHEBA Mezzo-Soprano 

ASTAROTH  (Ahs-ta-roht) ,  her 

slave  (a  Moor) Soprano 

Priests,  Singers,  Harpists,  Bodyguards, 

Women  of  the  Harem,  People. 

SCENE — Jerusalem  and  Vicinity. 


THE  wisdom  and  fame  of  Solomon 
havingreachedeven  distant  Arabia, 
the  Queen  of  Sheba  decides  to  visit  him, 
and  a  favorite  courtier,  Assad,  has  been 
sent  to  meet  her  and  escort  her  to  the 
city.  When  Assad  arrives  with  the 
Queen,  his  betrothed,  Sulamith,  is  as- 
tonished to  find  him  pale  and  embar- 
rassed, and  trying  to  avoid  her.  Assad 
afterward  confesses  to  Solomon  that  he 
has  met  a  beautiful  woman  at  Lebanon 
and  has  fallen  in  love  with  her.  When 
the  Queen  of  Sheba  arrives  and  removes 
her  veil,  Assad  is  astounded  to  recog- 
nize in  her  the  mysterious  woman  who 
has  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  atten- 
tion 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,  "Magiche  note"  (Magic 
Tones !) 

The  Queen  and  Assad  soon  meet  and 
confess  their  love  for  each  other,  but 
are  interrupted  by  the  arrival  of  the 
night  guard. 

In  the  next  scene  the  Court  assem- 
bles 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.  This  is  a  fascinating  opera. 

THE  VICTOR  RECORD 

MAGICHE  NOTE 

(Magic  Tones)  ENRICO  CARUSO,  Tenor 
In  Italian  87(M1     10-in.,  ?1.25 


327 


PHOTO  REMBRANDT 


SOLOMON    RECEIVING     THE    QUEEN ACT    I 


LA  REINE  DE  SABA 


(QUEEN  OF   SHEBA) 


ERETNE  DE  SABA  is  one  of  the 
four  operas  which  Gounod  com- 
posed between  his  "Faust" 
(1859)  and  "Romeo"  (1867).  Text 
by  Jules  Barbier  arfld  Michel  Carre. 
Music  by  Gounod.  First  performed 
at  the  Opera,  Paris,  February  28, 1862. 
An  English  version  called  Irene,  by 
Farnie,  was  given  in  London  at  the 
Concert  Palace,  August  12, 1865.  First 
American  production  at  the  New 
Orleans  Opera,  January  12,  1889. 

CHARACTERS 

KING  SOLOMON Bass 

BALKIS  (Bahl-kees),  Queen  of 

Sheba Soprano 

ADONIRAM  (Ah-don-ee-rahm) , 

a  sculptor Tenor 

BENONI  (Ben-ohn-ee),  his  assist- 
ant. .  .Tenor 


PHANOR  1  [Baritone 
AMRU  I  workmen  |  Tenor 
METHUSALLJ  Bass 

SARAHIL,  maid  to  the  Queen .  Contralto 
SADOC Soprano 

The  Action  takes  place  in  Jerusalem 

ACT  I 

THE  curtain  rises,  disclosing  the 
sculptor  at  work  on  an  important 
group  of  statuary.  Benoni  enters  and 
informs  him  that  the  King  desires  his 
presence,  as  the  Queen  of  Sheba  is  ex- 
pected to  arrive  at  any  moment.  As 
Adoniram  prepares  to  leave  the  studio 
his  workmen  demand  higher  wages,  but 
he  refuses  them  and  they  go  out  mut- 
tering threats. 

Adoniram,sa\d  to  be  descended  from  a 
divine  race,  the  "Sons  of  the  Fire, "holds 
in  contempt  all  earthly  greatness,  and 
treats  the  King  as  the  son  of  a  shepherd. 


328 


VICTROLA      BOOK     OF     THE      OPERA 


The  works  which  earned  for  Solomon 
the  surname  "the  Wise"  are  supposed 
in  reality  to  have  been  executed  by 
Adoniram. 

The  Queen  arrives  and  is  welcomed 
by  King  Solomon  and  the  people. 
The  Queen  has  promised  to  marry  King 
Solomon ,  and  gives  him  a  ring.  When 
Adoniram  is  presented  to  her  as  one  of 
Palestine's  great  artists,  she  seems 
greatly  impressed  by  the  handsome 
young  sculptor,  and  begins  to  regret 
her  engagement.  To  please  her  Adoni- 
ram, by  sorcerer's  signs,  collects  a  vast 
army  of  workmen  from  every  point  in 
the  city,  and  his  great  influence  alarms 
even  the  King  himself. 

ACT  II 

KING  SOLOMON  and  the  Queen 
have  promised  to  come  and  see 
the  final  casting  of  Adoniram' s  master- 
piece, and  he  is  preparing  for  this  event 
singing  the  "Prete  moi  ton  aide"  (Lend 
Me  Your  Aid),  invoking  the  spirits  of 
his  forefathers  to  bless  the  work,  when 
Benoni  enters  hurriedly  and  reveals  a 
plot  of  the  workmen  who  have  stopped 
the  channels  so  that  the  melted  bronze 
cannot  flow.  His  information  comes 
too  late,  and  the  molten  mass  over- 
flows, apparently  ruining  the  statue. 

ACT  III 

A)ONIRAM  meets  the  Queen  of 
Sheba  and  she  soon  confesses  her 
love  for  him.  He  is  at  first  inclined  to 
repel  her  advances,  but  soon  falls  under 
the  spell  of  her  fascinations  and  clasps 
her  in  his  arms.  He  tells  her  that  he 
also  is  of  her  race,  the  Nimrod.  The 
faithful  Benoni  hurriedly  enters  in. 
search  of  Adoniram,  telling  him  that 
despite  the  plot  of  the  workmen,  the 
statue  has  been  successful. 

ACT  IV 

A  DONIRAM  is  received  by  Solo- 
±\.  mon  and  the  Court  and  he  is  pro- 
claimed the  greatest  sculptor  of  the 


time.  All  leave  the  hall  except  Solo- 
mon and  the  Queen,  who  gives  a  sign  to 
her  maid,  Sarahil,  to  bring  a  draught 
which  she  presents  to  Solomon.  He 
soon  falls  asleep  at  the  feet  of  the 
Queen,  who  takes  the  ring  from  his 
finger  and  leaves  the  Palace. 

ACT  V 

A  DONIRAM  and  the  Queen  have 
I\.  planned  to  fly  together.  They 
already  approach  the  meeting  place, 
when  three  of  Adoniram 's  discontented 
workmen,  bent  on  revenge,  inform 
Solomon  of  the  secret  meetings  be- 
tween Adoniram  and  the  Queen,  and  he 
decrees  that  the  sculptor  must  die.  As 
they  set  out  together  for  Jerusalem 
they  are  overtaken  by  the  messengers 
of  the  King,  who  set  upon  and  stab 
Adoniram.  The  Queen  hurries  to  his 
side  and  falls  on  his  body,  cursing  his 
murderers  and  Solomon,  while  the  dying 
man  offers  a  last  protestation  of  his 
love,  and  expires  in  her  arms. 

THE  VICTOR  RECORDS 

PRETE-MOI  TON  AIDE 

(Lend  Me  Your  Aid)  ENRICO  CARUSO, 

Tenor  In  French  88552     12-in.,  31.75 

EVAN  WILLIAMS,  Tenor     In  English 

64096     lain.,     1.25 

Lend  me  your  aid,  Oh  race  divine, 

Fathers  of  old  to  whom  I've  pray'd, 

Spirits  of  pow'r,  be  your  help  mine, 

Lend  me  your  aid,  Fathers  of  old 

To  whom  I've  pray'd,  O  lend  your  aid! 

Oh  grant  that  my  wild  dream  be  not  vain, 

That  future  time  shall  owe  to  me 

A  work  their  bards  will  sing  in  their  strain, 

Tho'  Chaos  still  an  iron  sea! 

From  the  caldron  the  molten  wave 

Soon  will  flow  into  its  mould  of  sand, 

And  ye,  O  sons  of  Tubal  Cain, 

Fire,  Oh  fire  my  soul,  and  guide  my  hand! 

Lend  me  your  aid,  Oh  race  divine, 

Fathers  of  old  to  whom  I've  pray'd, 

Spirits  of  pow'r,  be  your  help  mine, 

Lend  me  your  aid! 


329 


KERD. LEEKE 


FASOLT: 

Should  we  not  find 

The  Rheingold  fair  and  red, 

Freia  is  forfeit! 

(Rheingold,"  Act  I.) 


330 


DAS   RHEINGOLD 


(THE   RHINEGOLD) 


MUSIC-DRAMA  in  four  scenes. 
Words  and  music  by  Richard 
Wagner.  First  produced  at 
Munich,  September  22,  1869.  First 
American  production  January  4,  1889, 
with  Fischer  and  Alvary.  Annual  per- 
formances given  at  the  Metropolitan 
in  recent  years  with  many  famous 
artists:  Soomer,  Reiss,  Jorn,  Goritz, 
Burrian,  Ober,  Fremstad,  Ruysdael, 
Witherspoon,  Matzenauer,  Homer,  etc. 

CHARACTERS 

Gods 

WOTAN  (Vo'-tahn) Baritone 

DONNER  (Dohn'-ner) Bass 

FROM  (Froh) Tenor 

.  LOGE  (Loti-geh} Tenor 

Giants 

FASOLT  (Fah-zohlf) Bass 

FAFNER  (Fahf'-ner) Bass 

Nibelungs  (Gnomes) 

ALBERICH  (Ahl'-ber-ich) Baritone 

MIME  (Mee'-meh) Tenor 

Goddesses 

FRICKA  (Frik'-ah} Soprano 

FREIA  (Fry'-ah) Soprano 

ERDA  (Air'-dah) Contralto 

Nymphs  of  the  Rhine 

WOGLINDE  (Vog-lin-deh) Soprano 

WELLGUNDE  (V ell-goon' -deh).  .Soprano 
FLOSSHILDE  (Floss-hill1 -deh) .  Contralto 

(The    name    of   the    opera    is   pro- 
nounced Dass  Rine'-goldi) . 

THE  OPERA 

SCENE  I — The  Bottom  of  the  Rhine 

WITH  extraordinary  skill,  Wagner 
makes   a   listener   feel   that  the 
Rhine   is    the   source   of  all   German 
legend.    Wishing  to  picture  this  mighty 
giant  of  rivers  in   a  peaceful  mood, 


symbolical  of  the  quiet  that  reigned 
before  the  rape  of  the  Gold,  he  gives 
us  a  prelude  which  begins  on  a  single 
note — a  low  E  flat  (usually  supplied 
by  a  pipe-organ),  above  which  the 
chord  of  E  flat  is  allowed  to  grow  in 
wave-like  rhythms  with  gradually  in- 
creasing intensity  for  a  long  period. 
The  chord  is  in  fact  maintained  for 
136  bars,  the  only  case  on  record  of  a 
chord  held  so  long  without  monotony. 
When  the  curtain  rises  we  behold  a 
strange  world  below  the  surface  of 
the  water,  where  in  the  submarine 
gloom  the  three  Rhine  maidens  swim 
about  the  huge  rock  on  which  the  gold 
is  stored,  singing  their  quaint  and 
beautiful  song. 


MOTIVE    OF   THE    RHINE    MAIDENS 

They  have  a  visitor  in  Alberich^  a 
hideous  dwarf  of  the  race  of  Nibelungs 
or  gnomes,  who  dwell  in  the  dark  caves 
beneath  the  mountains.  Alberich  pas- 
sionately desires  the  maidens,  who 
swim  elusively  into  his  grasp  and  away 
before  he  can  seize  them.  Suddenly, 
a  beam  from  the  rising  sun  pierces  the 
waters,  making  the  gold  shine  with  a 
singular  glow  (marvellously  portrayed 
in  the  music),  and  Alberich  learns  that 
whosoever  will  renounce  the  love  of 
women,  and  fashion  some  of  the  gold 
into  a  ring,  can  be  master  of  the  world. 
The  maidens  believe  that  the  lovesick 
dwarf  is  so  amorously  inclined  that 
the  gold  is  in  no  danger;  but,  knowing 
that  he  is  powerless  to  win  their  love, 
he  suddenly  changes  love  into  ambi- 
tion, and  renouncing  Woman  forever, 
he  seizes  the  gold  and  bears  it  away. 
The  maidens  bewail  their  loss  with  har- 
monies of  incredible  pathos,  swimming 


331 


VICTROLA     BOOK     OF     THE      OPERA 


half-blindly  now  in  the  green  darkness 
which  follows  the  loss  of  the  treasure. 
The  dwarf's  mocking  laughter  is  their 
only  reply. 

SCENE  II — A  Mountain  Top,  Showing 
the  Castle  of  Walhalla 

MEANWHILE,  there  is  trouble  in 
the  heavens.  Egged  on  by  Loge, 
the  god  of  fire,  Wotan,  the  father-god 
of  all,  has  had  the  giants,  Fafner  and 
Faso/f,  build  for  him,  in  a  single  night, 
the  great  castle  of  Walhalla.  The 
price  of  this  is  to  be  Freia,  the  goddess 
of  youth  and  beauty,  from  whose  gar- 
den the  gods  must  each  day  eat  an 
apple  lest  they  perish.  The  darkness 
of  the  previous  scene  is  gradually  il- 
lumined till  we  discover  ourselves  near 
a  grassy  eminence,  where  Wotan  and 
his  wife,  Fricka,  lie  sleeping.  In  the 
distance  is  the  towering  new  castle. 
Wotan  awakens  rejoicing;  but  Fricka 
is  alarmed  for  Freia.  Wotan  tries  un- 
successfully to  calm  her,  telling  how 
he  has  sent  Loge  to  earth,  in  hope  to 
find  a  substitute  there.  Suddenly 
Freia  enters  in  deep  distress,  followed 
by  the  giants,  and  by  her  brothers 
Donner  and  Froh.  The  giants  demand 
pay  for  their  labor.  Wotan  tries  vainly 
to  laugh  them  out  of  it,  uneasily 
"playing  for  time"  till  Loge  shall  re- 
turn. After  a  long  discussion,  Loge 
appears.  He  has  scoured  the  earth, 
and  has  found  but  one  soul  willing  to 
renounce  the  love  of  women  for  the 
sake  of  treasure.  That  is  Alberich,  who 
now  rules  the  underworld  by  virtue 
of  the  ring  he  has  fashioned  from  the 
Rhinegold.  The  giants  at  length  con- 
sent to  accept  the  treasure  in  place  of 
Freia.  They  take  Freia  away  as  host- 
age, and  the  gods,  deprived  of  their 
golden  apples,  at  once  become  languid 
and  faint.  Wotan  then  proceeds  with 
Loge  to  the  domain  of  Alberich,  passing 
through  the  sulphurous  crevices  of  the 
rocks.  The  dwarf  must  be  made  to  pay. 


SCENE  III — Albericti s  Cave 

NOW  master  of  the  underworld, 
Alberich  develops  into  a  tyrant. 
With  a  scourge  he  forces  Mime  to 
make  him  a  magic  cap  or  helmet, 
known  as  the  Tarnhelm,  which  has  the 
property  of  making  invisible  him  who 
wears  it,  or  of  converting  him  into 
some  other  animal  at  will.  Mime  has 
hoped  to  wear  it  himself  and  thus 
escape  his  cruel  master,  but  Alberich 
is  too  quick  and  too  powerful  through 
the  magic  aid  of  the  Ring,  so  he  places 
the  helmet  on  his  own  head.  Now 
unseen  he  administers  to  Mime  a  ter- 
rific beating,  and  he  departs,  chuckling, 
to  terrify  his  workers  afresh  with  the 
fear  of  an  invisible  master,  forever 
watching  over  them.  While  he  is  ab- 
sent, Wotan  and  Loge  appear,  and 
Loge  soon  learns  from  Mime  of  the 
Tarnhelm  s  magic  properties,  rep- 
resented by  a  "leit-motiv"  or  theme 
in  the  music: 


r  b;  \& 

kAU  F 

d^- 

£*£ 

^0 

« 

^ 

P 

H^4 

i£p 

s 

p 

Alberich  soon  returns,  and  through 
the  flattery  of  Loge  is  persuaded  to  ex- 
hibit the  powers  of  the  magic  helmet. 
Loge,  also,  has  his  leit-motiv,  a  strangely 
flickering  chromatic  passage,  typifying 
fire.  First,  for  the  entertainment  of 
his  visitors,  Alberich  converts  himself 
into  a  huge  serpent,  whereat  Wotan 
and  Loge  simulate  fear.  Asked  if  he 
can  turn  himself  into  a  small  animal 
also,  Alberich  becomes  a  frog.  Wotan 
quickly  puts  his  foot  on  the  frog  and 
seizes  the  helmet.  Thus  robbed,  Alber- 
ich returns  to  his  normal  shape  but 
remains  in  the  power  of  the  gods. 
As  the  price  of  his  freedom  they  de- 
mand the  Rhinegold.  And  Alberich 
pays.  Later,  the  rest  of  his  world  shares 
in  the  payment.  A  strange  story, 
strange  in  music  and  action,  unfolds. 


332 


VICTROLA     BOOK     OF     THE      OPERA 


SCENE  IV — Same  as  Scene  II 

WOT  AN  and  Loge  bring  the  hap- 
less dwarf  into  the  upper  world, 
and  they  hold  him  fast  while  his  myr- 
midons bring  forth  the  treasure  gold 
of  his  caves.  Alberich  entreats  to  be 
set  free,  but-Wotan  demands  the  Ring 
also.  And  he 
is  inexora- 
ble. Before 
yielding  the 
Ring,  how- 
ever, the 
dwarf  lays 
a  frightful 
curse  upon 
it,  predict- 
ing that  it 
will  bring 
misery  and 
death  to  each 
new  posses- 
sor until  it 
comes  back 
again  to  the 
Nibelungs. 
The  "curse" 
theme  plays 
a  great  part 
in  the  sub- 
sequent dra- 
in as,  com- 
bining with 
others,  in- 
deed, to 
make  new 
themes. 


PANEL    BY    HUGO    BRAUNE 


THE  GODS  ENTER  WALHALLA — SCENE  IV 


i^nn  i^rr 


Wotan  wastes  little  attention  upon 
the  curse,  putting  on  the  Ring,  and 
gazing  at  it  with  admiration.  The 
giants,  who  have  taken  Freia  as  host- 
age for  the  treasury,  now  demand  pay- 
ment, stipulating  that  the  gold  shall 
be  piled  about  her  until  she  is  com- 
pletely covered.  The  gold  is  stacked 
until  only  a  small  chink  remains, 


through  which  she  still  is  visible.  This 
can  be  filled  only  by  the  ring  itself, and 
PPotan,  knowing  its  magic  properties, 
refuses  to  part  with  it,  desiring  it  for 
himself  and  fearing  its  power  in  the 
hands  of  the  giants.  Fafner  and  Fasolt 
seize  Freia  once  more,  and  Erda,  the 
goddess  of  the  earth  arises  from  the 

slumbering 
valley  to 
warn  Wotan 
of  danger  if 
he  persists 
in  refusing. 
Fricka  'nags' 
too,  and 
Wotan  is 
compelled 
to  yield  it. 
No  sooner 
do  the  giants 
take  the 
Ring  than 
the  Curse  be- 
gins to  work. 
They  fight 
over  the 
treasure,and 
Fasolt ,  to  the 
horror  of  the 
gods,  is  slain 
by  Fafner, 
who  departs 
with  the 
gold.  Don- 
ner  then,  in 
a  great  storm 
(which  is 
marvellously  suggested,  in  the  music) 
makes  a  rainbow  bridge  to  the  cas- 
tle of  Wai  hall  a  and  the  gods  then 
enter  in  state,  the  Walhalla  theme 
being  heard  in  all  its  glory: 


WALHALLA-MOTIVE 


333 


GALLI-CimCl 

AS    GILD  A 


RIGOLETTO 


GREATLY  desiring  a  newlibretto 
for  the  Venice  Opera,  Verdi  re- 
quested Piave  to  adapt  Victor 
Hugo's  play,  "Le  Roi  s 'Amuse," 
which,  in  spite  of  its  morals,  was  recog- 
nized by  the  composer  to  possess  oper- 
atic possibilities.  A  libretto  was  soon 
written,  the  suggestive  French  title 
being  changed  to  "La  Maledizione." 
The  work  was  urgently  needed,  and 
dismay  followed  the  flat  refusal  of  the 
police  to  grant  permission  for  the  per- 
formance of  a  work  in  which  a  king  was 
shown  in  such  dubious  character.  It 
will  be  remembered  that  Venice  was 
then  in  Austrian  hands,  and  but  a 
short  time  previously,  1848-49,  there 
had  been  an  Italian  insurrection.  As 
Verdi  refused  to  consider  any  other 
plan,  the  management  was  in  despair. 
Help  arrived  from  an  unexpected  quar- 
ter, for  the  Austrian  police  chief,  Mar- 
tello,  was  an  ardent  musical  and  dra- 
matic enthusiast,  and  a  great  admirer  of 
Verdi.  He  perceived  that  by  substi- 
tuting the  Duke  of  Mantua  for  Francois 
7,  and  by  changing  the  title  to"Rigo- 
letto"  and  arranging  that  all  the  curses 
should  fall  upon  the  duke  of  a  small 
town,  the  work  could  be  presented 


without  any  material  changes  in  the 
original  dramatic  situations.  Verdi  was 
reasonable  over  all  but  fundamental 
things, and  accepted  thechanges, 
He  went  to  Busseto,  near  his  birth- 
place in  the  mountains,  and  came  back 
within  six  weeks  with  the  completed 
score.  The  situation  was  saved,  and  a 
brilliant  success  was  the  result. 

Though  it  precedes  "II  Trovatore" 
and  "La  Traviata"  by  two  years,"  Rigo- 
letto"  is  generally  classed  with  them  as 
representing  one,  if  not  the  final,  high 
water  mark  in  the  master'sdevelopment. 
These  works  established  Verdi's  Euro- 
pean reputation  asan  operatic  composer 
of  the  first  rank,  for  they  possessed 
beauties  of  melody,  harmony  and  or- 
chestration, and  subtleties  in  the  pre- 
sentment of  character,  somewhat  be- 
yond his  previous  works. 

They  would  have  established  him 
"for  all  time,"  even  though  they  had 
not  been  succeeded  by  such  achieve- 
ments as  "Un  Ballo  in  Maschera," 
"La  Forza  del  Destind,"  "Don  Carlos," 
and  the  tremendous  "Aida," — not  to 
mention  his  greatest  works  of  all, 
"Otello"  and  "Falstaff,"  the  fruit  of  his 
old  age. 


TH  E    OPERA 


OPERA  in  three  acts.  Text  by 
Piave,  adapted  from  Victor 
Hugo's  drama  Le  Roi  s'  Amuse.  Music 
by  Giuseppe  Verdi.  First  produced 
in  Venice,  March  11,  1851.  First  Lon- 
don production  at  Coven t  Garden, 
May  14,  1853;  at  the  Italiens,  Paris, 
January  19,  1857.  Produced  at  the 
New  Orleans  Opera  March  19,  1860, 
and  in  New  Orleans  on  February  6, 
1861,  Patti  sang  in  the  opera  for  the 
first  time.  First  New  York  produc- 
tion November  2,  1857,  and  since  that 
time  the  opera  has  seldom  been  absent 


from  the  American  stage.  Clara  Louise 
Kellogg  made  her  debut  in  opera,  Feb- 
ruary 26,  1861,  as  Gilda,  at  the  old 
Academy  of  Music,  New  York;  Ma- 
retzek  was  the  conductor  and  Theo- 
dore Thomas  played  first  violin  in 
the  orchestra.  A  notable  performance 
occurred  November  23,  1903,  at  the 
Metropolitan  Opera  House,  when 
Caruso  made  his  American  debut. 
November  4,  1912,  RufFo  made  his 
debut  in  the  United  States  at  the 
Metropolitan  Opera  House,  Philadel- 
phia, as  Rigoletto. 


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VICTROLA     BOOK     OF     THE      OPERA 


COPY  T  DUPONT 

CARUSO  AS  THE  DUKE 


CHARACTERS 

RIGOLETTO  (Ree-goh-let'-toh),  a 
hunchback,  jester  to  the 
Duke Baritone 

DUKE  OF  MANTUA,  a  titled  prof- 
ligate   Tenor 

GILDA  (Jeel'-dah},  daughter  of 

Rigoletto Soprano 

SPARAFUCILE  (Spahr-ah-foo-chee- 

leh),  a  hired  assassin Bass 

MADDALENA  (Mad-dah-lay' -naK) 

his  sister Contralto 

COUNT    MONTERONE     (Mon-ter- 

oh'-nay) Baritone 

COUNT  CEPRANO  (Chay-prah'noh} .  .Bass 
Courtiers,  Pages,  Servants 

Scene  and  Period:  Mantua  and  Vicinity; 
Sixteenth  Century 

ACT  I 

SCENE  I — Ballroom  in  the  Duke's 
Palace 

A  FETE  is  in  progress  at  the  Ducal 
Palace,  where  the  cynical  and 
licentious  Duke  confides  to  a  courtier 
that  he  is  pursuing  a  lovely  unknown 
whom  he  has  seen  in  church,  every 
Sunday  during  the  past  three  months. 
She  lives  in  a  remote  part  of  the  city, 
where  a  mysterious  man  visits  her 
nightly.  His  interest  in  this  romantic 


COPY  T  MISHKIN 

RENAUD  AS  RIGOLETTO 

adventure,  however,  does  not  prevent 
him  from  admiring  the  Countess  Ce- 
prano, who  is  dancing  near  them.  His 
listener  warns  him  that  the  Count 
might  hear,  but  the  Duke  shrugs  his 
shoulders  indifferently.  He  gives  vent 
to  his  philosophy  of  such  matters  in  his 
first  air:  "Questa  o  quella,"- -"Qu'une 
belle"  (Mid  the  Fair  Throng). 

It  is  a  smooth,  flowing  melody  which 
in  itself  is  a  clue  to  the  Duke's  charac- 
ter. It  is  gay,  yet  there  flows  through 
it  an  undercurrent  of  irony. 

The  Duke  dances  with  the  Countess, 
but  is  watched  by  Ceprano;  the  fervent 
manner  in  which  he  kisses  her  hand  is 
not  lost  upon  the  jealous  husband. 
Nor  does  it  escape  the  hunchback  Rigo- 
letto, who  discharges  a  bit  of  raillery  at 
Ceprano' s  expense.  The  Duke  goes  ofF, 
and  Ceprano  follows.  Rigoletto  also 
disappears,  and  the  courtiers  listen  to 
the  gossip  Marullo,  who  tells  them 
Rigoletto  is  in  love,  and  that  he  pays 
nightly  visits  to  his  sweetheart.  There 
is  much  laughter  over  the  hunchback, 
pander  to  the  Ducal  romances,  turned 
Cupid.  The  Duke  returns  with  Rigo- 
letto, Ceprano  still  following,  and  some- 
thing like  a  scene  develops  as  Rigoletto, 
under  cover  of  the  Duke's  protection, 
talks  satirically  of  Ceprano. 

The  courtiers  long  have  chafed,  as  it 


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VICTROLA      BOOK     OF     THE      OPERA 


happens,  under  the  immoralities  of  the 
Duke,  abetted  by  Rigoletto,  and  so 
Ceprano  plans  vengeance.  Matters 
come  to  a  head,  however,  with  the  en- 
trance of  Monterone,  an  aged  courtier 
whose  wife  was  first  a  victim  of  the 
ducal  passions,  and  afterwards  his 
daughter.  He  protests  with  such  vigor 
that  Rigoletto  steps  between  him  and 
the  Duke,  with  the  flippant  "Ch'io  le 
parli"  (I  Will  Speak  to  Him). 

Rigoletto  coarsely  ridicules  the  old 
man,  which  enrages  him  beyond  all 
reason.  He  utters  a  fearful  curse,  a 
father's  malediction,  against  the  Duke 
and  his  hunchback.  This  creates  a  pro- 
found sensation  among  the  courtiers. 
Even  the  Duke  is  scared,  so  he  orders 
the  man  arrested.  The  old  Count  is 
taken  out,  but  Rigoletto  in  his  own 
turn,  is  genuinely  terrified.  Like 
many  of  no  conscience  he  is  profoundly 
superstitious,  where  his  daughter  is 
concerned;  for  the  "sweetheart"  Mar- 
ullo  speaks  of  is  in  truth  his  own  child, 
whom  he  keeps  secluded  against  harm. 
He  is  above  all  suspicious  of  the  Duke, 
And  well  he  need  be,  for  the  girl  whom 
the  Duke  has  remarked  at  Church  is 
none  other  than  Gilda,  the  hunchback's 
beautiful  daughter. 

SCENE   II — A  -Street.     Rigoletto  s 
Cottage  on   one  side,  opposite  the 

Palace  of  Count  Ceprano 
'"TpHE  jester  steals  away  to  the  house 
J_  where  Gilda  lives  concealed.  He 
is  deeply  oppressed  by  Monterone' s 
malediction.  In  the  street  he  is  ac- 
costed by  Sparafucile,  a  professional 
bravo  who  offers  to  make  him  rid  of 
the  enemy,  if  he  has  one.  The  assassin 
confides  that  his  method  of  work  is  to 
lure  people  to  his  home  on  the  out- 
skirts of  the  town,  through  his  charm- 
ing sister,  there  to  make  away  with 
them  with  his  trusty  knife.  Rigoletto 
promises  to  bear  the  rascal  in  mind. 
He  dilates  to  himself,  on  the  re- 


semblance of  their  two  methods,  for 
while  Sparafucile  stabs  men  with  a 
dagger,  Rigoletto  uses  with  equal  skill, 
his  poisonous  tongue,  and  it  is  hard  to 
say  which  is  the  more  deadly.  This 
soliloquy  is  the  famous  "Monologo — 
Pari  siamo"  (We  Are  Equal), — 
Rigoletto's  Monologue. 

Rigoletto  s  affection  for  Gilda  seems 
the  one  redeeming  feature  in  his  black 
character.  When  he  enters  the  court- 
yard of  his  house,  the  girl  runs  out 
to  meet  him,  and  the  scene  between 
them  is  touching  in  its  display  of 
genuine  affection.  Gilda,  who  is  lonely, 
and  knows  nothing  of  her  origin,  asks 
him  of  her  mother,  and  a  pathetic  duet 
follows,  the  "Deh  non  parlare  al 
misero"  (Recall  Not  the  Past). 

Rigoletto  embraces  her  tenderly,  but 
recalling  the  curse,  he  solemnly  enjoins 
her  to  remain  strictly  within  the  house 
and  never  to  venture  into  the  town. 
He  even  questions  her  to  know  if  any- 
body has  followed  her  to  church,  but 
Gilda  keeps  silent  regarding  the  man 
whom  she  has  met  there.  Even  while 
they  converse,  the  Duke,  disguised  as 
a  student,slips  into  the  courtyard  under 
cover  of  the  increasing  darkness  and 
hides  behind  a  tree,  throwing  a  purse 
to  Giovanna,  the  maid. 

Soon  as  Rigoletto  has  departed;  the 
Duke  comes  forward.  Gilda,  alarmed, 
bids  him  begone;  but  he  knows  well 
how  to  calm  her  fears,  and  soon  a  love- 
duet  is  heard, — the  "E  il  sol  dell'anima" 
(Love  is  the  Sun). 

After  a  tender  farewell,  the  Duke 
leaves  her  first  declaring  his  name  is 
Walter  Malde.  Gilda  remains  pensive, 
and  when  he  is  gone,  she  dreams  of  her 
wonderful  lover  in  an  air  that  will 
always  remain  a  favorite, — the  "Caro 
Nome"  (Dearest  Name). 

This  lovely  melody  with  its  delicate 
accompaniment  and  flute  passages,  is 
one  of  the  most  exacting  of  coloratura 
arias,  calling  for  extraordinary  skill  if 


337 


VICTROLA     BOOK     OF     THE     OPERA 


its  fioriture  are  to  be  performed  with 
the  grace  they  demand. 

But  while  she  is  yet  singing,  there  is 
a  conspiracy  at  work.  Night  has 
fallen,  and  a  band  of  masked  courtiers, 
led  by  Ceprano,  sets  out  for  vengeance. 
Rigoletto,  unexpectedly  returning,  runs 
across  them.  He  is  much  alarmed  to 
find  them  in  his  neighborhood.  His 
fears,  however,  are  somewhat  calmed 
when  they  declare  they  are  bent  on 
stealing  Ceprano 's  wife,  for  their  good 
friend,  the  Duke.  He  points  out 
Ceprano' s  house,  and  offers  help.  They 
insist  that  he  must  be  disguised,  and 
they  contrive  to  give  him  a  mask  which 
covers  his  eyes  and  ears.  Then  they 
lead  him  in  a  circle  to  his  own  balcony 
giving  him  the  ladder  to  hold.  Gilda 
is  seized,  her  mouth  is  gagged  with  a 
handkerchief,  and  she  is  carried  away. 
Left  alone,  Rigoletto  suddenly  becomes 
suspicious,  and,  tearing  off  his  mask,  he 
finds  himself  at  his  own  balcony.  On 
the  ground  he  sees  Gilda  s  kerchief. 
Frantic  with  fear  he  rushes  into  the 
house,  finds  his  daughter  gone,  and  falls 
in  a  swoon  as  the  curtain  descends. 
"Ah!"  he  cries,  "The  curse!" 


ACT  II 

SCENE  —  A  Hall  in  the  Duke's  Palace 


A^TER  leaving  the  house  of  the 
hunchback,  the  Duke  returns 
only  to  find  the  bird  flown.  He  is  now 
back  at  the  palace,  mourning  for  her 
with  such  eloquence  that  we  are  almost 
disposed  to  pity. 

The  Duke's  melancholy  musings  are 
changed  to  joy,  however,  when  the 
courtiers  enter  and  apprise  him  they 
have  captured  Rigoletto'  s  "mistress." 
He  is  amused  at  the  details  of  the 
capture,  laughing  at  the  brilliant  idea 
that  makes  Rigoletto  himself  a  party  to 
the  abduction.  He  learns  that  Gilda 
is  in  the  next  room,  and  he  hastens  to 
her.  No  sooner  has  he  gone  than 
Rigoletto  enters,  pitifully  striving  to 
conceal  his  deep  distress  under  a 
laughing  exterior. 

"Povero  Rigole.tto"  (Poor  Rigo- 
letto!) sing  the  courtiers,  enjoying  his 
discomposure  .at  the  loss  of  one  they 
still  believe  to  be  only  his  mistress.  A 
page  enters,  but  is  told  the  Duke  can- 
not be  disturbed.  The  Jester  hunch- 
back, all  attempts  at  concealment 


PHOTO  HALL 


MONTERONE  DENOUNCES  THE  JESTER ACT  I 

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VICTROLA      BOOK     OF     THE      OPERA 


breaking  down,  declares  the  girl  his 
daughter.  He  attempts  to  force  an 
entrance,  but  the  courtiers  bar  his 
efforts.  Then  follows  one  of  the  most 
remarkable  scenes  in  any  opera, 
the  "Cortigiani,  vil  razza  dannata" 
(Vile  Race  of  Courtiers).  Giving  way 
freely,  he  rages  like  a  mad  man  among 
the  Duke's  followers.  Soon  follows 
abjectness,  collapse,  abasement.  The 
courtiers  first  laugh,  then  they  grow 
indifferent.  Into  the  midst  of  this 
enters  Gilda.  The  courtiers,  now 
somewhat  abashed,  leave  the  hunch- 
back and  his  daughter  together, 
and  she  then  tells  of  the  lover  who 
followed  her  from  church:  "Tutte  le 
feste  al  tempio"  (On  Ev'ry  Festal 
Morning). 

Rigoletto  does  his  best  to  comfort  the 
ruined  girl,  clasping  her  to  his  bosom 
with  a  tenderness  and  love  that  does 
much  to  atone  for  his  vileness.  Then 
follows  the  very  beautiful" Pi angi 
fanciulla"  (Weep,  My  Child). 

By  a  singular  chance,  Count  Monter- 
one  passes  through  the  hall,  under 
guard.  He  pauses  before  the  Dukes 
portrait,  exclaiming,  "No  thunder 
from  Heaven  yet  hath  burst  down  to 


strike  thee!"  As  he  passes  on,  Rigoletto 
watches  him  grimly.  Her  father's 
stern  demeanor  frightens  the  girl,  and 
he  vows  a  terrible  vengeance  upon  the 
Duke. 

ACT  III 

SCENE — A  Ruined  Inn  at  a  Lonely 
Spot  on  the  River  Mincio 

FROM  the  luxurious  grandeur  of 
the  Ducal  Palace  to  this  desolate 
harbor  of  crime,  leads  on  the  story  of 
Rigoletto' s  vengeance.  We  are  taken  to 
the  abode  of  Sparafuci/e,  the  assassin. 
It  is  an  ancient  inn,  so  ruined  that  one 
may  see  the  broken  staircase  which 
leads  to  the  loft  from  the  ground  floor, 
and  even  a  couch  within  the  loft  itself. 
Near  the  inn  rolls  the  river;  beyond, 
the  towers  of  Mantua  reach  toward  the 
scudding  clouds.  Sparafuci/e  is  indoors 
seated  by  the  'table  polishing  his  belt, 
unconscious  that  Rigoletto  and  his 
daughter  are  without.  The  latter 
dressed  as  a  young  cavalier,  for  it  is  her 
father's  intention  that  she  shall  leave 
the  city  disguised  as  a  boy. 

The  hunchback  asks  Gilda  if  she  still 
dreams  of  the  Duke,  and  she  is  obliged 
to  confess  that  she  still  cherishes  in 


THE  ABDUCTION  OF  GILOA 

339 


VICTROLA      BOOK     OF     THE      OPERA 


her  heart  her  love  for  the  student  who 
came  to  her  so  full  of  romantic  pro- 
testations. He  startles  her  by  leading 
her  to  the  inn.  The  Duke  appears, 
disguised  as  a  soldier,  calling  loudly 
for  wine.  While  Sparqfucile  is  serving 
him  he  sings  one  more  song  of  the  love 
of  women.  Gilda  learns  her  lover's  true 
character  at  first  hand.  This  song  is 
the  well-known  "La  donna  e  mobile" 
(Woman  is  Fickle). 

The  air  needs  only  a  brief  quotation 
to  be  readil     reconized: 


It  portrays,  clearly  as  words  and 
music  may,  the  indolently  amorous 
young  noble  and  his  views  of  women 
kind, — whom  he  charges  all  and  sundry 
with  his  own  worst  failings. 

The  murderous  innkeeper  brings  the 
wine  and  knocks  upon  the  ceiling,  when 
his  young  sister  descends.  She  laugh- 
ingly evades  the  caresses  of  the  Duke. 


All  this  is  part  of  Rigoletto  s  plan  for 
vengeance,  as  Sparafucile  has  been 
engaged  to  kill  him. 

Then  follows  the  Quartet,  which  with 
the  "Sextet  from  Lucia,"  enjoys  the 
greatest  popularity  of  all  operatic  con- 
certed pieces, — "  Bella  figlia  dell'amore" 
(Fairest  Daughter  of  the  Graces). 

Those  who  love  this  masterpiece  for 
the  sheer  charm  of  its  melody,  the 
blending  of  the  voices,  the  masterly 
development  of  the  climax,  have  only 
a  slight  conception  of  its  true  beauty. 
It  expresses,  simultaneously,  the  rap- 
ture of  the  Duke,  the  sensuous  charm 
of  the  girl  who  coquets  with  him,  the 
dismay  of  the  heartbroken  Gilda  who 
now  sees  with  her  own  eyes  the  perfidy 
of  her  seducer,  and  lastly  the  lust  for 
vengeance  of  Rigoletto,  who  beholds, 
at  last,  the  Duke  within  easy  grasp. 

Rigoletto  bids  his  daughter  observe 
what  is  going  on  within. 

The  Duke  ascends  the  rickety  stairs 
to  his  bedroom  and  is  soon  asleep. 
Rigoletto  bids  his  daughter  go  with  all 


THE  QUARTKT— ACT  III 


VICTROLA      BOOK     OF     THE      OPERA 


speed  to  Verona,  where  he  plans  tcJ 
follow.  Once  gone,  he  pays  Sparafucile 
half  his  assassin's  fee,  the  remainder 
being  due  when  the  Dukes  body  is  de- 
livered to  the  hunchback  at  midnight. 

Rigoletto  would  have  done  better 
had  he  listened  more  closely  to  the 
Duke's  plaint  that  "women  are  fickle," 
for  no  sooner  does  Rigoletto  vanish 
than  the  assassin's  sister,  Maddalena, 
who  has  fallen  in  love  with  the  Duke, 
delicately  suggests  he  should  kill 
Rigoletto  instead.  The  honor  said  to 
exist  among  thieves  apparently  in- 
cludes murderers  too,  for  Sparafucile 
declares  that  he  has  never  yet  failed 
in  his  duty  toward  an  employer. 
Maddalena  pleads,  however,  and  finally 
he  agrees  that  if  another  guest  shall 
arrive  before  midnight,  he  will  slay 
him  instead  of  the  Duke,  so  that 
Rigoletto  will  at  least  have  a  corpse  for 
his  money. 

A  storm  bursts,  adding  to  the 
tragedy  the  wailing  of  the  winds  and 
the  long  rush  of  rain.  As  the  first 
drops  fall,  Gilda  creeps  back  to  the  inn, 
for  she  would  learn  more  of  what  is 
going  on.  The  storm  develops,  and 
its  characteristic  number  is  sung, — the 
"Tempesta — Somigliaun  Apollo"  (He's 
Fair  as  Apollo).  The  tragedy  moves  on. 


While  Gilda  expresses  horror,  Madda- 
lena sings  in  praise  of  her  Apollo-like 
lover.  Sparafucile  bids  her  repair  the 
sack  which  is  to  hold  the  dead  man's 
body.  Add  to  this  the  wailing  of  a 
chorus  behind  the  scenes,  humming  in 
parallel  minor  thirds  chromatically  up 
and  down  the  scale  to  suggest  the 
winds  and  you  have  the  contents  of  an 
impressively  dramatic  record! 

Gilda,  hearing  the  extraordinary 
agreement  of  brother  and  sister,  sees  a 
way  to  preserve  her  lover  and  to  end 
her  own  sorrows  at  one  blow.  Summon- 
ing up  her  last  despairing  courage,  she 
knocks  at  the  door,  and  thus  receives 
the  assassin's  stroke. 

Rigoletto  returns.  He  pays  off  the 
assassin  and  receives-  the  sack  with 
its  gruesome  contents.  The  murderer, 
fearing  discovery,  offers  to  throw  the 
body  into  the  river;  but  this  is  to  be 
the  revengeful  Jester's  own  special 
privilege.  He  bids  Sparafucile  begone. 

Left  alone  he  gloats  horribly  over 
his  vengeance: 

He  is  there,  pow'rless!  Ah,  I  must  see  him! 
Nay,  'twere  folly!  'tis  he  surely!  I  feel  his  spurs 

here. 

Look  on  me  now  ye  courtiers! 
Look  here,  and  tremble, 
Here  the  buffoon  is  King! 

He  is  about  to  drag  the  body  to  the 


SPARAFUCILE  S  DEN — ACT  III 

341 


VICTROLA     POOK     OF     THE      OPERA 


river,  when  he  hears  a  sound  that 
makes  his  blood  run  cold.  It  is  the 
voice  of  the  Duke,  in  the  inn,  making 
fresh  love  to  the  charming  Maddalena. 
At  once  he  begins  to  tear  at  the  sack, 
and,  holding  wide  his  mouth,  he  dis- 
covers the  crumpled  form  of  Gilda. 


Though  unconscious  she  is  not  yet 
quite  dead,  and  she  revives  under  the 
night  air,  just  enough  to  bid  him  a 
last  farewell.  The  duet  which  closes 
this  strangely  powerful  work  is  a 
noble  piece  of  music, — the  "Lassu  in 
cielo"  (In  Heaven  Above). 


THE  VICTOR  RECORDS 


(Sung  in  Italian 
ACT  I 
QUESTA  O  QUELLA 

('Mid  the  Fair  Throng)  ENRICO  CARUSO, 

Tenor  87018     10-in.,  $1.25 

ENRICO  CARUSO,  Tenor,  Piano  ace. 

81025     10  in.,     1.25 
GIOVANNI  MARTINELLI,  Tenor 

64286    10-in.,     1.25 

JOHN  McCoRMACK.,Tenor  64344     10-in.,     1.25 
DUKE: 

'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. 

MONOLOGO— PARI  SIAMO 

(We  Are  Equal)  TITTA  RUFFO,  Baritone 

88618     12-in.,     1.75 
RENATO  ZANELLI,  Baritone 
RIGOLETTO:  74622     12-in.,     1.75 

Yon  assassin  is  my  equal — 
He  stabs  in  darkness, 
While  I  with  a  tongue  of  malice 
Stab  men  by  daylight!  « 

(He  thinks  of  Monterones  curse.) 
He  laid  a  father's  curse  on  me .... 
(Continuing  in  a  burst  of  rage.) 
Oh  hideous  fate!  Cruel  nature! 
Thou  hast  doom'd  me  to  a  life  of  torment. 
I  must  jest,  I  must  laugh, 
And  be  their  laughing  stock! 
Yonder  the  Duke,  my  master, 
Youthful  and  brilliant,  rich  and  handsome, 
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! 

342 


unless  noted) 
CARO  NOME 

(Dearest    Name)     LUISA    TETRAZZINI, 

Soprano  88295     12-in.,  31.75 

MARCELLA  SEMBRICH,  Soprano 

88017     12-in.,     1.75 

NELLIE  MELBA,  Soprano  88078     12-in.,     1.75 
AMELITA  GALLI-CURCI,  Soprano 

GILDA:  74499     12-in"     L75 

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, 

Ev'ry  thought  to  thee  will  fly, 

Life  for  thee  alone  is  dear, 

Thine  shall  be  my  parting  sigh! 

(Gilda  enters  the  house,  but  reappears  on  the 
balcony.) 

Oh,  dearest  name! 

(She  disappears,  but  can  still  be  heard.) 

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  forevermore. 

Ev'ry  thought  to  thee  will  fly, 

Thine  shall  be  my  parting  sigh, 

Oh  Walter  mine! 

ACT  II 
PARMI  VEDER  LE  LAGRIME 

(Each  Tear  That  Falls)  ENRICO  CARUSO, 

Tenor  88429     12-in.,  31.75 

POVERO  RIGOLETTO 

(Poor  Rigoletto)  "PASQUALE  AMATO, 
Baritone  with  BADA,  SETTI  and 
Metropolitan  Opera  Chorus 

88340     12-in.,     1.75 
CORTIGIANI,  VIL  RAZZA  DANNATA 

(Vile  Race  of  Courtiers)  PASQUALE 
AMATO,  Baritone  88341  12-in.,  1.75 

TITTA  RUFFO,  Baritone    92066     12-in.,     1.75 


VICTROLA      BOOK     OF     THE      OPERA 


RlGOLETTO: 

Race  of  courtiers,  vile  rabble  detested, 

Have  ye  sold  her,  whose  peace  ye  molested  ? 

Where  is  she?  do  not  rouse  me  to  madness — 

Though  unarm'd,  of  my  vengeance  beware, 

For  the  blood  of  some  traitor  I'll  pour! 

(Again  making  for  the  door.) 

Let  me  enter,  ye  assassins,  stand  back! 

That  door  I  must  enter! 

(He  struggles  again  with  the  courtiers  but  is 

repulsed  and  gives  up  in  despair,) 
Ah,  I  see  it — all  against  me — have  pity! 
Ah,  I  weep. before  ye,  Marullo,  so  kindless? 
Others'  grief  never  yet  saw  thee  mindless, 
Tell,  oh  tell  where  my  child  they  have  hidden, 
Is't  there? — say  in  pity — thou'rt  silent!  alas! 
(In  tears.) 

Oh,  my  lords,  will  ye  have  no  compassion 
On  a  father's  despairing  intercession? 
Give  me  back  my  belov'd  only  daughter, 
Have  pity,  oh  give  me  back  my  child, 
In  pity,  oh  hear  me  implore! 

PIANGI  FANCIULLA 

(Weep,   My   Child)    MARIA    GALVANY, 
Soprano  and  TITTA  RUFFO,  Baritone 

92502     12-in.,    2.00 
AMELITA  GALLI-CURCI,  Soprano 
and    GIUSEPPE    DE     LUCA    Baritone 

87567     10-in.,    1.50 

ACT  III 
LA  DONNA  £  MOBILE 

(Woman    is    Fickle)    ENRICO    CARUSO, 

Tenor  87017     10-in.*,     1.25 

ENRICO  CARUSO,  Tenor,  Piano  ace. 

81026     10-in.,     1.25 
GIOVANNI  MARTINELLI,  Tenor 

64382     10-in.,     1.25 


DUKE: 

Woman  is  fickle,  false  altogether, 
Moves  like  a  feather  borne  on  the  breezes; 
Woman  with  guiling  smile  will  e'er  deceive  you, 
Often  can  grieve  you,  yet  e'er  she  pleases, 
Her  heart's  unfeeling,  false  altogether; 
Moves  like  a  feather  borne  on  the  breeze, 
Borne  on  the  breeze,  borne  on  the  breeze! 
Wretched  the  dupe  is,  who  when  she  looks 

kindly, 

Trusts  to  her  blindly.    Thus  life  is  wasted! 
Yet  he  must  surely  be  dull  beyond  measure, 
Who  of  love's  pleasure  never  has  tasted. 
Woman  is  fickle,  false  altogether, 
Moves  like  a  feather,  borne  on  the  breeze! 

QUARTETTE—  BELLA   FIGLIA    DELL' 

AMORE 

(Fairest  Daughter  of  the  Graces) 
BESSIE  ABOTT,  Soprano;  LOUISE 
HOMER,  Contralto;  ENRICO  CARUSO, 
Tenor;  ANTONIO  Scorn,  Baritone 

96000  12-in.,    3.00 
MARCELLA  SEMBRICH,  MME.  SEVERINA, 

ENRICO  CARUSO  and  ANTONIO  SCOTTI 

96001  12-in.,    3.00 
AMELITA  GALLI-CURCI,  FLORA  PERINI, 

ENRICO    CARUSO    and   GIUSEPPE    DE 
LUCA  95100    12-in.,    3.00 

LUCREZIA  BORI,  Soprano;  JOSEPHINE 
JacoBV,  Mezzo-Soprano;  JOHN  Mc- 
CORMACK,  Tenor;  REINALD  WER- 
RENRATH,  Baritone  89080  12-in., 


PARAPHRASE  DE  CONCERT 

(Liszt)       ALFRED       CORTOT,       Pianist 
74636    12-in., 

VLADIMIR  DE  PACHMANN,   Pianist 
74261     12-in., 


DOUBLE-FACED  RECORDS 

f  Rigoletto  Quartet Victor    Opera    Quartet} 

\     Lucia  Sextette Victor  Opera  Sextette) 

f  Rigoletto  Quartet Kryl's  Bohemian  ^"^35239 

\     Trovatore  Selection  (Home  to  Our  Mountains) Vessella's  Band) 

/Rigoletto  Quartet   Accordion P'etro\1Wf>7 

\     Light  Cavalry  Overture  Accordion 


/Rigoletto  Quartet  .........................  Brown  Bros.  Saxophone  Sextette\.K>)*7 

I     Passion  Dance  (C.  M.  Jones)  .............  Brown  Bros.  Saxophone  Sextette)10 

/E  il  sol  dell'anima     (Love  is  the  Sun)  ............  Pereira  and  de  Gregorio\f7.^ 

IDeh  non   parlare(  Recall  not  the  Past)  ................  Pereira  and  MaggiT1 

fComme  la  plume  (Woman  is  Fickle) 
\Qu'une  belle  (Mid  the  Fair  Throng) 


fComme  la  plume  (Woman  is  Fickle)    (In  French)  .  .  .Leon  Campagnola,  Tenor\,ci*o 

(In  French)  .  .  .  .Leon  Campagnola,  Tenor!** 


1  9  • 
U~m'' 

.-  . 

m>' 

n  ;n 
lfL:_ 
,n  . 
ia, 


2.00 

1.75 
1.75 

51.50 
1.35 
1.35 
.85 

1.00 


343 


RINALDO 


OPERA  in  three  acts.    Text  by 
Adam  Hill;  Italian  text  by 
Rossi,  founded  on  the  episode 
of  Rinaldo  and  Armida  in  Tasso's  Geru- 
salemme  Liberata.  Music  by  George 
Frederick  Handel. 

"Rinaldo"  was  produced  at  a  time 
when  Italian  music  had  become  the 
fashion  in  London,  and  the  composer 
followed  the  plan  then  in  vogue,  to 
write  the  dialogue  in  recitative  form. 
This  opera  was  written  by  Handel  in 
the  amazingly  brief  time  of  fourteen 
days,  and  first  performed  at  Queen's 
Theatre,  February  24,  1711.  The  work 
was  put  on  to  signalize  the  coming  of 
Handel  to  London,  and  it  was  a  magni- 
ficent production  for  that  period.  Only 
the  year  before,  the  composer  had  been 
induced  to  leave  the  Court  of  Hanover 
for  that  of  England;  and  upon  his 
arrival  in  London,  Mr.  Aaron  Hill,  the 
enterprising  manager  of  the  new  Hay- 
market  Theatre,  engaged  him  to  supply 
an  Italian  opera.  Hill  planned 
"Rinaldo,"  Rossi  wrote  the  Italian 
libretto  and  Handel  hurriedly  dashed 
off  the  music. 

The  opera  ran  for  fifteen  consecutive 
nights — an  unprecedented  feat  for  that 
age — and  it  was  mounted  with  a  splen- 
dor then  quite  unusual.  Among  other 
innovations,  the  gardens  of  Armida 
were  filled  with  living  birds,  a  piece  of 
realism  hardly  outdone  even  in  these 
days. 

CHARACTERS 

RINALDO,  a  knight  (Ree-nahl1- 

doH) Soprano 

ARMIDA,  an  enchantress  (Ahr- 

mee'-dah} Soprano 

ALMIRENA,  Godfrey's  daughter 

(Ahl-mee-ray' -nati) Soprano 


ARC  ANTE,  a  Pagan  king  (Ahr- 

gahn'-teh) Bass 

GODFREY,  a  noble Bass 

EUSTAZIO  (Yoo-statts1 -ee-oh) Alto 

The  Action  takes  place  in  Palestine  at 
the  Time  of  the  Crusade 

RTNALDO  is  a  Knight  Templar  who 
loves  Almirena,  daughter  of  God- 
frey. The  enchantress,  Armida,  also 
loves  Rinaldo,  and  in  a  jealous  rage 
seizes  Almirena  and  conceals  her  in  a 
magic  garden.  Armida 's  lover,  a 
Pagan  King  named  Argante,  compli- 
cates matters  by  himself  falling  in  love 
with  Almirena.  Rinaldo  finally  rescues 
Almirenay  and  the  sorceress  and  her 
lover  are  captured  and  converted  to 
Christianity.  < 

Among  the  many  arias  of  great 
beauty  with  which  the  score  abounds 
is  the  "Lascia  ch'io  pianga",  in  which 
Almirena  laments  her  capture  by  the 
sorceress.  This  air  is  one  of  the  finest 
bequeathed  to  us  by  the  grand  old 
composer  of  "The  Messiah."  Handel 
liked  it  so  well  that  he  used  it  in  no  less 
than  three  of  his  works.  It  appears 
first  as  a  Sarabande,  used  as  a  dance 
to  accompany  some  Asiatics  in  the 
ballet  scene  in  the  last  act  of  "  Almira." 
"Almira"  was  the  first  of  Handel's 
operas,  and  was  produced  in  Hamburg, 
1795,  the  composer  then  being  only 
nineteen  years  of  age.  Later  the 
melody  was  used  in  "II  Trionfo  del 
Tempo,"  and  finally  as  "Lascia  ch'io 
pianga"  in  another  opera, "  Rinaldo." 

THE   VICTOR  RECORD 
LASCIA  CH'IO  PIANGA 

(My  Tears  Shall   Flow)   GIUSEPPE   DE 
LUCA,  Baritone    In  Italian 

74572     12-in.,  31.75 


344 


ROBERT   LE    DIABLE 


(ROBERT  THE  DEVIL) 


OPERA  in  five  acts;  words  by 
Scribe;  music  by  Meyerbeer. 
First  presented  in  Paris,  No- 
vember 22,  183 l;in London,  in  English, 
at  Drury  Lane,  1832;  in  Italian,  May  4, 
1847  (first  appearance  of  Jenny  Lind). 
First  American  production,  New  York, 
April  7,  1834.  Revived  at  the  Astor 
Place  Theatre,  1851,  and  1857,  with 
Formes  in  the  cast;  and  in  1875  with 
lima  di  Murska.  The  first  Metro- 
politan production  occurred  in  the 
'80s  under  Henry  E.  Abbey's  manage- 
ment. 

CHARACTERS 

ROBERT,  "the  Devil,"  Duke  of 
Normandy    (Roh-bair  leh 

Dee-ah'-bl} Tenor 

BERTRAM,  the  Unknown Bass 

ISABELLA,  Princess  of  Sicily. .  .Soprano 

ALICE,  foster  sister  of  Robert .  Soprano 

Knights,  Courtiers,  Heralds,  Pilgrims, 

Peasants,  Chaplains,  Priests 

Nuns,  etc. 

R3BERT,  Duke  of  Normandy, 
who  was  called  Robert  the  Devil 
because  of  his  courage  in  battle  and 
his  successes  in  love,  is  banished  by  his 
subjects  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,  and  a  company 
of  Evil  Spirits.  Then  is  heard  the 
"Valse  Infernal,"  "Ecco  una  nuova" 
(I  Have  Spread  My  Toils)  when 


Bertram  promises  the  Demons  that  he 
will  complete  the  ruin  of  Robert.  The 
fiends  rejoice  at  the  prospect  of  adding 
another  soul  to  their  company. 

Alice,  who  has  come  to  the  vicinity 
of  the  cave  to  meet  her  lover,  over- 
hears this  infernal  bargain  and  deter- 
mines to  save  him.  Robert,  dejected 
over  the  loss  of  his  wealth  and  honor, 
meets  Bertram,  who  promises  that  all 
shall  be  restored  if  he  will  have  the 
courage  to  visit  the  ruined  abbey  and 
secure  a  certain  magic  branch, 
which  has  the  power  to  convey  wealth, 
power  and  immortality.  The  next 
scene  shows  the  ruins,  where  Bertram 
invokes  the  aid  of  the  buried  nuns. 
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  branch.  Over- 
coming his  fears,  he  grasps  it,  and  by 
its  power  defeats  the  demons.  In  the 
next  scene  Robert  uses  the  branch  to 
become  invisible,  and  he  goes  to  Lady 
Isabella  s  room  to  carry  her  off.  But 
moved  by  her  entreaties,  he  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  displaying  the  Princess 
waiting  for  the  reformed  Robert. 

THE  VICTOR  RECORD 

VAI<SE  INFERNALE— ECCO  UNA  NUOVA 

PREDA 

(I  Have  Spread  My  Toils)  MARCEL 
JOURNET,  Bass,  with  Opera  Chorus 
In  French  74282  12-in.,  31.75 


345 


PHOTO  WHITE 


ROBIN   HOOD 


COMIC  opera  in  three  acts.     Li- 
bretto   by    Harry    B.    Smith; 
music  by  Reginald  de  Koven. 
First  performance  in  Chicago,  June  9, 
1890,  by  the  Bostonians,  who  sang  the 
opera  more  than  four  thousand  times. 

CHARACTERS 

(With  Original  Cast) 
ROBERT  OF  HUNTINGTON,  known  as 

Robin  Hood.  .Edwin  HofF,  Tenor 
SHERIFF  OF  NOTTINGHAM 

Henry  Clay  Barnabee,  Bass 
SIR  GUY  OF  GISBORNE,  his  ward 

Peter  Lang,  Tenor 
LITTLE  JOHN,  outlaw 

W.  H.  Macdonald,  Baritone 
WILL  SCARLET,  outlaw 

Eugene  Cowles,  Bass 
ALLAN-A-DALE,  outlaw 

Jessie  Bartlett  Davis,  Contralto 
FRIAR  TUCK,  outlaw 

George  Frothingham,  Bass 
LADY  .MARIAN,  afterwards  Maid 

Marian ....  Marie  Stone,  Soprano 
DAME  DURDEN,  a  widow 

Josephine  Bartlett,  Contralto 
ANNABEL,  her  daughter 

Carlotta  Maconda,  Soprano 


Villagers,  Milkmaids,  Outlaws,  King's 
Foresters,  Archers  and  Peddlers 

Time  and  Place:    Nottingham,  England, 
in  the  Twelfth  Century 

AT  the  beginning  of  the  opera  a 
merrymaking  is  in  progress  at 
the  marketplace  in  Nottingham.  The 
three  outlaws  Little  John,  Will  Scarlet 
and  Friar  Tuck,  enter  and  sing  of  their 
free  life  in  the  Forest  of  Sherwood,  and 
finally  the  handsome,  dashing  Robin 
Hood  appears,  declaring  that  he  is  the 
Earl  of  Huntington,  and  demanding 
that  the  Sheriff  shall  so  proclaim  him. 
The  Sheriff,  however,  protests  that  the 
youth  has  been  disinherited  by  his  own 
father,  who  before  the  birth  of  Robin 
Hood  was  secretly  married  to  a  peasant 
girl,  who  died  when  her  child  was  an 
infant.  The  child  is  Sir  Guy  of  Gis- 
borne,  the  rightful  heir  to  the  earldom 
and  the  Sheriffs  ward,  whom  he  is 
planning  to  marry  to  Lady  Marian, 
ward  of  the  Crown.  However,  the 
young  girl  and  Robin  already  are  deeply 
in  love  and  exchanging  vows  of  eternal 
faith — to  the  indignation  of  Sir  Guy. 
Lady  Marian  protests  against  her  mar- 


346 


VICTROLA     BOOK     OF     THE      OPERA 


riage,  hoping  that  on  the  return  of  the 
King  from  the  Crusades  she  will  be 
released,  while  Robin  Hood  plans  with 
the  help  of  the  King  to  prove  his  right 
to  the  earldom.  The  outlaws  sympa- 
thize with  the  pair  and  invite  Robin 
Hood  to  join  them,  promising  him  he 
shall  be  their  king  and  rule  them  under 
the  Greenwood  Tree — to  which  pro- 
posal Robin  Hood  at  length  agrees. 
In  the  last  act  the  dashing  king  of 


the  outlaws  brings  the  message  saving 
Maid  Marian  from  Sir  Guy,  and  the 
opera  ends  amid  general  rejoicings  at 
the  triumph  of  Robin  Hood  and  the 
gentle  Maid  over  the  plotting  Sheriff 
and  his  ward.  The  finale  is  lively. 

THE   VICTOR   RECORD 

OH,  PROMISE  ME 


LOUISE  HOMER,  Contralto 

87255 


10-in.,  31.25 


DOUBLE-FACED  RECORDS 

Gems  from  "Robin  Hood" — Part  I Victor  Light  Opera  Co. 

"Hey,  for  the  Merry  Greenwood" — "Brown  October  Ale  ' — "Come 
Dreams  So  Bright" — "Tinkers'  Chorus" — "Oh,  Promise  Me" — 
"Come  Away  to  the  Woods" 

Gems  from  "Robin  Hood" — Part  II Victor  Light  Opera  Co. 

"Ho,  Ho,  Then  for  Jollity"— "Ye  Birds  in  Azure  Winging"— "Ar- 
morer's Song" — "A  Hunting  We'll  Go" — "Ah!  I  Do  Love  You" — 
"Sweetheart,  My  Own  Sweetheart" — "Love,  Now  We  Never  More 
Will  Part" 


35413     12-in.,  $1.35 


|Oh,    Promise    Me  

Elsie  Baker,  Contralto\,  jory: 

IfLin 

or 

I    In  the  Gloaming  

Elsie  Baker,  Contralto) 

{The  Cross  Bow  
Way  Down  Yonder  

Imperial  Male  <>>j\.  7Q7, 
Imperial  Male  #/1/5/? 

10-in., 

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/Oh,  Promise  Me  
I     Sing  Me  to  Sleep  

William  Robyn,  Tenor\*f,Qf 
Elsie  Baker,  Contralto)™ 

10-in., 

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/Oh,  Promise  Me  
\     Dearie  

Alan  Turner,  Baritone}.  71  QQ 
Elsie  Baker,  Contralto)1  ' 

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fOh,  Promise  Me     
\     Silver  Threads  Among  the  Gold  

Violin-'  Cello-Harp     Venetian  7V/o\17ftl/; 
Neapolitan  Trio)  U 

10-in., 

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/Favorite  Airs  from  the  Opera  

IfLin 

pc 

I     Prince  of  Pi/sen  Selection  (Luders)  .... 

Sousa's  Band) 

/Armorer's  Song  
I      Till  The  Sands  of  the  Desert  Grow  Cold. 

.  .  .  Wilfred  Glenn,  Bass\,  -,-\fn 
wit    j  /-•/          D      rl/ioo 
Wilfred  (jlenn,  Bass) 

10-in., 

.85 

PHOTO  WHITE 


SCENE  FROM  ROBIN  HOOD— ACT  III 
347 


LE  ROI  DE  LAHORE 


THIS  is  an  early  work  of  Mas- 
senet's, though  it  is  highly  char- 
acteristic.   It  is  especially  noted 
for  its  brilliant  ballet,  which  deals  with 
an  Eastern  paradise. 

THE  OPERA 

OPERA  in  four  acts.  Libretto  by 
Jules  Gallet;  music  by  Jules 
Massenet.  First  produced  Grand 
Opera,  Paris,  April  27,  1877;  Covent 
Garden,  Royal  Italian  Opera,  June 
28,  1879. 

CHARACTERS 

ALIM,  King  of  Lahore  (Ah-leem,  Rwah 

du  Lah-ohr) Tenor 

SCINDIA,  his  minister  (Seen-dee-ati) 

Baritone 

TIMUR,  a  priest  (Tec-moor) Bass 

INDRA  (In-drah) Bass 

SITA  (See-tah] Soprano 

KALED,  confidant  of  the  King 

(Kah-led) Mezzo-Soprano 

Time  and  Place:  India;  the  Eleventh 

Century,  during  the  Mussulman 

Invasion 

SITA,  niece  of  the  high  priest  and 
the  namesake  of  a  Brahmanical 
goddess,  is  beloved  by  Alim,  King  of 
Lahore.  His  own  minister  and  rival, 
Scindia,  accuses  her  of  profaning  the 
Temple.  She  is  condemned  to  death, 
but  she  is  saved  by  the  King,  who  asks 
her  hand  in  marriage.  Alim,  at  war 
with  the  Mussulmans,  is  betrayed  by 
his  false  minister,  who  seizes  the  throne 
and  carries  away  Sita. 

Alim  is  transported  to  the  heavens, 
but  he  is  not  contented,  and  he  begs 
the  gods,  headed  by  Indra,  to  permit 
him  to  return  to  earth.  He  is  granted 
the  power,  provided  he  does  not  re- 
sume his  rank,  and  that  he  returns 


when  Sita  dies.  On  his  return  he  dis- 
covers the  true  condition  of  affairs. 
He  declares  himself  but  is  denounced 
as  an  impostor.  He  takes  flight,  Sita 
with  him,  and  as  they  are  about  to  be 
captured  she  kills  herself.  Alim,  ful- 
filling his  vow,  perishes  also,  and  the 
lovers  are  united  in  celestial  realms. 
A  mystical  feeling  prevails  throughout. 
One  of  the  most  famous  of  all  the 
opera's  numbers  is  the  beautiful  "Pro- 
messe  de  mon  avenir,"in  Italian 
"O  Casto  Fior,"  and  in  English  "Oh, 
Promise  of  a  Joy  Divine."  This  is 
sung  by  Scindia  when,  his  evil  victory 
accomplished,  he  dreams  of  the  beau- 
tiful Sita.  It  is  a  marvellous  aria. 

THE  VICTOR   RECORD 

ACT   IV 
O  CASTO  FIOR 

(Oh,  What  Promise  of  a  Joy  Divine!) 
TITTA  RUFFO,   Baritone     In  Italian 

88639    12-in.,  J51.75 
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  my  praises! 
O  promise  fair  of  joy  divine,  Sita, 
Thou  dream  of  all  my  life, 
O  beauty  torn  from  me  by  strife, 
At  last,  thou  shalt  be  mine!     O  Sita! 
O  fair  one,  charm  my  loving  heart, 
And  ne'er  again  from  me  depart! 


Sita,  my  queen  thou  soon  shalt  be! 
To  thee  the  world  its  glory  offers, 
To  thee  a  king  his  crown  now  proffers; 
Come,  Sita,  O  come!  ah!  be  mine! 

(From  the  English  translation  by  Dudley 
Buck,  from  the  Schirmer  "Operatic  Anthology" 
(Copyright,  G.  Schirmer),  given  here  by  per- 
mission). 


348 


THE  STATUE  OF  SAINT  CORENTIN  WARNING  KARNAC ACT  II 

LE  ROI   D'YS 


OPERA  in  three  acts  a,nd  five 
tableaux;  text  ,by  Edouard 
Blau;  music  by  Edouard  Lalo. 
First  production  at  the  Opera  Comique, 
Paris,  May  7,  1888.  The  opera  made  a 
great  success  and  was  awarded  the 
Academic  prize.  It  had  its  hundredth 
representation  in  1889,  and  is  still  in 
the  repertory  of  the  Opera  Comique. 
First  American  production  at  the  New 
Orleans  Opera,  January  23,  1890,  with 
Furst,  Balleroy,  Geoffrey,  Rossi, 
Leavinson  and  Beretta. 

CHARACTERS 

THE  KING  OF  Ys  (Luh  Rwah  Deece) 
MARGARET;  ROZENN,  his  daughters 
MYLIO,  a- Knight 
PRINCE  OF  KARNAC,  at  war  with  the 

King 

People,  Soldiers,  Gentlemen  of  the 

Court,  Ladies,  Horsemen, 

Retainers 

Time  and  Place:    Armorica   (Ancient 
Brittany);  Middle  Ages 

BLAU'S  libretto  is  based  on  an  old 
legend  about  the  flooding  of  the 
ancient  Armorican  city  of  Is,  or,  as 
Blau  called  it,  "  Ys."  The  King  of  Ys 
is  at  war  with  his  neighbor,  the  Prince 
of  Karnac.  His  daughters,  Margaret 
and  Rozenn,  both  have  loved  a  Knight 


Mylio,  but  he  is  supposed  to  have  died 
in  battle.  The  King  has  bargained 
with  Karnac,  proposing  that  he  shall 
wed  Margaret,  and  thus  end  the  ex- 
hausting war.  The  Princess  does  not 
relish  the  thought  of  this  alliance,  and 
when  Mylio  proves  to  be  still  alive  she 
decides  to  wed  him  even  at  the  cost  of 
her  father's  kingdom.  Karnac  is  en- 
raged at  the  insult  and  challenges 
Mylio  to  a  duel.  The  King  agrees  to 
give  his  other  daughter,  Rozenn,  to 
the  victor.  Mylio  wins  and  Margaret, 
furious  that  her  sister  should  possess 
Mylio,  induces  Karnac  to  flood  the 
city  by  opening  the  sluice-gates  which 
keep  out  the  sea.  When  the  water 
begins  rising  the  King  and  his  family 
flee  to  high  ground,  Karnac  taking  the 
reluctant  Margaret  with  him.  As  they 
watch  the  floods  begin  to  destroy  the 
city  and  drown  the  inhabitants,  the 
Princess,  remorseful,  confesses  her 
guilt  and  precipitates  herself  into  the 
flood.  Her  sacrifice  saves  the  city, 
however,  as  Saint  Corentin  rises  from 
the  sea  and  commands  the  waters  to 
recede. 

THE  VICTOR  RECORD 

VAINEMENT,  MA  BIEN  AIM^E 
(In  Vain,  Beloved)  EDMOND  CLEMENT, 
Tenor    In  French         74264     12-in.,  31.75 


349 


COPY  T  DUPONT 

FARRAR  AS  JULIET 


COPY  T  INTERNATIONAL  FILM  SERVICE 
GALLI-CURCI  AS  JULIET 


PHOTO  REUTLINGER 

ALDA  AS  JULIET 


(ROMEO  AND   JULIET) 


ATER  "Faust,"  "Romeo  and 
Juliet"  is  the  most  popular  of 
Gounod's  many  operas,  the  most 
of  them  forgotten.  It  has  been  called, 
and  not  unjustly,  "a  love  duet  with 
occasional  interruptions,"  and  it  con- 
tains many  melodies  of  great  beauty, 
the  most  famous  of  which  is  the  waltz, 
in  the  firstact.  The  operafollows 
very  closely  the  action  of  Shakespeare's 
drama,  though  the  interruption  of  the 
balcony  scene  will  come  as  a  surprise 
to  many.  What  artistic  purpose  is 
served  by  this  is  doubtful;  at  any  rate  it 
serves  the  practical  purpose  of  lending 
variety, increasing  "suspense "and  giv- 
ing the  singers  a  chance  to  breathe.  Sev- 
eral of  the  Shakespearian  personages 
have  been  omitted  from  the  opera  cast 
by  the  librettists,  and  a  new  one  added 
— the  page,  Stephana,  who  precipitates 
the  fight  in  the  third  act.  These  changes, 


however  are  but  natural.  It  takes 
longer  to  sing  through  a  drama  than 
it  does  to  talk,  and  a  play  so  lavish 
with  words  as  Shakespeare's  must 
needs  go  through  some  process  of 
reduction.  As  far  as  possible  the 
authors  appear  to  have  stuck  to 
Shakespeare's  text,  but  here  again 
operatic  necessities  have  had  to  be 
considered.  The  steady  metre  of 
Shakespeare's  verse  had  to  be  cut  up 
to  afford  the  composer  a  supply  of 
lyrics,  and  a  variety  of  rhythms; 
otherwise  he  would  scarcely  have 
escaped  monotony.  If  it  is  borne  in 
mind  that  Shakespeare's  English  first 
had  to  be  turned  into  French,  the 
French  turned  into  Opera-librettese, 
and  that  again  translated  into  English 
so  as  to  fit  Gounod's  music,  it  is  likely 
that  the  verses  used  in  the  English 
libretto  of  the  work  will  offer  a  few 


350 


VICTROLA    BOOK    OF   THE    OPERA 


FROM  A  PAINTING 

ROMEO  AND  JULIET  IN  THE  FRIAa's  CELL 

surprises  to  the  Shakespearian  student. 
Those  who  desire,  however,  a  more 
poetic  version  of  the  world's  greatest 
love-drama  know  well  where  to  find 


THE  MARRIAGE 


one! 


THE  OPERA 


OPERA  in  five  acts.  Words  by 
Barbier  and  Carre,  after  Shakes- 
peare's drama.  Music  by  Charles  Gou- 
nod. First  produced  at  the  Theatre 
Lyriqucy  Paris,  April  27,  1867.  First 
London  production  July  11, 1867.  First 
Milan  production  at  La  Scala,  Decem- 
ber 14,  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  Planc.on;  and  more 
recently  with  Galli-Curci  as  Juliet. 

CHARACTERS 

JULIET,  daughter  of  Capulet.  .Soprano 
STEPHANO  (Stej'-ah-noh),  page 

to  Romeo Soprano 

GERTRUDE,  Juliet's  nurse 

Mezzo-Soprano 


ROMEO Tenor 

TYBALT  (Tee-bahl'),  Capulet's 

nephew Tenor 

BENVOLIO        (Ben-voti-lee-oh) 

friend  of  Romeo Tenor 

MERCUTIO  (Mer-kew '-shee-oh} 

friend  of  Romeo Baritone 

PARIS     (Pah-ree'},     Capulet's 

kinsman Baritone 

GREGORIO,  Capulet's  kinsman  Baritone 
CAPULET(Cap-u-teh'),  a  Veron- 
ese noble Basso 

FRIAR  LAURENCE Bass 

THE   DUKE  OF  VERONA Bass 

Guests,  Relatives  and  Retainers  of  the 

Capulets  and  Montagues. 
The  Action  takes  place  in  Verona 
(The  original  French  name  of  the  op- 
era is  " Romeo et  Juliette,"  Zhoo-lee-et1 '; 
the  Italian  is   "Romeo  e   Giulietta," 
Joo-lee-et'-tah). 

ACT  I 
SCENE — Ballroom   in   Capulet's  House 

CAPULET,  a  Veronese  noble,  is 
\^j  giving  a  masked  ball  in  honor  of 
his  daughter  Juliet's  entrance  into 
society.  The  young  girl  is  presented 


351 


VICTROLA     BOOK     OF     THE      OPERA 


to  the  guests  by  her  father,  and  he 
calls  on  his  guests  to  make  merry. 
They  leave  for  the  banqueting-hall, 
Juliet  leaning  on  the  arm  of  Paris,  to 
whom  she  has  been  betrothed  at  the 
wish  of  her  father,  and  Tybalt,  who  is 
also  her  admirer  and  a  friend  of  Paris. 

No  sooner  are  they  gone  than 
Romeo  and  a  half  dozen  of  his  friends 
enter, — including  Mercutio.  As  re- 
presenting the  rival  house  of  Montague, 
their  visit  is  a  bit  of  audacity  likely  to 
cost  their  lives.  While  they  are  laugh- 
ing over  their  prank,  however,  Juliet 
returns  and  they  scarcely  have  time  to 
hide  before  she  appears,  calling  for 
her  nurse,  Gertrude.  When  Gertrude 
has  gone,  Juliet  gives  expression  to  her 
happiness  in  the  charming  "Valse" 
(Juliet's  Waltz-Song). 

She  is  about  to  return  to  the  banquet, 
when  Romeo  enters.  It  is  a  case  of 
love  at  first  sight,  which  is  not  so  rare 
as  many  might  suppose.  Juliet  with 
delicious  coquetry  refers  to  his  costume 
which  is  that  of  a  pilgrim  or  palmer. 
The  duet  "Ange  adorable"  (Lovely 
Angel),  ensues.  Love  travels  fast.  But 
the  tete-a-tete  is  interrupted  by  the 
entrance  of  Tybalt,  who  is  indeed  a 
hot-headed  member  of  the  Capulet 
faction.  He  recognizes  Romeo  through 
his  mask,  and  denounces  him.  There 
is  a  scene  of  course,  as  some  of  the 
other  guests  enter.  Romeo  is  for 
drawing  sword,  but  an  open  quarrel  is 
avoided  by  the  entrance  of  Capulet, 
who  is  loath  to  have  the  festivities 
spoiled.  Romeo  and  his  friends  are 
permitted  to  go  in  peace. 

ACT  II 

SCENE — Capulet' s  Garden;  Juliet's 
Apartment  Above 

IT  is  night.   With  a    rope-ladder, 
Romeo  ascends  to  the  balcony  where 
Juliet  waits,  and  the  long  love-duet 
begins.    The  scene  is  taken  almost  as 
it  stands  from  Shakespeare,  save  that 


Gregorio  and  a  company  of  servants, 
warned  of  a  trespasser  in  the  grounds, 
enter  and  make  a  search  forthe  invader. 
Romeo  is  well  concealed,  and  they  de- 
part vowing  vengeance  on  the  person 
who  sent  them  on  such  a  wild-goose 
chase.  Nothing  now  interrupts  the 
lovers,  who  soon  are  breathing  their 
ecstasy  to  the  stars.  There  is  another 
lovely  duet,  "O  nuit  divine,  je  t' 
implore"  (Night  All  Too  Blessed). 

It  is  interrupted  by  Juliet's  nurse, 
who  calls  to  them  the  hour  grows  late, 
so  they  indulge  the  sweet  sorrow  of 
parting  with  a  lingering  farewell,  "Ne 
fuis  encore"  (Linger  Yet  a  Moment). 

ACT  III 

SCENE  I — The  Cell  of  Friar  Laurence 

THE  secret  marriage  of  Romeo  and 
Juliet  takes  place  in  the  cell  of 
Friar  Laurence,  who  sees  in  the  union 
a  chance  to  reconcile  the  futile  enmity 
of  the  Montagues  and  the  Capulets. 
Juliet  returns  home  with  Gertrude. 

SCENE  II — A  Street  in  Verona 

R3MEO'S  impudent  page,  Stephana, 
having  come  in  search  of  his 
master,  sings  an  impertinent  song  be- 
fore the  Capulet  house,  which  brings  out 
Gregorio.  '  Soon  there  is  a  fight,  and 
things  begin  to  look  bad  for  the  ven- 
turesome youth;  but  he  is  joined  by 
others  of  the  Montagues,  including 
Mercutio,  while  Tybalt  comes  to  the  aid 
of  Gregorio.  Mercutio  and  Tybalt 
quarrel.  Coming  suddenly  upon  them 
Romeo  tries  to  stop  the  fighting;  it  is 
impossible  to  quarrel  now  with  the 
relatives  of  his  bride.  He  is  unsuccess- 
ful, however,  and  the  fight  is  resumed. 
The  Capulets  and  Montagues  swarm  out 
on  either  side  and  the  trouble  becomes 
general.  Mercutio  is  wounded.  Be- 
lieving him  dead,  Romeo  can  no  longer 
refrain  from  avenging  his  friend,  and 
he  sets-to  against  Tybalt.  Tybalt  is 
mortally  wounded,  and  falls  into  the 


352 


VICTROLA     BOOK     OF     THE      OPERA 


arms  of  Capulet  himself.  Tybalt's  last 
prayer  is  for  vengeance,  and  the  head 
of  his  house  now  swears  that  vengeance 
shall  be  done. 

Suddenly  the  Duke  of  Verona  enters. 
On  learning  the  cause  of  the  trouble, 
he  sentences  Romeo  to  instant  banish- 
ment, sparing  his  life  only  because  he 
has  fought  honorably. 

ACT  IV 

SCENE — Juliet's  Room 

"OOMEO  finds  a  way  into  Capulet's 
i\.house,  at  imminent  risk  of  death, 
bent  on  saying  farewell  to  his  bride  and 
winning  her  pardon  for  the  death  of 
Tybalt.  This  is  readily  granted.  After 
a  tender  farewell  he  departs.  Friar 
Laurence  enters,  to  tell  the  girl  that 
it  was  Tybalt's  dying  wish  that  she 
should  marry  Paris,  and  that  the 
wedding  is  to  be  hastened.  Juliet  is 
in  despair,  but  Friar  Laurence  counsels 
patience.  He  then  gives  her  a  potion, 
telling  her  to  drink  it  when  the 


marriage  ceremony  is  about  to  com- 
mence. It  will  throw  her  into  a  death- 
like trance  for  forty-two  hours,  after 
which  she  may  escape  from  her  tomb 
and  fly  with  Romeo. 

With  the  departure  of  the  kindly 
priest,  Capulet  enters  with  Paris,  and 
the  wedding  is  about  to  take  place. 
She  therefore  drinks  the  potion,  and 
sinks,  apparently  dead,  before  them. 

ACT  V 

SCENE— The  Tomb  of  Juliet 

IN  the  silent  vault  of  the  Capulets, 
Juliet  lies  pale  as  marble  in  her 
trance.  Having  failed  to  receive 
Friar  Laurence's  message,  Romeo  forces 
in  the  door, — to  gain  one  last  glimpse 
of  the  bride  he  believes  dead.  After 
a  tender  farewell  he  drinks  in  turn  a 
deadly  poison.  No  sooner  has  he 
swallowed  it  than  he  is  startled  to  be- 
hold signs  of  life  in  the  body  of  Juliet. 
Too  late!  They  have  but  time  to  say 
farewell.  On  learning  that  he  has 


DEATH  OF  THE  LOVERS 
353 


VICTROLA     BOOK     OF     THE      OPERA 


slain  himself,  Juliet  upbraids  him   for 
drinking  all  the  poison: 

Ah!  thou  churl 

To  drink  all!     No  friendly  drop 

thou'st  left  me 
So  I  may  die  with  thee! 

She  has,  however,  a  dagger  con- 
cealed among  her  grave-garments,  and 
with  this  she  stabs  herself.  Well 
content  to  face  eternity  together, 
Romeo  and  Juliet,  in  one  another's 
arms,  enter  into  their  eternal  sleep. 

THE   VICTOR  RECORDS 

(Sung  in  French  except  as  noted) 

ACT  I 
VALSE 

(Juliet's  Waltz  Song)  LUISA  TETRAZZINI, 
Soprano  In  Italian       88302     12-in.,  31.75 


AMELITA    GALLI-CURCI,    Soprano 

74512     12-in.,  {51.75 
JULIET: 

Song,  jest,  perfume  and  dances. 
Smiles,  vows,  love-laden  glances 
All  that  spells  or  entrances 
In  one  charm  blend 
As  in  fair  dreams  enfolden 
Born  of  fantasy  golden, 
Sprites  from  fairyland  olden, 
On  me  now  bend. 
Forever  would  this  gladness 
Shine  on  me  brightly  as  now, 
Would  that  never  age  or  sadness 
Threw  their  shade  o'er  my  brow! 


ANGE  ADORABLE 

(Lovely  Angel)  GERALDINE  FARRAR, 
Soprano  and  EDMOND  CLEMENT, 
Tenor  89113  12-in., 


2.00 


DOUBLE-FACED  RECORD 


(Romeo  and  Juliet  Selection Arthur  Pryor's  Band} 
Introduction   to  Act    I,    "The    Capulets'   Ball" — Interlude,  Act   IV — UCT?.I     11  •       CM  -?r 
Capulet's  Solo,  "The  Altar  is  Prepared"— Ballet-Nuptial   Procession.  P 
Samson  and  Delilah  Selection  (Saint-Saens) Arthur  Pryor's  Band) 


BENQUE,  PARIS 

JEAN  AND  EDUARD  DE  RESZKE  AS    ROMEO  AND  FRIAR  LAURENCE 


354 


DELILAH:  Come,  dear  one,  follow  me. 

To  Sorek,  the  fairest  of  valleys! 


SAMSON  AND  DELILAH 


DESPITE  his  extraordinary  bril- 
liance and  the  early  success  of 
his  first  works  as  a  composer, 
Saint-Saens  had  some  difficulty  in  find- 
ing a  way  for  his  biblical  opera,  "Sam- 
son and  Delilah."  These  difficulties 
were  largely  due  to  factional  disturb- 
ances in  musical  Paris,  springing  up 
largely  around  the  then  revolutionary 
musical  doctrines  of  Richard  Wagner. 
Men  of  the  older  generation  prized  their 
authority;  and  in  fighting  tradition, 
Saint-Saens  but  shared  the  Tot  of  Mas- 
senet, Bizet,  Chabrier,  Godard  and 
others.  It  is  interesting  to  note,  by  the 
way,  that  Saint-Saens  relinquished 


some  of  the  opinions  he  held  at  that 
time,  himself  growing  more  conservative 
as  the  years  increased.  In  the  seventies 
of  the  last  century,  however,  he  was  re- 
garded as  quite  an  iconoclast.  With  the 
completion  of  "Samson  and  Delilah,"  a 
powerful  friend  came  to  his  aid  in  the 
person  of  generous  Franz  Liszt,  who 
never  missed  an  opportunity  to  give 
genius  a  hearing.  The  young  man  was 
invited  to  Weimar,  where  the  work  was 
produced  with  a  success  which  made 
other  productions  inevitable,  and  today 
it  is  regarded  as  one  of  the  great  class- 
ics of  the  bpera  stage.  Saint-Saens  has 
composed  many  operas,  none  of  which 


355 


COPy  T  WHITE 


SAMSON  (Caruso): 

Lord,  thy  servant  remember  now, 
For  one  moment  make  him  strong! 
(Softly,  to  the  boy) 
Toward  the  marble  columns, 
My  child,  guide  thou  my  steps! 

(Act  III) 

356 


VICTROLA     BOOK     OF     THE      OPERA 


PHOTO  WHITE 


DANCE  OF  THE  PHILISTINE  MAIDENS 


has  equalled  it  in  popular  esteem,  the 
nearest  approach  to  it  being  "Henry 
VIII."  No  doubt  a  work  bearing  so 
closely  upon  the  history  of  his  race 
made  its  own  special  appeal.  The  score 
is  a  magnificent  piece  of  work,  with  its 


Hebrew  chants  vividly  contrasted  with 
the  sensuous  music  of  the  pagan  Orient, 
and  reaching  its  highest  levels  in  the 
ever  popular  air  of  Delilah,  "Mon  coeur 
s'ouvre  a  ta  voix,"  and  in  the  Baccha- 
nal music.  The  opera  deserves  to  live. 


TH  E    O  PE  RA 


OPERA  in  three  acts.  Text  by 
Ferdinand  Lemaire;  music  by 
Camille  Saint-Saens.  First  produc- 
tion at  Weimar  under  Liszt,  Decem- 
ber 2,  1877.  In  France  at  Rouen, 
1890.  Performed  at  Covent  Garden 
in  concert  form,  September  25, 
1893.  First  American  production  at 
New  Orleans,  January  4,  1893,  with 
Renaud  and  Mme.  Mounier.  First 
New  York  production  February,  1895, 
with  Tamagno  and  Mantelli  (one  per- 
formance only).  Revived  by  Oscar 
Hammerstein,  November  13,  1908, 
and  again  in  1911,  with  Gerville- 
Reache,  Dalmores  and  Dufranne.  Pro- 


duced  at   the   Metropolitan   in    1915, 
with  Caruso,  Matzenauer  and  Amato. 

CHARACTERS 

DELILAH Mezzo-Soprano 

SAMSON Tenor 

HIGH  PRIEST  OF  DAGON Baritone 

ABIMELECH,  Satrap  of  Gaza  First  Bass 

AN  OLD  HEBREW Second  Bass 

PHILISTINE  MESSENGER Tenor 

Chorus  of  Hebrews  and  Philistines 

Time  and  Place:    1150  B.  C.;  Gaza  in 

Palestine 
(The  original   French  name  of  the 


357 


VICTROLA     BOOK     OF     THE      OPERA 


opera  is  "Samson    et    Dalila,"    Sahn- 
sohn'  (nasal)  ay  Da-lee-lah). 

ACT  I 

SCENE — A  Public  Square  in  Gaza 

THE  opera  has  no  overture;  we  are 
plunged  at  once  into  the  great 
scene  where  the  Hebrews  mourn  in 
bondage,  before  the  very  gates  of  the 
temple  of  Dagon  in  Gaza.  Samson,  in 
the  fervor  of  religious  prophecy,  bids 
them  find  new  courage;  but  without 
arms,  without  leadership,  they  are  de- 
spondent. Abimelech,  the  satrap  of 
Gaza,  enters  with  many  warriors  be- 
hind him,  imperiously  mocking  the 
captive  Israelites.  Samson,  exasper- 
ated, attacks  him.  With  heaven-born 
strength  he  seizes  Abimelec h' s  sword  and 
lays  him  dead,  warding  off  the  hosts 
that  press  against  him.  It  is  the  signal 
for  revolt,  and  the  fight  becomes  general. 
The  Philistines  are  pressed  back  by  the 
Israelites  under  the  fanatical  leadership 
of  Samson,  and  soon  the  stage  is 
empty  but  for  the  body  of  Abimelech, 
slain  by  his  own  law  of  violence. 

The  gates  of  Dagon's  Temple  are 
thrown  open,  and  the  High  Priest  steps 
forth,  attended  by  guards  and  fol- 
lowers. He  bids  his  men  avenge  the 
stricken  Abimelech,  but  their  blood  is 
turned  to  water.  Messengers  come 
announcing  the  defeat  of  the  Philis- 
tines, and  in  despair,  the  High  Priest 
curses  the  Israelites.  He  and  his  fol- 
lowers are  forced  to  flee  with  the  body 
of  Abimelech,  as  the  victorious  Hebrews 
return  headed  by  their  aged  men, 
chanting  hymns  of  praise.  It  is  Sam- 
son s  great  hour,  and  his  followers  en- 
joy their  deliverance. 

Once  more  the  gates  of  the  temple  of 
Dagon  are  flung  apart,  but  for  a  differ- 
ent scene.  Delilah  comes  at  the  head 
of  a  company  of  women,  bearing  gar- 
lands of  flowers  for  the  victors.  She  is 
lovely,  and  her  wisdom  is  not  that  of 
the  temple,  but  of  the  world.  Con- 


scious of  her  power  and  charm,  she 
approaches  Samson,  singing  the  beau- 
tiful "Je  viens  celebrer  le  victoire"  (I 
Come  to  Celebrate  Victory). 

"I  come  to  celebrate  the  victory  of 
him  who  reigns  in  my  heart,"  coos 
Delilah  to  the  conqueror  of  the  Philis- 
tines— soft  words  upon  her  lips  but 
guile  in  her  fair  bosom.  Samson  prays 
for  divine  power  to  resist  her,  but  in 
spite  of  himself  he  is  forced  to  gaze  at 
the  beautiful  creature  as  she  dances 
withhermaidens.  Anoldmanamongthe 
Hebrews  warns  him.  But  in  the  hands 
of  Delilah,  Samson  s  will  is  water.  The 
three  voices  each  pleading  its  own  cause, 
Delilah  and  the  old  man  with  Samson, 
and  Samson  with  his  God,  blend  in  rich 
harmony  in  this  trio.  As  the  young 
girls  dance,  Delilah  sings  to  Samson  the 
lovely  song  of  Spring,  "Printemps  qui 
commence" — "Der  Fruhling  erwachte" 
(Delilah's  Song  of  Spring). 

So  in  the  hour  of  his  triumph,  as  it  is 
written,  the  heart  of  Samson  is  shaken 
within  him,  and  as  the  curtain  falls,  he 
is  Delilah1  s  and  Delilah  knows  it. 

ACT  II 

SCENE — Delilah's  Home,  Valley  of  Sorek 

NIGHT  is  descending  upon  the 
valley,  and  Delilah,  more  sump- 
tuously clad  than  ever,  waits  outside 
her  dwelling  for  the  approach  of  Sam- 
son. She  calls  upon  Love  to  aid  her,  in 
another  lovely  song,  the  "Amour  viens 
aider"  (Love,  Lend  Me  Thy  Might). 

The  High  Priest  of  Dagon  comes  to 
Delilah,  enjoining  her  not  to  fail  in  her 
purpose.  After  he  has  gone,  Samson 
himself  appears,  impelled  by  irresist- 
ible temptation,  past  principle,  past 
conscience,  past  hope.  Fearing  she 
may  even  now  have  lost  him,  Delilah 
exercises  her  peculiar  powers  to  the 
limit,  in  the  "Mon  coeur  s'ouvre  a  ta 
voix"  (My  Heart  at  Thy  Sweet  Voice). 

During  this  exquisite  melody  a  storm 
has  gathered,  the  swift  pattering  of  the 


358 


VICTROLA     BOOK     OF     THE      OPERA 


COPY  T  WHITE 


SAMSON:  Sore  my  distress,  my  guilt  and  anguish, 
Have  pity,  O  Lord,  in  misery  I  languish! 

(Act  III) 


rain  being  suggested  in  the  accompani- 
ment. Delilah  strives  her  utmost  to 
persuade  Samson  to  betray  his  plans, 
the  increasing  fury  of  the  storm  serving 
as  the  appropriate  background  for  the 
turmoil  of  emotions.  Delilah  is  anx- 
ious, imperative;  Samson,  drawn  to- 
ward her,  yet  resisting.  He  finally  re- 
fuses, praying  for  strength  with  a  ve- 
hemence that  threatens  Delilah's  own 
safety.  She  leads  him  into  the  house 
and  calls  for  help.  Her  cry  is  answered 
by  the  Philistines,  who  rush  in  and 
overpower  Samson,  just  as  the  storm 
reaches  a  climax  with  a  violent  crash 
of  thunder. 

ACT  III 
SCENE  I — A  Prison  at  Gaza 

SIGHTLESS  and  chained,  his  heavy 
locks  shorn   away,  the   mighty 


Samson  slowly  and  painfully  treads 
round  and  round,  a  heavy  mill  which  is 
grinding  corn  for  the  Philistines.  Near 
by  is  a  group  of  Hebrew  captives.  Out 
of  the  depths  of  his  misery,  Samson 
calls  upon  the  Lord  to  pity  him,  offer- 
ing his  "poor,  bruised  soul"  to  the  Al- 
mighty whose  mandates  he  has  disre- 
garded for  the  sake  of  the  false  Delilah. 
His  prayer  is  echoed  by  the  wretched 
prisoners,  a  few  of  whom,  however,  are 
pitilessly  scornful.  "Vois  ma  misere 
helas"  (Sore  My  Distress,  Alas!),  sings 
the  broken  hero. 

SCENE  II — A  Magnificent  Hall  in  the 
Temple  of  Dagon 

'"pHE  High  Priest  and  the  Philistines 
J_  are  having  a  great  feast,  and  re- 
joicing over   the  downfall  of  their 
enemies.   This  is  a  wonderful  scene, 


359 


VICTROLA     BOOK     OF     THE      OPERA 


with  a  remarkable  "Chorus  and 
Bacchanale." 

They  send  for  Samson  to  provide 
sport.  When  he  appears,  Delilah  ap- 
proaches him,  to  taunt  the  man  with 
his  weakness.  She  offers  him  wine, 
and  with  malignant  irony  she  repeats 
to  him  sensuously  cruel  words  of  love. 

Samson  cannot  reply.    He  prays 


with  bowed  head.  When  all  have 
wearied  of  their  sport  he  begs  a  youth 
to  lead  him  to  the  great  pillars  which 
uphold  the  Temple.  He  offers  a  last 
prayer  for  strength  to  overcome  the 
wretches,  then  straining  at  the  roof 
pillars,  he  overthrows  them.  The 
Temple  crashes  down  amid  shrieks  and 
groans. 


THE  VICTOR  RECORDS 

(Sung  in  French  except  as  noted) 


ACT  I 


JE  VIENS  C£LEBRER  LA  VICTOIRE 

(I  Come  to  Celebrate  Victory)  ENRICO 
CARUSO,  Tenor,  LOUISE  HOMER,  Con- 
tralto and  MARCEL  JOURNET,  Bass 

12-in.,  32.00 


1.75 


PRINTEMPS  QUI  COMMENCE 

(Delilah's  Song  of  Spring)  ERNESTINE 
SCHUMANN-HEINK.,  Contralto  In 
German  88417  12-in., 

JEANNE    GERVILLE-REACHE,    Contralto 

88244     12-in.,     1.75 

LOUISE  HoMER,Contralto  88627     12-in.,     1.75 
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! 

ACT  II 
AMOUR  VIENS  AIDER 

(Love,  Lend  Me  Thy  Might)  LOUISE 
HOMER,  Contralto  88201  12-in.,  31.75 

DELILAH: 
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! 


1.75 


Ev'ry  thought  of  me  he  would  banish, 

And  from  his  tribe  he  would  swerve, 
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! 

MON  COEUR  S'OUVRE  A  TA  VOIX 

(My  Heart  at  Thy  Sweet  Voice)  LOUISE 
HOMER,  Contralto  88199  12-in.,  31.75 

JULIA  CULP,  Contralto     64490     10-in.,     1.25 

ALMA  GLUCK,  Soprano     64592     10-in.,     1.25 

GABRIELLA  BESANZONI, 

Contralto   In  Italian    64877     10-in.,     1.25 

ERNESTINE  SCHUMANN-HEINK,  Contralto 
In  German  88190  12-in., 

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't  1892,  G.  Schirmer.) 

ACT  III 
VOIS  MA  MISERE  HEI.AS 

(Sore  My  Distress,  Alas!)  ENRICO 
CARUSO,  Tenor  and  Metropolitan 
Opera  Chorus  88581  12-in.,  31.75 

SAMSON: 

Look  down,  look  down  on  me,  have  pity  on  me, 
Have  mercy,  Lord,  have  mercy  upon  me! 
I  turned  away  from  Thy  most  righteous  path 
And  now  I  suffer  justly  from  Thy  wrath. 


360 


VICTROLA     BOOK     OF     THE      OPERA 


My  poor  bruised  soul  to  Thee  now  do  I  offer, 
I  who  deserve  but  the  jeers  of  the  scoffer. 
On  sightless  eyes  doth  the  light  of  day  fall, 
Now  is  my  soul  steeped  in  bitterness  and  gall. 
CHORUS: 

Samson,  why  hast  thou  betrayed  thy  brethren? 

SAMSON: 

Alas;  Israel,  still  in  chains! 

From  heav'n  God's  vengeance  descending 


Ev'ry  hope  of  return  now  ending, 

Now  only  suffering  remains. 

Grant  us  again,  Lord,  the  light  of  Thy  favor, 

Deign  but  once  more,  Lord,  Thy  people  to  aid. 

Withhold  Thy  wrath,  though  Thou  hast  been 

betray'd, 
Thou  art  our  God  and  Thy  love  doth  not  waver. 

BACCHANALE 

Philadelphia  Orchestra     74671     12-in.,     1.75 


DOUBLE-FACED  RECORDS 

/Spring  Flowers  (In  English)  ....................  Victor  Women's  Chorus\ 

\     Trovatore—  Anvil  Chorus  (In  English)  .............  Victor  Male  Chorus} 

1  Samson  and  Delilah  Selection  ..............................  Pryor's  Band\ 
"The  Breath  of  God,"  Act  I  —  Chorus  of  the  Philistines,  Act  III  —          Uot  < 
"My  Heart  at  Thy  Sweet  Voice,"  Act  II 
Romeo  and  Juliet  Selection  (Gounod)  .  .  .  '  ...................  Pryor's  Band) 

/My  Heart  at  Thy  Sweet  Voice  ....................  Michele  Rinaldi,  Cornet)  .  7,  .  f 

\    Farewell   to    the    Forest    (Mendelssohn)  .............  Victor  Brass  Quartet^' 

/Chorus  and  Bacchanale  ........................  Banda  Real  de  Alabarderos 

I     Minuet  from  2nd  Symphony  (Haydn)  .......................  Banda 


in  • 

•'"•' 


lft  . 
-|n-« 

lfl  • 
In'» 


COPY  T  MI3HKIN 

GERVILLE-REACHE  AS  DELILAH 


361 


Ill  j  II  [it 


TEATRO  UEGOLLADO,  GUADALAJARA,  MEXICO  TEATRO  JUAREZ,  GUANAJUATO,  MEXICO 


MOSAIC  CURTAIN  OF  THE  NATIONAL  THEATRE,  MEXICO 


SEMI  RAM  IDE 


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  exhibits  his  peculiar  art  at 
its  ripest  and  best. 

THE  OPERA 

^  I  ^RAGIC  opera  in  two  acts.  Text 
A  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.  First  New  Orleans 
production  May  1,  1837.  Some  nota- 
ble American  revivals  were  in  1855 
with  Grisi  and  Vestvali;  in  1890  with 
Adelina  Patti  as  Semiramide;  and  in 
1894  with  Melba  and  Scalchi. 

CHARACTERS 

SEMIRAMIDE  (Say-mee-rah'-mee-day) 
or  SEMIRAMIS,  Queen  of  Baby- 
lon   Soprano 

ARSACES  or  ARSACE  (Ahr-sah1 -chay) 
commander  in   the  Assyrian 
army,   afterward   the  son  of 
Ninus  and  heir  to  the  throne 

Contralto 


THE  GHOST  OF  NINUS  or  NINO 

(Nee-noti)  .................  Bass 

OROE,  chief  of  the  Magi  .........  Bass 

ASSUR,  a  Prince  of  the  blood  royal  Bass 
AZEMA,  Princess   of  the  blood 

royal  ....................  Soprano 

IDRENUS,  of  the  royal  household  .  Tenor 
MITRANES,  of  the  royal  house- 

hold ....................  Baritone 

Magi,  Guards,  Satraps,  Slaves 


action  takes  place  in  Babylon; 
J.  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. 

The  Bel  raggio,  a  favorite  cavatina 
with  all  prima  donnas,  and  a  brilliant 
and  imposing  air,  occurs  in  the  first 
act.  Its  particular  scene  shows  the 
Temple  of  Belus,  where  a  religious 
festival  is  in  progress.  Semiramide  is 
about  to  announce  a  successor  to  the 
throne  and  has  secretly  determined 
to  elect  Arsaces,  a  young  warrior,  with 
whom  she  has  fallen  in  love,  unaware 
that  he  is  in  reality  her  own  son. 

THE  VICTOR  RECORD 

BEL  RAGGIO  LUSINGHIER 

(Bright    Gleam    of    Hope)    MARCELLA 
SEMBRICH,  Soprano    In  Italian 

88141     12-in.,  £1.75 
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  I  dropp'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!    ' 


DOUBLE-FACED  RECORD 

(Overture Police  Band  of  Mexico  City\^r,f7     17  • 

\     Marche  Slant  (Op.  31)  (Tschaikowsky) Arthur  Pryor's  Band}**  U~in-> 


363 


FROM  THE  PAINTING  BY  DELITZ  SIEGFRIED     AND     THE      DRAGON 


364 


SIEGFRIED 


MUSIC-DRAMA  in  three  acts. 
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  Opera  in  Paris. 
In  London  (in  English)  by  the  Carl 
Rosa  Company,  in  1898.  First  Ameri- 
can production  in  New  York,  Novem- 
ber 9,  1887,  with  Lehmann,  Fischer, 
Alvary  and  Seidl-Kraus. 

CHARACTERS 

SIEGFRIED  (Zeeg' -freed) Tenor 

MIME   (Mee'-meh) Tenor 

THE  WANDERER  (WOTAN)  (Voh'-tari) 

Baritone 

ALBERICH  (Ahl'-ber-icfi) Baritone 

FAFNER  (Fahj'-ner) Bass 

ERDA  (Air'-daK) Contralto 

BRUNNHILDE  (Bruen-hill'-deh) 

Mezzo-Soprano 

ACT  I 

Scene — A  Forest.    At  One  Side  a  Cave 

THE  birth  of  Siegfried  has  been 
followed  by  the  death  of  his  mother 
Sieglinde,  and  the  child  has  been 
brought  up  by  Mime^  who  has  hoped, 
through  him,  to  win  back  the  treasure 
of  the  Nibelungs.  But  Mime  hasunder- 
taken  no  light  task,  for  Siegfried  has 
grown  into  a  fearless  young  hero,  a 
magnificent  creature,  powerful  and 
beautiful,  with  nothing  but  contempt 
for  the  wretch  who  has  undertaken  to 
play  both  father  and  mother.  Mime 
is  now  at  work  upon  a  sword  for  his 
master,  certain  it  will  be  no  more  en- 
during than  the  last. 

Suddenly  Siegfried  himself  appears, 
in  forest  dress,  a  horn  Rung  about  his 
young  neck,  leading  a  huge  bear  with 
a  halter.  With  this  he  terrifies  Mime 
half  to  death,  laughing  aloud  as  the 
hideous  and  cowardly  dwarf  shrinks 
away.  This  pleasantry  over,  he  frees 


the  bear,  and  seizes  the  new  sword 
Mime  has  forged.  He  beats  it  on  the 
anvil,  where  it.  breaks,  the  pieces  fly- 
ing about.  Siegfried  complains  bitterly 
of  "this  silly  switch."  Mime,  who  has 
fled,  protests,  from  a  distance,  against 
this  ingratitude.  He  finally  brings 
food,  however,  as  a  peace-offering; 
but  Siegfried  still  grumbling  over 
the  sword,  declares  he  will  get  his  own 
meals.  Mime  appears  to  be  hurt, 
wailing  loudly  as  he  speaks  of  his 
wasted  efforts  to  please.  Siegfried^ 
somehow  wondering  why  he  so  dis- 
likes the  dwarf  when  every  other  living 
thing  in  the  forest  is  his  friend,  ques- 
tions Mime  about  his  birth,  and  there- 
by learns,  for  the  first  time,  of  Sieg- 
linde  his  dead  mother.  He  also  hears 
of  the  shattered  sword  of  Siegmund, 
his  father,  and  commands  Mime  to  re- 
pair it.  He  then  runs  off  into  the  woods. 
While  Mime  is  still  brooding  over 
this  impossible  task,  Wotan  appears 
disguised  as  a  Wanderer.  Mime  is  ap- 
palled as  the  one-eyed  warrior  with 
his  huge  spear,  looms  above  him,  espe- 
cially when  the  Wanderer  carelessly 
touches  the  earth  with  his  long  spear 
and  a  soft  crash  of  thunder  follows. 
The  Wanderer  offers  to  answer  at  the 
price  of  his  life  any  three  riddles  Mime 
can  propound.  After  successfully  an- 
swering three  questions  regarding  the 
Nibelungs,  the  giants  and  the  gods,  he 
asks  three  himself  at  the  same  price. 
Mime  successfully  answers  the  first 
two,  regarding  the  birth  of  Siegfried; 
but  is  terrified  when  the  last  question 
is  asked  as  to  how  the  sword  may  be 
repaired.  This  is,  of  course,  the  one 
thing  he  desires  to  know — believing 
that  with  the  sword  Siegfried  will  slay 
Fafner,  who  guards  the  treasure  of  the 
Nibelungs,  when  his  own  wits  may 
cozen  the  treasure  from  Siegfried;  but 
as  he  cannot  reply  to  the  wanderer, 


365 


VICTROLA     BOOK     OF     THE      OPERA 


his  life  is  forfeit.    The  Wanderer  then 
tells  him  that  the  sword  can  be  re- 
,  paired  only  by  one  who  knows  no  fear. 
He  then  departs. 

Siegfried  returns  demanding  his 
sword,  is  told  that  it  can  be  re- 
paired only  by  one  who  knows  no  fear. 
He  is  much  interested  in  this  new 
thing,  fear.  What  is  Fear?  Mime 
tries  to  explain  by  describing  the 
dragon  Fafner,  and  Siegfried,  growing 
impatient  to  see  the  creature,  essays 
to  mend  the  sword  himself.  Before 
Mime's  wondering  eyes  he  forges  it 
anew,  and  once  whole  to  the  dwarf's 
terror  and  amazement,  he  strikes  with 
it  a  mightly  blow  upon  the  face  of  the 
anvil,  which  splits  in  pieces.  Siegfried 
swings  his  weapon  as  the  curtain  falls. 

ACT  II 

SCENE — The  Dragon's  Cave  in  the  Forest 

FAFNER,  the  "giant-who-is-now-a- 
dragon,"  drowses  over  his  wealth 
in  Hate-Cavern,  while  Alberich,  hoping 
yet  for  a  chance  to  secure  the  ring, 
watches  nearby.  The  Wanderer  cau- 
tions Alberich  that  Siegfried,  with  no 
other  aid  than  his  own  youthful 
strength,  will  overcome  the  dragon 
and  win  the  gold.  But  Alberich  has  a 
plan  of  his  own,  and  he  warns  the 
dragon  of  Siegfried's  approach.  Fafner 
makes  light  of  the  danger.  As  the  day 
dawns,  Mime  creeps  out  behind  with 
Siegfried,  and  leaving  the  hero,  girt 
with  the  sword,  at  the  dark  entrance 
of  Hate-Cavern,  reconnoitres  awhile, 
returning  to  describe  the  beast  to 
Siegfried,  who  laughs  at  him  for  his 
pains.  While  Mime  is  absent,  Sieg- 
fried listens  to  the  murmurings  of  the 
trees  and  the  awakening  of  life  about 
him,  and  is  disappointed  when  he  fails 
to  reproduce  the  song  of  the  birds  on 
a  pipe  which  he  cuts  from  a  reed  with 
his  own  new  sword.  In  this  scene  oc- 
curs some  of  the  loveliest  nature-music 
in  existence. 


Fafner  is  aroused;  and  his  lizard-like 
form  proceeds  from  the  cave  to  a  spot 
near  Siegfried.  He  utters  a  thunderous 
yawn,  which  fails  to  frighten  Siegfried, 
who  replies  with  laughter.  Soon  the 
combat  begins  when  Siegfried  succeeds 
in  driving  the  sword,  Nothung,  into 
the  heart  of  the  dragon.  The  dying 
Fafner,  realizing  that  the  Curse  of 
Alberich  has  descended  upon  him  too, 
endeavors  to  warn  Siegfried  with  his 
dying  breath.  Siegfried  pays  little 
heed.  He  draws  the  sword,  Nothung, 
from  the  breast  of  the  monster,  and  in 
doing  so  its  blood  soils  his  hands.  In- 
stinctively, he  licks  the  blood  away, 
when  at  once  he  becomes  aware  that  he 
has  thus  gained  a  mystical  power  to 
understand  the  language  of  birds.  The 
lovely  woodland  music  returns,  and 
from  his  new  friends  he  learns  that 
he  must  seize  the  ring  and  the 
Tarnhelm,  which  he  does,  ignoring  the 
rest  of  the  treasure.  He  does  not  know 
the  value  of  his  possessions. 

Mime  now  steals  forth,  doing  his 
best  to  wheedle  Siegfried  into  giving 
him  the  Ring  and  the  Tarnhelm; 
Alberich  looks  on  amused.  Siegfried 
watches  Mime  tolerantly  enough,  but 
after  a  time  he  grows  annoyed,  for  his 
new  power  makes  clear  to  him  the 
inner  purpose  of  Mime's  deceitful  talk. 
He  makes  one  pass  at  him  with  his 
sword,  and  Mime  falls  dead.  He 
throws  the  corpse  into  the  cave,  stuf- 
fing up  the  entrance  with  the  body  of 
Fafner.  Then  his  friends  the  birds 
tell  him  of  a  marvellously  beautiful 
woman  who  lies  sleeping  behind  a 
mysterious  veil  of  fire,  and  who  can 
be  won  only  by  a  man  who  knows  no 
fear.  Siegfried  laughs  with  delight, 
saying,  "Why,  this  stupid  lad  who 
knows  not  fear — it  is  I!"  So  saying 
he  follows  the  bird,  which  flies  ahead, 
guiding  him,  turn  by  turn  and  slope 
by  slope,  to  Brunnhilde's  sleeping- 
place. 


366 


VICTROLA     BOOK     OF     THE     OPERA 


ACT   III 

SCENE — A  Wild  Region  at  the  Foot  of  a 
Rocky  Mountain 

IN  the  meantime,  the  Wanderer, 
Wotan,  doubtful  of  the  future,  goes 
to  consult  his  earth-wife,  the  earth- 
goddess  Erda,  hoping  to  learn  if  de- 
liverance may  come,  for  the  gods, 
through  the  union  of  Siegfried  and 
Brunnhilde;  but  Erda  is  puzzled.  She 
can  give  him  no 
determinate  answer, 
and  she  asks  to  be 
allowed  to.  sleep. 
Wotan  fears  that  with 
the  coming  of  Sieg- 
fried his  power  must 
end,  and  with  it,  for- 
ever, the  power  of 
the  gods. 

Siegfried  approach- 
es, his  bird-guide 
having  disappeared. 
He  demands  right-of- 
way  from  the  stranger 
who  bars  his  path. 
Wotan  questions  him 
good-humoredly  and 
learns  of  the  death  of 
Fafner.  He  asks,  too, 
whence  comes  the 
sword,  and  Siegfried 
answers  he  has  forged 
it  from  a  broken 
weapon.  And  whence 
come  the  broken  pieces 
Wotan.  But  Siegfried  answers  that 
he  cares  not  since  a  broken  sword 
is  useless  until  it  is  repaired.  Wotan 
again  laughs,  but  Siegfried  becomes 
insistent  to  know  the  way  to  the  fiery 
couch  of  Brunnhilde,  the  bird  that 
directed  him  thither  having  flown.  He 
is  insistent,  being  young,  sans  fear. 
Wotan  then  confesses  that  he  himself 
has  driven  off  the  bird,  and  he  tells 


THE  AWAKENING  OF  BRUNNHILDE — ACT  III 


pursues 


Siegfried  how  the  spear  he  holds  has 
shattered  the  sword  in  the  grasp  of 
his  father.  Siegfried  at  once  decides 
that  this  fierce-looking  one-eyed  war- 
rior must  be  his  father's  enemy,  and 
so  his  own.  The  spear  of  Wotan  con- 
fronts him,  but  with  a  mighty  blow  he 
severs  the  haft  in  twain.  Wotan  knows 
now  that  he  is  beaten  by  the  son  he 
has  reared  to  save  himself,  and  that 
destiny  pursues  him  for  his  wrong- 
doing. The  end  of 
the  gods  is  near.  He 
makes  way  for  Sieg- 
fried. Soon  a  great 
fire  surrounds  the 
young  hero,  who, 
nothing  daunted, 
pursues  his  way,  as- 
sured at  last  that  he 
is  on  the  right  track. 
The  flames  vanish, 
and  the  smoke  they 
leave  behind  lifts 
clear,  so  that  all  is 
fresh  and  spring- 
like. Upon  a  grassy 
mound,  covered  with 
a  great  shield,  lies  a 
human  form.  Sieg- 
fried takes  the  shield, 
and  removes  the 
armor  and  stands 
wondering  before  the 
sleeping  Brunnhilde. 
With  a  kiss  he 
awakens  her.  Love  stirs  within  him, 
so  that  the  blood  in  his  veins  runs 
feverish.  Brunnhilde  slowly  revives. 
Manhood  comes  to  the  young  hero, 
and  the  path  of  destiny  opens  before 
him  as  the  curtain  descends  upon  the 
third  of  the  dramas  of  The  Ring.  With 
the  last  one,  Destiny  awaits  its  fulfil- 
ment, the  Twilight  of  the  Gods  being 
at  hand.  Its  premonitions,  to  those 
who  know  the  music,  are  heard  in  it. 


367 


SISTER  ANGELICA 


OPERA    in    one    act.    Text    by 
Gioachino  Forzano;  music  by 
Giacomo  Puccini.     First  pro- 
duction   at    the    Metropolitan    Opera 
House,  New  York,  December  14,  1918. 

CHARACTERS 

(With  Original  Cast. ) 
SISTER  ANGELICA  (An-jay-Iee-kah) 

Geraldine  Farrar 
THE  PRINCESS,  her  Aunt.  .Flora  Perini 

THE  ABBESS Rita  Fornia 

THE  SISTER  MONITOR,  Marie Sundelius 
THE   MISTRESS   OF  THE  NOVICES 

Cecil  Arden 
SISTER  GENOVEVA  (Jen-oh-vay-vah) 

Mary  Ellis 
SISTER    OSMINA    (Os-mee-nah} 

Marguerite  Belleri 
SISTER    DOLCINA   (Dol-chee-nah} 

Marie  Mattfeld 

Scene  and  Period:  An  Italian  Convent; 
Seventeenth  Century 


SISTER  ANGELICA,  daughter  of  a 
Florentine  noble,  was  forced  by 
her  family  to  enter  a  convent  after  a 
youthful  love  affair.  Seven  years  have 
elapsed,  when  the  Abbess  announces  a 
visitor,  who  proves  to  be  the  Princess, 
Sister  Angelica  s  aunt.  She  has  come 
for  the  signature  of  her  niece  to  a  legal 
document,  necessary  before  the  mar- 
riage of  a  younger  sister.  The  Princess 
tells  Angelica  of  the  death  of  her  boy 
two  years  before,  and,  unmoved  by 
the  grief  of  the  girl,  tells  her  that  her 
only  course  is  one  of  long  expiation. 
In  despair-'  the  girl  swallows  poison, 
and  as  she  is  dying  the  Virgin  appears 
on  the  threshold  of  the  church,  lead- 
ing a  little  child.  She  gently  pushes 
the  boy  into  his  mother's  arms,  and 
as  the  choir  of  nuns  and  angels 
chant,  forgiveness,  Sister  Angelica 
passes  away.  By  reason  of  its  short- 
ness, the  opera  is  frequently  given  with 
"II  Tabarro." 


IL  TABARRO 


(THE   CLOAK) 


OPERA  in  one  act.    Text  by 
Giuseppe  Adam i,  based  on 
Didier  Gold's  "La  Houp- 
plande";  music  by  Giacomo  Puccini. 
First  production,  Metropolitan  Opera 
House,  New  York,  December  14,  1918. 
Usually  given  with   preceding  opera. 

THE  scene  of  "II  Tabarro"  is  Mi- 
chele s  barge  on  the  Seine.  Michele 
suspects  that  his  young  wife,  Giorgetta, 
is  in  love  with  Luigi,  his  assistant.  He 
discovers  that  she  is  planning  to  meet 
Luigi  that  night,  and  he  decides  to 


lay  in  wait  for  him.  When  Luigi  ap- 
pears he  is  attacked  by  the  husband, 
who  forces  a  confession  of  his  love  for 
Giorgetta,  and  then  strangles  him. 
Hearing  his  wife  approaching,  Michele 
conceals  the  dead  body  under  his  cloak 
and  when  she  appears,  terrified  at  the 
sounds  of  the  scuffle,  she  asks  if  he 
does  not  want  her  to  come  rest  under 
his  cloak.  He  throws  open  the  gar- 
ment, and  she  screams  in  horror  as 
the  body  of  her  dead  lover  rolls  at  her 
feet.  The  opera,  though  brief,  is  con- 
ceived in  genuinely  tragic  spirit. 


368 


SNEGOUROTCHKA 


SNEGOUROTCHKA  (The  Snow 
Maiden),  abounds  in  picturesque 
scenes,  representing  Winter  and 
Spring,  and  the  poetic  little  story  is 
supposed  to  take  place  in  the  happy 
country  of  Berendey,an  unknown  prov- 
ince of  an  imaginary  Russia,  ruled  by 
a  benevolent  old  Czar  who  has  devoted 
his  life  to  the  happiness  of  his  people, 
governing  his  kingdom  by  the  law 
of  love. 

THE  OPERA 

OPERA  in  four  acts  and  a  prologue. 
Text  by  Ostrovsky,  based  on  the 
old  folklore  tale  of  the  Snow  Maiden. 
Music  by  Nicolai  Andreyevich  Rimsky- 
Korsakoff.  First  production  St.  Peters- 
burg, March,  1882.  Produced  at  the 
Private  Opera,  Moscow,  191 1.  In 
Paris,  at  the  Opera  Cpmique,  June, 
1908.  It  was  placed  in  the  Metro- 
politan Opera  repertoire  in  1921. 

CHARACTERS 

SNEGOUROTCHKA,  the  Snow  Maiden 
(Sny  ay -goo-rote  h-kah] ....  Soprano 

MISGUIR,  her  lover Baritone 

SHEPHERD  LEHL  (Lay!) Contralto 

CZAR  BERENDEY Tenor 

BOBY Bass 

BOBYLYCKA,  his  wife Soprano 

KOUPAVA,  betrothed  to  Misguir 

Contralto 

The  Scene  is  laid  in  Berendey,  an 
Imaginary  Province  of  Russia 

THE  beautiful,  unknown  Snegou- 
rotchka,  daughter  of  old  Winter 
and  the  fairy  Spring,  is  found  one  cold 
morning  by  some  villagers,  abandoned 
in  the  forest,  and  the  old  drunkard, 
Boby,  and  his  wife,  Bobylycka,  adopt 
her  without  knowing  her  parentage. 
Misguir,  a  merchant,  falls  in  love  with 


her,  abandoning  his  sweetheart,  Kou- 
pava,  but  Snegourotchka,  as  her  name 
indicates,  is  made  of  ice,  and  her  cold- 
ness and  indifference  discourage  all  the 
young  men  who  are  infatuated  with 
her  beauty.  Even  the  handsome 
Shepherd  Lehl,  who  sings  such  wonder- 
ful songs,  gives  up  in  despair  and  offers 
his  heart  to  Koupava.  The  old  Czar 
is  grieved  that  this  coldness  has  entered 
his  kingdom,  and  offers  the  hand  of 
the  Snow  Maiden  and  a  handsome  gift 
besides  to  any  one  who  can  win  her 
love.  Snegourotchka  finds  it  impos- 
sible to  love,  and  appeals  to  her 
mother,  the  fairy  Spring,  who  invokes 
the  aid  of  the  flowers — the  carnation 
lending  its  grace,  the  rose  its  heart  and 
the  jasmine  its  languor.  This  influ- 
ence gradually  touches  the  heart  of 
the  Snow  Maiden,  and  she  finds  her- 
self falling  in  love  with  the  handsome 
Misguir.  They  both  attend  the  fes- 
tival of  lovers  and  present  themselves 
to  the  good  Czar  as  a  betrothed  couple. 
But,  alas,  at  the  first  kiss  from  her 
lover  the  little  snowflake  melts  and 
disappears,  while  Misguir,  in  despair, 
throws  himself  into  the  river. 

The  dainty  little  shepherd  song  is 
perhaps  the  gem  of  the  opera.  The 
shepherd's  pipe  (a  flute)  is  heard,  the 
drum-beats  of  a  pastoral  dance,  and 
the  soughing  of  the  wind  through  lonely 
Northern  forests.  But  equally  fine  is 
the  "Allerau  Bois"  (Go  to  the  Forest), 
a  weird  yet  pastoral  strain. 

THE    VICTOR   RECORDS 

SONG  OF  THE  SHEPHERD  LEHL 

AI.MA  GLUCK,  Soprano    In  English 

64209'    10-in.,  31.25 

ALLER  AU  BOIS 

(Go  to  the  Forest)  ALMA  GLUCK,  So- 
prano   In  French         64421     10-in.,     1.25 


369 


FAMOUS  OPEKA  HOUSES  OF  EUKOPE 


LA  SONNAMBULA 


(THE   SOMNAMBULIST) 


OUR  grandfathers  and  grand- 
mothers regarded  this  opera 
with  the  greatest  favor,  and  as 
one  reviews  its  tuneful  melodies,  its 
simple,  natural  story,  one  grows  dis- 
posed to  congratulate  them  on  their 
good  sense.  The  opera  was  much  be- 
loved among  debutantes,  both  Albani 
and  Adelina  Patti  using  it  for  their  first 
appearances  in  England.  In  the  30's 
it  was  a  novelty  by  a  young  and  gifted 
composer;  by  1850  it  was  part  of  every 
opera  season,  shining  through  a  halo  of 
great  casts — Malibran,  Pasta,  Jenny 
Lind,  Gerster,  Campanini,  Grisi, — and 
it  continued  to  be  popular  until  the 
Wagnerian  era  brought  a  revulsion 
of  feeling  against  the  simplicities  ot 
the  Bellini  school.  Early  in  the  twen- 
tieth century,  however,  this  very  sim- 
plicity proved  its  charm  once  more, 
and  came  as  a  refreshing  draught  from 
the  bubbling  spring  of  'pure"  melody 
in  an  operatic  era  which  was  to  cul- 
minate with  the  "Salome"  of  Richard 
Strauss,  and  even  more  complex  works. 

THE  OPERA 

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, 
1883.  First  performance  in  New  York 
in  English,  at  the  Park  Theatre,  No- 
vember 13, 1835,  with  Brough,  Richings 
and  Mr.  and  Mrs.  Wood.  First  New 
Orleans  performance,  January  14,  1840. 
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  vil- 
lage   Bass 

TERESA  (Tay-ress-sah),  miller- 
ess  Mezzo-Soprano 

AMINA  (Ah-mee'-nah],  orphan 
adopted  by  Teresa,  be- 
trothed to  El  vino Soprano 

ELVINO     (El-vee' noh) ,    wealthy 

peasant Tenor 

LISA    (Lee-sah),    inn-keeper,    in 

love  with  Elvino Soprano 

ALESSIO  (Al-les-shee-o),  peasant, 

in  love  with  Lisa Bass 

Peasants  and  Peasant  Women 

The  Scene  is  laid  in  a  Swiss  Village 

(The  name  of  the  opera  is  pro- 
nounced Lah  Son-nahm'-boo-la). 

ACT  I 

SCENE — A  Village  Green 

THE  charming  Amina  is  about  to 
marry  Elvino,  and  the  friendly  vil- 
lagers have  made  the  event  an  occasion 
to  celebrate.  This  is  not  agreeable  to 
Lisa,  who  had  hopes  of  winning  Elvino 
herself;  her  bitter  reflections  find  voice 
in  a  melodious  air. 

Alessio  offers  himself  to  Lisa  for 
consolation,  but  she  is  not  receptive. 
They  are  interrupted  when  Amina  and 
her  friends  enter,  followed  by  Elvino, 
for  the  signing  of  the  marriage  con- 
tract. Elvino  places  a  ring  on  the  fin- 
ger of  his  future  bride  as  a  sign  of  their 
betrothal,  and  they  sing  a  charming 
duet,  "Prendi  1'  anel  ti  dono"  (Take 
Now  This  Ring). 

The  celebrations  are  interrupted  by 
the  sound  of  horses'  hoofs,  and  a  hand- 


371 


VICTROLA    BOOK    OF   THE    OPERA 


some  and  distinguished  stranger  ar- 
rives, asking  the  way  to  the  castle. 
Finding  it  some  distance  off,  he  decides 
to  remain  at  the  inn.  lie  looks  around 
him,  seeming  to  recognize  the  scene, 
and  he  sings  the  air:  "Vi  ravviso"  (As 
I  View  These  Scenes). 

Inquiring  the  reason  for  the  festivi- 
ties, the  stranger  is  introduced  to  the 
pretty  bride,  in  whom  he  is  much  in- 
erested — rather  to  Elvino' s  annoyance. 
He  tells  the  peasants  that  in  his  child- 
hood he  lived  with  the  lord  of  the  castle, 
and  he  now  brings  news  of  the  lord's 
only  son,  who  disappeared  some  years 
since. 

The  night  approaches,  and  Amina  s 
mother,  Teresa,  declares  it  is  time  to  go 
indoors  lest  the  "phantom"  appear. 
The  stranger  is  told  of  a  spectre  that 
has  much  been  seen  of  late,  and  when 
he  scoffs  at  the  story,  the  peasants  de- 
scribe the  ghostly  visitant  in  the  chorus 
"Ah!  fosco  ciel!"  (When  Daylight's 
Going). 

The  stranger,  desiring  rest,  retires  to 
his  room.  Amina  and  Elvino  remain; 
the  young  man  reproaches  his  sweet- 
heart for  her  unseemly  interest  in  the 
guest.  At  sight  of  her  tears,  however, 
he  repents  of  his  jealous  temper,  and 
begs  forgiveness,  the  act  closing  with 
a  duet  by  the  reconciled  lovers. 

ACT  II 

SCENE — The  Apartment  of  the  Stranger 

THE  guest  reflects  that  he  might 
have  done  worse  than  stay  at  this 
little  inn — the  people  are  courteous, 
the  women  pretty,  and  the  accom- 
modations quite  good.  Lisa  enters 
to  see  if  he  is  comfortable,  addressing 
him  as  "my  lord,"  and  thus  betraying 
the  fact  that  the  villagers  suspect 
him  of  being  Count^  Rudolph. 

The  Count  takes  it  in  good  part,  in 
spite  of  being  somewhat  annoyed  by 
his  recognition,  but  his  mood  changes 
into  amusement  when  he  tries  to  flirt 


with  the  buxom  landlady,  and  she  coyly 
slips  away, — dropping  her  veil  in  the 
process. 

A  surprise  is  now  in  store  for  him. 
Amina  calmly  walks  in  through  the 
window,  saying  "Elvino,  dost  thou  re- 
main jealous?  I  love  but  thee."  The 
Count  quickly  perceives  that  she  is 
walking  in  her  sleep.  Lisa  peeps  into 
the  room,  and  runs  off  scandalized,  for 
the  unconscious  Amina  has  by  now 
begun  to  disrobe.  The  embarrassed 
Count  not  knowing  quite  what  to  do, 
finally  goes  out  by  the  window.  Amina, 
however,  repeats  in  her  dream  the 
marriage  ceremony  of  the  afternoon, 
entreating  Elvino  to  believe  that  she 
loves  him.  She  finally  throws  herself 
on  the  bed. 

By  the  time  Lisa  arrives  with  Elvino 
and  the  villagers,  they  find  her  calmly 
sleeping  in  the  Count's  room.  She 
wakes  at  the  noise,  bewildered,  and 
runs  to  Elvino,  but  he  repulses  her 
roughly.  She  is  met  with  cold  looks 
on  all  sides,  and  she  sinks  down  in-  de- 
spair, weeping  bitterly.  Rousing  her- 
self, she  again  protests  her  innocence, 
but  Elvino  spurns  her,  and  none  will 
believe  her  except  her  mother,  to 
whose  arms  she  flies  as  Elvino  rushes, 
in  anger,  out  of  the  room. 

ACT  III 

SCENE  I — A  Shady  Valley  near  the 
Castle 

BELIEVING  that  the  Count  alone 
may  clear  her  good  name,  Amina 
goes  there  with  her  mother.  On  the 
way  they  meet  Elvino,  and  they  again 
plead  with  him.  But  they  meet  only 
reproaches,  and  in  his  bitterness  Elvino 
roughly  takes  the  betrothal  ring  from 
the  girl's  finger  and  departs. 

SCENE  II — A  Street  in  the  Village 

E"SA  is  informed   that   Elvino   has 
transferred    his    affections  to  her, 
and  is  therefore  overjoyed.    When 


372 


VICTROLA     BOOK     OF     THE      OPERA 


Rhino  himself  arrives,  they  depart  for 
the  church.  But  on  their  way  they  are 
met  by  the  Count,  who  assures  them  of 
Amina  s  innocence.  Rhino  flatly  re- 
fuses to  listen,  bidding  Lisa  follow  him. 
He  is  stopped  once  more,  however,  by 
Teresa^  who,  having  heard  of  his  pro- 
posed marriage,  now  shows  him  Lisas 
veil,  found  in  the  Count's  room.  "De- 
ceived again!"  cries  the  thoroughly  per- 
plexed bridegroom,  asking  if  any  wo- 
men are  to  be  trusted.  The  Count 
again  assures  him  of  Amina  s  innocence. 
"But  where  is  the  proof?"  cries  Rhino 
"There!"  cries  the  Count  suddenly. 

He  points  toward  the  roof  of  the  mill, 
upon  which,  to  everybody's  astonish- 
ment, Amina  is  seen  in  her  night-dress, 
carrying  a  lamp,  and  quite  evidently 
walking  in  her  sleep.  All  watch, 
breathlessly,  fearing  she  will  fall.  She 
climbs  down  to  the  bridge,  over  the 
wheel,  and  descends  the  stairs.  As  she 
makes  the  hazardous  descent,  she  sings 
the  lovely  air, "Ah!  non  credea  mirarti" 
(Could  I  Believe). 

It  opens  with  a  tender  cantabile  in 
minor  key,  its  pathos  fully  in  keeping 
with  Amina  s  plight,  discarded  by  her 
lover,  doubted  by  her  friends,  and 
mourning  for  her  short-lived  dream  of 
happiness. 

Rhino  can  restrain  himself  no  longer, 
and  he  rushes  toward  the  girl.  She 
wakes  to  find  him  kneeling  at  her  feet, 
and  uttering  a  cry  of  delight,  she  raises 
him  and  falls  into  his  arms.  Since 
there  is  nothing  now  to  mar  their  hap- 
py union,  and  even  the  mystery  of  the 
"ghost"  has  become  clear,  the  opera 
closes  with  a  joyous,  bird-like  air,  in 
keeping  with  the  pastoral  scene  and  the 


mood  of  innocent  happiness.  This  is 
the  "Ah,  non  giunge"  (Oh  Recall  Not 
One  Earthly  Sorrow). 

THE   VICTOR   RECORDS 

(Sung  in  Italian) 

ACT  I 
COME  PER  ME  SERENO 

(Oh!  Love,  for  Me  Thy  Power)  AMELITA 
GALLI-CURCI,  Soprano  74644     12-in.,  #1.75 

SOVRA  IL  SEN 

(While   My   Heart   its  Joy   Revealing) 
AMELITA  GALLI-CURCI,  Soprano 

64918     10-in.,     1.25 

ACT  III 
AH!  NON  CREDEA  MIRARTI 

(Could  I  Believe)  AMELITA  GALLI-CURCI, 

Soprano  74538     12-in.,     1.75 

ALMA  GLUCK,  Soprano     74263     12-in.,     1.75 
AMINA: 

Ah!  must  ye  fade,  sweet  flowers, 

Forsaken  by  sunlight  and  showers, 
As  transient  as  lover's  emotion 

That  lives  and  withers  in  one  short  day! 
But  tho'  no  sunshine  o'er  ye, 

These  tears  might  yet  restore  ye, 
But  estranged  devotion 

No  mourner's  tears  have  power  to  stay! 
— From  the  Ditson  Edition 

AH!  NON  GIUNGE 

(Oh,  Recall  Not  One  Earthly  Sorrow) 
LUISA  TETRAZZINJ,  Soprano 

88313     12-in.,     1.75 
MARCELLA  SEMBRICH,  Soprano 

88027     12-in.,     1.75 
AMINA: 

Do  not  mingle  one  human  feeling 

With  the  rapture  o'er  each  sense  stealing; 

See  these  tributes,  to  me  revealing 

My  El  vino,  true  to  love. 

Ah,  embrace  me,  and  thus  forgiving, 

Each  a  pardon  is  now  receiving; 

On  this  bright  earth,  while  we  are  living, 

Let  us  form  here  a  heaven  of  love! 


373 


STRADELLA 


COMIC  opera  in  three  acts.  Li- 
bretto adapted  from  Bonnet- 
Bourdelet's  Histoire  de  la  Mu- 
siqueetde  ses  Effets,  published  in  Paris 
in  1715.  Music  by  Friedrich  von  Flotow. 
First  written  as  a  lyric  drama,  "Stra- 
della"  was  produced  at  the  Palais  Royal, 
Paris,  in  1837,  but  was  subsequently 
rewritten  and  given  at  Hamburg,  De- 
cember 30,  1844.  Slight  changes  were 
made  in  the  English  version  by  Bunn, 
and  the  opera  brought  out  in  London, 
June  6,  1846,  as  Alessandro  Stradella. 
Produced  at  Niblo's  Garden,  New 
York,  in  1856;  at  Academy  of  Music, 
December  8,  1860;  at  the  German 
Opera  House  on  Broadway,  September, 
1864;  at  Mrs.  John  Wood's  Olympic, 
February,  1867;  revived  at  Thalia 
Theatre,  1887;  at  the  Metropolitan 
Opera  House,  February  4,  1910,  with 
Gluck,  Slezak,  Goritz  and  Reiss. 

CHARACTERS 

ALESSANDRO  STRADELLA,  singer 
(Ahl-lay-sahn'-droh  S Irak-del' - 
lah) Tenor 

BASSI,  a  wealthy  Venetian 

(Bahs'-see) Tenor 

LEONORA,  his  ward  (Lay-oh-noh'- 

rati) Soprano 

BARBARiNolbandjtJ Tenor 

MALVOLIO  J  [ Baritone 

Pupils,  Peasants,  etc. 

Time  and  Place:  Venice  and  the  Vicinity 
of  Rome;  about  1658 


IN  the  opera  Stradella^  having  come 
to  Venice  to  write  music,  takes  for 
a  pupil  the  ward  of  a  rich  Venetian. 
He  falls  in  love  with,  and  finally  elopes 
with  her.  Bassi,  the  girl's  guardian, 
intending  to  marry  her  himself,  is  furi- 
ous when  he  discovers  the  affair.  Bent 
on  revenge,  he  secures  the  services  of 
two  bandits,  Malvolio  and  Barbarino. 
These  worthies  conceal  themselves  in 
the  singer's  home,  while  Stradella  and 
Leonora  are  on  their  way  to  the  church 
to  be  married.  On  their  return  the 
groom  sings  such  a  charming  ballad 
that  the  bravos  decide  to  spare  his  life. 

Bassiy  however,  when  he  learns  that 
his  rival  still  is  alive,  calls  them 
cowards,  and  by  increasing  the  amount 
of  the  reward,  induces  them  to  consent 
to  carry  out  the  plot.  The  three  con- 
spirators go  to  the  home  of  their  victim 
to  await  his  return.  Stradella  appears 
and  begins  to  rehearse  a  hymn  which 
he  is  to  sing  at  church  on  the  morrow. 
As  he  commences  the  bandits  steal  out 
to  stab  him,  but  are  so  affected  by  his 
singing  of  the  beautiful  hymn  that 
they  are  overcome  with  repentance, 
and  fall  at  his  feet  imploring  forgive- 
ness. When  Leonora  appears  Bassi 
blesses  their  union,  as  the  people  ar- 
rive to  pay  homage  to  Stradella. 

The  Overture  is  one  of  the  most  ap- 
preciated works  of  Flotow,  and  it  seems 
to  have  taken  a  permanent  place 
among  the  "standards." 


DOUBLE-FACED  RECORDS 

f Stradella  Overture .  .  Vessellas  Italian  Band} 


Morning,  Noon  and  Night  in  Vienna  Overture  (von  Suppe) 


35276     12-in.,  31.35 


Vessellas  Italian  Band) 

/Stradella  Overture Pietro,  Accotdionisft^ciAC     IT  •          i  ir 

\     Bridal  Rose  Overture  (Lavallfe) Pietro,  Accordionist iJ3 


374 


PHOTO  WHITE 


LEGEND    OF    KI.EINZACH 


TALES  OF  HOFFMAN 


(CONTES    D'HOFFMANN) 

(French) 


MAKE  haste,  make  haste  to 
mount  my  piece,"  cried  the 
dying  Offenbach  to  Car- 
valho  the  producer,  "I  am  in  a  hurry 
and  have  only  one  wish  in  the  world — 
to  see  the  premiere  of  this  work." 
No  doubt  M.  Carvalho  did  his  best, 
but  he  was  too  late,  the  composer 
dying  before  he  was  ready.  Offenbach 
(whose  real  name  was  Levy),  was  born 
at  Offenbach-on-Main,  1819,  the  son  of 
a  Jewish  cantor.  Like  our  own  fore- 
most composer  of  light  opera,  Victor 
Herbert,  he  began  his  career  as  a 
'cellist,  but  soon  gave  it  up  to  write 
light  operas,  many  of  which  he  pro- 
duced himself.  He  was  not  a  profound 
musical  scholar,  but  he  had  a  pretty 
gift  for  melody  and  a  sense  of  rather 
ironic  humor,  by  which  he  rose  into 
great  popularity.  It  may  be  remem- 
bered what  a  furore  attended  his  visit 


to  America  in  1875.  It  was  said  of 
him  that  he  had  more  wit  than  knowl- 
edge (le  savoir-faire  vaut  mieux  que  le 
savoir),  and  Grove's  Dictionary  sol- 
emnly laments  that  of  his  works  "noth- 
ing will  remain."  This  is  premature, 
for  "The  Tales  of  Hoffman"  has  re- 
gained some  of  its  former  popularity 
and  the  Barcarolle  will,  apparently, 
never  be  forgotten.  The  "Tales"  was 
his  greatest  work,  and  he  lavished  many 
years  upon  it  in  the  intervals  of  his 
busy  career.  Unhappily  he  died  be- 
fore he  had  completed  even  the  scoring 
and  the  work  was  revised  and  finished 
by  Guiraud.  Offenbach  died  of  cardiac 
gout,  at  Paris,  on  October  5,  1880, 
and  "The  Tales  of  Hoffman"  was 
only  produced  there  February  10, 
of  the  following  year,  so  he  missed 
by  four  months  the  fulfilment  of 
his  wish. 


TH  E    O  PE  RA 


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  produc- 
tion October  16,  1882,  at  Fifth  Avenue 
Theatre,  by  Maurice  Grau's  French 
Opera  Company  on  their  first  appear- 


375 


VICTROLA     BOOK     OF     THE      OPERA 


ance  in  America.  Revived  at  the 
Manhattan  Opera  House,  New  York, 
November  27,  1907,  and  by  the  Metro- 
politan Opera  Company  in  1911,  with 
Hempel,  Bori,  Fremstad,  de  Segurola, 
Ruysdael  and  Rothier. 

CHARACTERS 

THE  POET  HOFFMAN Tenor 

NICLAUS,  his  friend Soprano 

OLYMPIA,  GIULIETTA,  ANTONIA, 
STELLA — the  various  ladies 
with  whom  Hoffman  falls 

in  love Sopranos 

COPPELIUS 


DAPERTUTTO 
MIRACLE 
(These  t 


his  opponents. . .  Baritone 
iree  roles  are  usually 


sung  by  the  same  artist) 

LUTHER,  an  innkeeper Bass 

SCHLEMIL,  Giulietta's  admirer.  .  .  .  Bass 

SPALANZANI,  an  apothecary Tenor 

COUNCILLOR  CRESPEL,  father  of 

Antonia Bass 

THE  PROLOGUE 

SCENE — Interior  of  the  Tavern  of  Martin 
Luther  in  Nuremberg 

A  GROUP  of  noisy  students  are 
drinking  quantities  of  light  beer, 
at  the  tavern  of  one  facetiously  named 
Martin  Luther,  who  shares,  however, 
few  of  the  characteristics  of  the  great 
reformer.  Weary  of  their  own  stale 
jokes,  they  are  glad  to  welcome  Hoff- 
man, a  poet  who  has  many  gay  songs 
at  the  tip  of  his  tongue.  For  their 
entertainment  he  sings  the  "Legende 
de  Kleinzach"  (Legend  of  Kleinzach). 
It  is  a  merry  song,  but  it  is  not 
completed,  the  poet  falling  off  into 
dreamland.  A  woman  he  has  seen 
that  night  at  the  theatre  has  awakened 
old  memories.  His  companions  rally 
him,  but  the  lights  go  out.  In  comes 
Martin  Luther  with  a  flaming  bowl  of 
punch,  over  which  the  students  make 
merry.  They  soon  fall  to  sentimental- 
ising over  their  own  love  affairs,  when 


Hoffman  breaks  in  on  them,  by  telling 
of  his  own  three  loves.  Scenting  a 
story,  they  gather  around  the  poet, 
who,  sitting  on  the  corner  of  the  table, 
begins,  "The  name  of  the  first  was 

Olympia " 

The  curtain  falls,  and  we  see  enacted 
the  story  of  his  first  love. 

ACT  I 

SCENE — A  Physician  s  Room,  Richly 
Furnished 

HE  tells  of  one  Spalanzani,  a  wealthy 
and  rather  malicious  citizen  with 
a  mania  for  making  automatons,  mar- 
vellous mechanical  dolls  so  lifelike  that 
one  is  almost  deceived  into  believing 
them  human.  One  of  these,  named 
0/ympia,he  pretends  to  be  his  daughter. 
Hoffman,  it.  seems,  has  been  provided 
by  him  with  a  pair  of  magical  glasses, 
and  to  the  amusement  of  his  comrades 
he  falls  in  love  with  Olympia,  thinking 
her  genuine  flesh  and  blood  "C'est 
elle"  (Tis  she!)  he  sings. 

His  friend  Nicholas  endeavors  his 
best  to  prevent  Hoffman  from  making 
a  fool  of  himself.  But  the  guests,  who 
politely  marvel  at  the  wonder,  are 
thought  by  Hoffman  to  be  in  earnest, 
and  when  he  can  snatch  a  word  with 
the  doll,  in  private,  he  is  thrilled  by  the 
automatic  "yes"  that  issues  from  her 
clock-work  throat. 

The  great  event  of  the  evening  is 
when  Olympia  is  made  to  dance  for  the 
guests'  amusement.  As  she  dances, 
also  she  sings, — to  the  wonder  of  the 
company  and  the  enravishment  of 
HoJfman:"Do\\  Song— Les  oiseaux  dans 
la  charmille."  In  this  clever  number 
the  rigid  rhythm  admirably  suggests 
the  stiff  movements  of  the  doll  and 
there  is  a  touch  of  comedy  introduced 
when  she  "runs  down"  with  a  life- 
like gasp  and  has  to  be  rewound! 

She  dances  and  Hoffman  dances 
with  her.  Unfortunately  she  pirouettes 
out  of  the  room.  In  the  excitement 


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VICTROLA     BOOK     OF     THE      OPERA 


PHOTO   WHIT 


METROPOLITAN    OPERA 


Hoffman's  glasses  are  knocked  off,  so 
that  when  he,  with  the  excited  inventor 
rush  into  the  room  where  she  had  gone 
he  sees  but  a  broken  doll.  "An 
automaton!"  he  cries  in  despair,  while 
the  guests  roar  with  laughing  at  his 
disillusion. 

ACT  II 

SCENE — Venice,  a  Room  in  a  Palace  on 
the  Grand  Canal 

TO  the  radiant   beauty  of  Venice 
we  are  transported  on  the  sway- 
ing rhythms  of  the   Barcarolle, — the 
"Belle  Nuit"  (Oh  Night  of  Love). 

The  exquisite  loveliness  of  this 
melody,  its  enchanting  rhythm  and 
rich  orchestration  (in  which  the  'cellos 
superbly  ring  out),  will  never  be  for- 
gotten. 


From  Ditson  Edition — Copy't  1909 


To  the  soft  swaying  of  this  melody 
comes  the  Lady  Giulietta,  a  Venetian 
coquette  who 'is  next,  in  the  work  of 
Fate,  to  capture  the  heart  of  the 


amorous  Hoffman.  No  magic  spec- 
tacles pervert  the  poet's  gaze  this  time, 
and  he  boasts  to  his  friend  Nathaniel 
that  neither  is  he  to  be  blinded  by  any 
mist  of  romance  whatsoever.  His 
boast  is  overheard  by  Dapcrtutto,  the 
lady's  lover, — and  the  malignant  in- 
fluence which  prevails  in  all  three 
romances,  appearing  as  Spalanzani  in 
the  first  episode  and  Dr.  Miracle  in  the 
third.  Dapertutto  lays  a  wager  with 
Hoffman  that  he,  too,  will  fall  a  victim 
to  the  charms  of  Giulietta  as  Schlemil, 
another  young  man,  has  fallen.  In 
token  of  conquest  he  is  to  give  the  girl 
his  reflection  from  a  mirror!  Giulietta 
practices  her  art  with  such  success 
that  when,  a  little  later,  Dapertutto 
shows  him  a  mirror  which  fails  to 
reflect  his  visage  he  is  astonished.  But 
he  is  too  deeply  enmeshed  now  to  care, 
an  easy  victim  to  Dapertutto  s  designs. 
Giulietta  is  made  to  advise  him  that 
Schlemil  has  the  key  to  her  room,  and 
that  he  has  but  to  secure  it  to  win  her. 
Schlemil  appears  and  the  two  men 
fight;  Schlemil  is  killed.  But  when 
Hoffman  looks  for  Giulietta  he  sees  her 
sailing  off  in  a  gondola  in  the  arms 
of  Dapertutto.  Nathaniel,  the  ever- 


377 


VICTROLA     BOOK     OF     THE      OPERA 


present  protective  influence,  warns 
him  the  police  approach.  Once  more 
he  is  disillusioned! 

ACT  III 

SCENE — Munich:  the  Home  of 
Antonia 

IN  the  humble  home  of  Crespel, 
a  magic  influence  works.  The  wife 
of  Crespel  has  been  done  to  death  by 
the  vampire-like  Dr.  Miracle,  and  now 
he  seeks  the  daughter,  Antonia,  though 
the  father  is  striving  his  utmost  to 
shield  her.  The  poor  girl  is  con- 
sumptive, yet  she  possesses  a  mar- 
velous voice — which  she  can  use  only 
at  the  cost  of  her  vitality.  Hoffman 
comes  to  see  her,  enamoured  once  more, 
and  she  sings  for  him,  greatly  weaken- 
ing her  little  store  of  energy.  Then 
Dr.  Miracle  appears,  and  after  mes- 
merising her  father  commands  her  to 
sing  yet  again.  The  dying  girl  protests, 
but  the  portrait  of  her  mother  miracul- 
ously becomes  suffused  with  light,  and 
the  spirit  voice  commands  her  to  "sing: 
Her  response  is  the  "Romance — Elle  a 
fui"  (The  Dove  Has  Flown!) 

With  this  number  the  unfortunate 
maiden  literally  sings  herself  to  death. 
Her  father  endeavors  to  prevent  her. 
Hoffman  rushes  in  and  Crespel,  beside 
himself,  desires  blood  for  her  pale 


cheeks  when  Dr.  Miracle  pronounces 
her  dead.  He  rushes  at  Hoffman, 
knife  in  hand,  but  once  more  Nathaniel 
arrives  in  the  nick  of  time.  So  ends 
the  third  romance. 

THE  EPILOGUE 

SCENE — Same    as    Act  I,  the   Various 

Characters  in  same  Position  as  at 

end  of  Act  I 

"'"T^HERE  is  the  history  of  my 
_L  loves,"  cries  the  poet  Hoffman, 
still  seated  on  the  table.  The  students 
applaud  vigorously  at  the  dramas- 
within-a-drama  which  reveal  the  dis- 
illusionment, in  turn,  of  the  worship 
of  mere  beauty,  sensuous  passion,  and 
the  affection  that  springs  from  the 
heart,  with  Olympia  smashed,  Antonia 

dead  and  Giulietta ? 

"Oh  for  her,"  laughs  Hoffman, "  the 
last  verse  of  the  song  of  Kleinzach." 
So  the  party  ends  in  merriment,  and 
the  students  leave.  But  Hoffman 
does  not  go  with  them.  He  sits  in  a 
dream,  and  presently  a  vision  comes 
to  him  of  his  poetic  Muse,  appearing 
in  an  aureole  of  light.  She  alone  is 
faithful  and  her  alone  must  he,  the 
poet,  serve  with  all  his  heart  and  soul. 
She  disappears.  Stella,  the  woman 
at  the  play  who  had  stirred  his  old 
memories  comes  in  and  finds  him 


PHOTO    WHITE 


VICTROLA     BOOK     OF     THE      OPERA 


asleep.  "No,"  says  his  friend  Nicholas, 
"dead  drunk.  Too  late,  madame!" 
She  goes  off  with  the  counselor  Lindorf, 
an  admirer,  but  as  she  goes  she  stops 


GARRISON    AS    THE    DOLL 


his 


to  look  at  Hoffman,   throwing   at 
feet  a  flower  from  her  bouquet. 

.The  sleeping  poet  pays  no  heed. 
More  sweet  than  love,  more  accept- 
able than  fame,  is  oblivion. 


THE  VICTOR  RECORDS 

(Sung  in  French  except  as  noted) 

C'EST  ELLE 

('Tis  She)  CHARLES  DALMORES,  Tenor 

87089     10-in.,    31.25 

DOLL   SONG— LES   OISEAUX    DANS    LA 
CHARMILLE 
MABEL  GARRISON,  Soprano 

74482     12-in.,     1.75 

ACT  III 
BARCAROLLE— BELLE  NUIT 

(Oh,  Night  of  Love)  GERALDINE  FARRAR, 
Soprano  and  ANTONIO  SCOTTI,  Baritone 

87502     10-in.,     1.50 
ALMA    GLUCK,     Soprano    and    LOUISE 
HOMER,  Contralto 

87532     10-in.,     1.50 
JOHN   McCoRMACK,  Tenor   and    FRITZ 
KREISLER,  Violinist    In  English 

87551     10-in.,     1.50 

MAUD  POWELL,  Violinist  64457     10-in.,     1.25 
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, 
Far  away  where  we  may  yearn, 
For  time  doth  ne'er  return. 
Sweet  zephyrs  aglow, 
Shed  on  us  thy  caresses — 

ACT  IV 
ROMANCE— ELLE  A  FUI 

(The  Dove  Has  Flown)  LUCREZIA  BORI, 


Soprano 


88525     12-in.,     1.75 


DOUBLE-FACED   RECORDS 


/Barcarolle 


arcarolle — In  English Lucy  Marsh  and  Marguerite  Dunlap\.-,^,      In  . 

\     Naughty  Marietta— Italian  Street  Song Lucy  Marshr*  -'"•» 

Gems  from  "Tales  of  Hoffman" Victor  Opera  Company 

Chorus,  "Our    Good  Host" — Solo,      "Song    of    Olympia" — Chorus, 
"Hear  Him  His  Tales  Disclose" — Solo,  "Ah,  Now     Within  My  Heart" 
Barcarolle,  "Oh,  Night  Divine" — Chorus,  "See  She  Dances" — Finale, 
"  Fill  Up  Our  Glasses  " 
Gems  from  "Mignon" Victor  Opera  Company 

f Barcarolle — Waltz  (For  Dancing) Victor  Military 

\     Passing  of  Salome— Waltz Victor  Military 

fBarcarolle Victor  Concert  Orchestra} 

\     Caoalleria  Rusticana — Intermezzo Victor  Concert  Orchestral 

fVenetian  Scene  with  Barcarolle Vessella'f  Italian  Band 

\     Slavonic  Dance  (Dvorak) Vessel/a' s  Italian  Band. 

379 


35337     12-in.,     1.35 


12-in.,     1.35 
10-in.,      .85 


,}35507     12-in.,     1.35 


FROM  A  PAINTING  BY  KNIELE  TANNHAUSER    AND    VENUS 


TANNHAUSER 


THE  characters  in  this  great  opera 
are  not  wholly  imaginary.  There 
was  a  Landgrave  of  Thuringia, 
named  Hermann,  who  held  court  in 
the  Wartburg.  Wolfram  von  Eschenbach 
was  a  minstrel  knight  who  wrote  the 
"Quest  of  the  Holy  Grail"  from  which 
Wagner  took  the  story  of  "Parsifal." 
Tannhduser  himself  derives,  in  part, 
from  a  knight-minstrel  of  that  name 
who  served  at  the  court  of  Duke  Fred- 
erick II  of  Austria,  early  in  the  thir- 
teenth century,  dying  a  penitent  after  a 
somewhat  too  hilarious  life.  He  has 
been  the  subject  of  many  folk-ballads 
of  Germany,  and  of  a  carnival  play  by 


Hans  Sachs  (of  Meistersinger  fame). 
Tannhduser  was  a  Minnesinger  (or 
knight-minstrel)  while  the  bourgeois 
Hans  Sachs  was  a  Meistersinger  (or 
burgher  minstrel)  and  many  find  a  con- 
nection between  Wagner's  two  operas 
owing  to  this  circumstance,  combined 
with  a  song-contest  with  a  maiden's 
hand  in  marriage  as  the  prize.  The 
Elizabeth  in  the  present  opera  seems  to 
be  a  Wagnerian  adaptation  of  the  origi- 
nal St.  Elizabeth,  of  Austria,  estimable 
lady  who  is  also  the  heroine  of  Liszt's 
oratorio  of  the  same  name,  which  was 
unsuccessfully  presented  as  an  opera  a 
few  years  ago.  The  contest  of  song  in 


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VICTROLA      BOOK     OF     THE      OPERA 


which  participated  most  of  the  knightly 
minstrels  mentioned  in  the  above  cast, 
also  is  historical,  and  one  Heinrich  von 
Ofterdingen  (whom  some  writers  iden- 
tify with  Tannhauser)  was  saved  from 
a  violent  death  by  the  Landgravine 
Sophia,  who  threw  her  cloak  over  him. 
This  provides  Wagner  with  the  chief 
incident  of  his  second  act.  Many  popu- 
lar ballads  recount  the  story  of  Tann- 
hauser and  the  Venus  of  the  Wartburg, 
also  that  of  the  Pope's  refusal  to  give 
absolution  to  the  penitent  sinner  and 
the  subsequent  flowering  of  the  papal 
staff,  as  a  mark  of  divine  pardon. 

"Tannhauser '  'wasproduced  at  Dres- 
den while  Wagner,  as  Hofkapellmeister, 
was  enjoying  comparative  luxury  on  a 
salary  of  about  twelve  hundred  dollars 
a  year.  His  "Rienzi"  and  "Flying 
Dutchman"  had  already  given  him  a 
reputation  of  sorts,  but  "Tannhauser" 
was  not  wholly  successful  in  Dresden. 
"You  are  a  man  of  genius,"  said  Mme. 
Schroeder-Devrient,  the  Venus  of  the 
occasion,  "but  you  write  such  eccentric 
stuff  it  is  hardly  possible  to  sing  it." 
The  march  in  the  second  act  was  ad- 
mired, but  critics  found  fault  with  its 
"lack  of  form,"  and  the  Intendant  of 
the  Theatre,  like  a  modern  movie-im- 
presario, objected  to  the  unhappy 
ending — "why  shouldn't  Tannhauser 
marry  Elizabeth  ?"he  querulously  asked. 
Nevertheless,  the  work  attracted  at- 
tention. Liszt,  prompt  as  ever  in  the 
recognition  of  genius,  had  the  overture 
performed  at  Weimar,  1848,  and  he 
produced  the  entire  work  four  months 
later;  and  other  leading  German  opera 
houses  followed.  The  comments  of 
contemporary  musicians  make  sport 
for  the  present  generation.  Spohr,  an 
older  composer,  disposed  to  admire  the 
newcomer,  nevertheless  wrote,  "The 
opera  contains  much  that  is  new  and 
beautiful  .  .  .  also  several  ugly  at- 
tacks on  one's  ears."  Moritz  Haupt- 
mann,  a  great  man  in  his  day,  pro- 


nounced the  overture  (now  the  most 
popular  of  all  overtures)  "quite  atro- 
cious, incredibly  awkward,  long  and 
tedious."  Mendelssohn,  then  in  his 
heyday,  patronizingly  admired  "a  can- 
onical answer  in  the  adagio  of  the  sec- 
ond finale"  which  "had  given  him 
pleasure."  The  generous  and  warm- 
hearted Robert  Schumann,  however, 
wrote  to  Dorn,  "I  wish  you  could  see 
'Tannhauser;'  it  contains  deeper,  more 
original,  and  altogether  an  hundred- 
fold better  things  than  his  previous 
operas — at  the  same  time  a  good  deal 
that  is  musically  trivial.  On  the  whole 
Wagner  may  become  of  great  import- 
ance and  significance  to  the  stage." 
Thus  prophesied  the  musician  whose 
judgment  again  revealed  itself  a  little 
later  when  he  hailed  the  young  Brahms 
with  his  memorable  "Hats  off;  a 
genius!" 

Tomany  persons"Tannhauser  "  is  the 
greatest  of  all  operas.  It  represents  a 
period  in  Wagner's  life  before  he  had 
abandoned  the  opera-form  for  the 
music-drama.  Its  music  is  of  noble 
character  throughout.  It  does  not,  like 
the  "Ring  of  the  Niebelungen",  deal 
chiefly  with  the  sins  and  the  weaknesses 
of  pagan  gods,  but  with  those  of  as- 
piring, suffering,  self-defeated  human- 
ity. To  those  who  look  for  the  "moral 
lesson"  in  a  work  of  art,  there  is  no  dis- 
appointment; for  the  whole  opera,  with 
its  magnificence  of  structure  and  its 
richness  of  detail,  at  bottom  only  typi- 
fies the  struggle  between  the  good  and 
the  baser  elements  in  the  human  soul. 

THE  OPERA 

OPERA  in  three  acts.  |VVords 
and  music  by  Richard  Wagner. 
First  presented  at  the  Royal  Opera, 
Dresden,  October  19,  1845;  at  the 
Opera,  Paris,  March  13,  1861;  in 
Italy,  at  Bologna,  1872.  First  London 
production  at  Covent  Garden,  in  Ital- 
ian, May  6,  1876.  First  American 


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VICTROLA     BOOK     OF     THE      OPERA 


production  at  the  Metropolitan  Opera, 
April  4,  1859,  in  German.  First  pro- 
duction in  Italian  at  the  New  Orleans 
Opera  in  1877. 

CHARACTERS 

HERMANN,  Landgrave  of  Thur- 

ingia Bass 

TANNHAUSER 

(Tahn'-hoy-zer)  Tenor 

WOLFRAM  VON 

ESCHENBACH 

(Vohl-frahni)  Baritone 

WALTHER  VON  DER    Minstrel 

VOGELWEIDE          Knights         Tenor 
BITEROLF  Bass 

HEINRICH  DER 

SCHREIBER  Tenor 

REINMAR  VON 

ZWETER  Bass 
ELIZABETH,  Niece  of  the  Land- 
grave   Soprano 

VENUS Soprano 

A  Young  Shepherd Soprano 

Four  Noble  Pages .  .  .  Soprano  and  Alto 


Chorus  of  Thuringian   Nobles  and 

Knights,  Ladies,  Elder  and  Younger 

Pilgrims,  Sirens,  Naiads,  Nymphs, 

Bacchantes 

Scene  and  Period:  Vicinity  of  Eisenach; 
Beginning  of  the  Thirteenth  Century 

THE  Overture  to  "Tannhauser," 
which  has  been  recorded,  sums  up  in 
miniature  the  whole  story  of  the  opera, 
and  really  its  whole  theme.  It  con- 
trasts the  solemn  and  beautiful  "Pil- 
grims' Chorus' '  with  the  weird  abandon 
of  the  Venusberg  music.  It  is  so  com- 
plete in  form  and  so  rich  in  material 
that  it  has  become,  through  the  long 
passage  of  years,  perhaps  the  best-be- 
loved of  all  operatic  overtures.  Liszt 
called  it  a  "poem  upon  the  same  sub- 
ject as  the  opera,"  and  he  considered  it, 
in  its  way,  just  as  comprehensive.  It 
contains  enough  musical  ideas  to  keep 
busy  a  score  of  lesser  composers  for  the 
whole  of  their  respective  lifetimes. 
It  begins  with  the"Pilgrims'  Chorus'' 


COPY  T  MISHKIN 

WITHERSPOON    AS    THE 
LANDGRAVE 


PHOTO  GERLACH 

GADSKI    AS    ELIZABETH 


PHOTO  GERLACH 

FARRAR  AS  ELIZABETH 


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VICTROLA      BOOK     OF     THE      OPERA 


itself,  in  horns  and  deep  woodwinds, 
softly  at  first,  but  repeated  with  a 
growing  fortissimo,  against  a  smashing 
triplet-rhythm. 


The  chant  returns  very  softly,  break- 
ing off  before  the  first  voluptuous  rush- 
ings  of  the  Venusberg  music: 


This  flying  motive  is  developed  and 
redeveloped  with  ever-increasing  vehe- 
mence. At  its  climax,  it  gives  way  be- 
fore the  knightly,  swinging  "Hymn  to 
Venus,"  later sungby  Tannhauser'mthe 
opera.  The  hymn  never  ends  twice  in 
the  same  fashion.  Heard  twice  in  the 
overture,  the  first  time  it  dissolves, 
after  a  series  of  abortive  half-climaxes, 
into  the  Venusberg  music,  as  if  be- 
neath some  new  spell  of  the  goddess, — 
whose  most  exquisite  love-motive  next 
is  heard,  very  softly,  first  in  the  clarinet 
against  shimmering  strings. 

The  hymn  is  repeated,  this  time 
with  a  triumphant  end,  before  the  tale 
is  again  swallowed  up  in  the  riot  of  the 
bacchanale  music.  The  "Pilgrims'  Cho- 
rus" returns, thistime  in4/4  time,  thun- 
dered out  majestically  by  trombones 
and  trumpets,  the  strings  working 
against  it  a  new,  swift,  subtle  Venus- 
berg theme,  very  softly,  as  though  the 
last  echoes  of  the  place  were  dying  out. 
Near  the  close  tnere  is  a  high  horn 
counter-melody  which  is  one  of  the 
finest  inspirations,  perhaps,  in  the 
whole  overture. 

There  are  two  versions  of"Tann- 
hauser."  In  the  original,  the  overture 
comes  to  an  end  and  the  first  act  begins 
as  a  separate  musical  entity.  In  the 
so-called  "Paris"  version,  revised  to 
meet  the  demands  of  the  French  Grand 
Opera  for  ballet  music,  the  overture 


does  not  close,  but  rushes  directly  into 
the  music  of  the  first  scene. 

ACT  I 

SCENE  I— Within  the  Hill  of  Venus— 
Nymphs,  Sirens,  Naiads  and  Bacchantes 
Dancing  or  Reclining  Luxuriously  upon 
Undulating  Banks.  In  a  Distant  Lake, 
Naiads  are  Bathing 

IN  the  foreground  of  this  scene,  in 
which  the  attendants  of  Venus  are 
disporting  themselves,  Venus  reclines 
upon  a  couch,  gazing  at  Tannhduser. 
The  minstrel  knight  is  in  a  dejected 
attitude,  weary  of  this  life  of  the  senses 
which,  now  that  experience  has  brought 
repletion, has  grown  so  revolting. 
Venus  chides  him,  when  he  rouses  him- 
self to  sing  her  praises  anew.  But  his 
words  are  forced,  and  in  the  end  he 
confesses  that  he  yearns  once  more  for 
the  earth  he  has  left.  The  outraged 
Venus,  after  vainly  striving  to  recall 
him  from  himself,  finally  bids  him  be- 
gone, predicting  his  ultimate  return. 
The  scenemiraculouslychanges.  Venus 
and  her  host  have  disappeared,  and 
Tannhduser  suddenly  finds  himself  in  a 
beautiful  sunlit  valley. 

SCENE  11—^  Valley 

IN  this  lovely  vale,  whose  calm  and 
sunny  serenity  is  in  such  contrast 
with  the  scenes  he  has  just  left,  Tann- 
hduser finds  himself  near  a  wayside 
shrine,  before  which  he  kneels  in  prayer 
and  repentance.  From  a  nearby  hill  a 
shepherd  pipes  his  lay,  and  the  tinkling 
of  sheep-bells  is  heard.  A  company  of 
Pilgrims  pass,  singing  their  chant  as 
they  journey  to  Rome,  and  the  shep- 
herd ceases  piping  to  beg  that  they 
shall  say  a  prayer  for  him.  The  scene 
is  one  of  extraordinary  beauty,  and  has 
been  recorded. 

The  beauty  and  the  peace  of  the 
earth  brings  balm  to  the  soul  of  the 
erring  but  repentant  knight,  and,  fall- 
ing to  his  knees,  he  gives  thanks  to  the 


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VICTROLA      BOOK     OF     THE      OPERA 


Almighty  in  a  splendid  noble  phrase. 
While  he  is  thus  engaged,  the  Land- 
grave and  his  minstrel-knights  enter, 
and  perceiving  a  strange  knight  so  de- 
voutly at  his  orisons,  are  moved  to 
wonder.  They  recognize  him  with 
astonishment,  and  call  him  by  the 
name  by  which  he  was  formerly  known 
to  them,  "Henry!"  At  first  they  are 
in  doubt  as  to  whether  his  visit  is 
friendly  or  otherwise,  but  Wolfram,  his 
old  friend  and  minstrel  rival,  comes  to 
him  with  outstretched  hands.  He 
gives  indirect  replies  to  their  wondering 
questions  as  to  where  he  has  been  dur- 
ing the  past  years.  The  Landgrave 
urges  him  to  come  back  with  him,  and 
as  an  inducement,  Wolfram  tells  how 
much  Elizabeth  the  niece  of  the  Land- 
grave, longs  for  the  return  of  the  knight 
whose  minstrelsy  has  won  their  troph- 
ies in  the  past.  Tannhauser  joyfully 
consents  to  return  and  promises  to 
compete  in  the  forthcoming  Tourna- 
ment of  Song,  the  prize  for  which  is  to 


be  the  hand  of  Elizabeth.  The  remain- 
der of  the  Landgrave's  hunting  train 
arrives  in  time  to  greet  the  minstrel- 
knight,  and  the  curtain  closes  upon  a 
grand  finale. 

ACT  II 

SCENE — The  Great  Hall  of  Song  in  the 
Castle  of  Wartburg 

OVERJOYED  at  the  return  of 
Tannhauser^  Elizabeth  greets  the 
hall  of  song  with  a  rapturous  hail  to  the 
memories  of  the  minstrel's  former 
triumphs  there.  This  is  the  "Dich, 
teure  Halle"  (Hail,  Hall  of  Song). 

Tannhauser  enters  and  kneels  at  the 
feet  of  Elizabeth^  who  in  confusion  bids 
him  arise.  A  long  scene  follows  be- 
tween the  lovers;  in  the  midst  t>f  it, 
Wolfram  enters,  only  to  realize  that  his 
own  hopes  of  Elizabeth  are  done.  His 
grave  and  dignified  self-forgetfulness 
form  a  curious  contrast  to  the  rapture 
of  Tannhauser  and  Elizabeth. 

It  is  the  day  of  the  Contest,  and  the 


BRAND,  BAYREUTH 


THE    HALL    OF    SONG ACT    II 

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VICTROLA     BOOK     OF     THE      OPERA 


Minstrels  and  Courtiers  enter  to  a 
great  processional  march,  acclaiming 
the  Landgrave  and  wishing  him  a  happy 
reign.  The  Landgrave  replies  with 
beautiful  dignity,  and  the  contest  be- 
gins. Four  pages,  who  have  drawn 
lots  from  a  cup,  announce  that  Wol- 
fram will  sing  first  upon  the  subject  of 
Love.  He  sings  with  power  and  elo- 
quence of  a  Love  that  is  pure  and  free 
from  stain.  Tannhduser,  with  memo- 
ries of  his  life  in  the  Venusberg,  shows 
impatience  at  this  praise  of  a  love  that 
is  chaste  but  tepid.  He  at  length 
breaks  in  to  exalt  a  more  earthly  type 
of  love.  Comment  and  dismay  follow, 
and  Biterolf,  a  hot-headed  knight,  rises 
and  challenges  to  mortal  combat  the 
unfortunate  Tannhduser,  who  as  ex- 
citedly returns  that  such  a  grim  wolf  as 
Biterolf  knows  little  of  the  delights  of 
love.  In  wild  exultation,  he  then  breaks 
into  his  blasphemous"Praise  ofVenus." 
All  is  confusion,  and  the  knights  rush 
from  their  seats  with  drawn  swords. 

Elizabeth,  who  has  listened  with 
horror  and  amazement  to  her  lover's 
impious  chant,  now  casts  herself  be- 
tween the  knights  and  Tannhduser. 
She  now  begs  for  his  life,  in  phrases, 
and  in  music,  of  sublime  beauty.  The 
Landgrave  pronounces  judgment,  de- 
claring Tannhduser  banished  from  the 
realm.  He  suggests  that  the  knight 
may  journey  to  Rome  with  a  band  of 
Pilgrims  about  to  start  for  that  city. 
In  the  distance  is  heard  the  "Pilgrims' 
Chant,"  and  the  strains  thrill  the  peni- 
tent soul  of  the  erring  knight.  "To 
Rome,"  he  cries,  "to  Rome!"  and  so 
leaves  the  despairing  but  pitying 
Elizabeth. 

ACT  III 

SCENE — The  Valley  Beneath  the  Wart- 
burg.   At  one  side  a  Shrine 

IT  is  a  year  later.  Elizabeth  waits  at 
the  shrine  for  the  returning  Pilgrims. 
Hardly  daring  to  hope  for  Tannhduser 's 


return,  she  kneels  in  prayer.  Certain 
that  he  will  find  her  before  the  shrine, 
Wolfram  approaches  down  a  woodland 
path.  He  notes  with  grief  her  changed 
appearance  and  muses  on  his  own  hope- 
less love.  The  song  of  a  band  of  Pil- 
grims is  heard  in  the  distance,  and 
when  they  draw  near,  Elizabeth  eagerly 
scans  their  faces  for  that  of  the  missing 
Tannhduser.  He  is  not  among  them, 
and  the  despairing  maid  kneels  again  at 
the  shrine,  offering  her  prayer  to  the 
Virgin.  This  is  the  wonderful  "Elisa- 
beths Gebet"  (Elizabeth's  Prayer). 

Its  solemn  and  pathetic  beauty  has 
made  it  familiar  to  all  music  lovers;  it 
often  is  heard  in  the  concert-room. 

For  a  long  time  she  remains  kneeling, 
then  rises  as  one  entranced.  Wolfram 
now  approaches.  She  bids  him  by 
gesture  not  to  speak,  but  he  begs  leave 
to  escort  her  safely  homeward.  Eliza- 
beth again,  by  a  beautiful  gesture,  sig- 
nifies that  her  way  leads  to  Heaven 
alone.  She  slowly  ascends  the  height 
and  disappears  from  view. 

Night  draws  its  soft  veil  about  the 
scene,  but  Wolfram,  lost  in  his  dream, 
lingers  beside  the  shrine.  His  harp  is 
near,  and  taking  it  in  hand  he  begins  to 
preludize  upon  it.  The  evening  star 
appears,  and  his  mood  finding  inspira- 
tion in  its  pale  lustre,  he  sings  the  ten- 
der and  beautiful  "O  du  mein  holder 
Abendstern"  (The  Song  to  the  Evening 
Star). 

Yet  even  while  Wolfram  s  fingers 
still  pluck  idly  at  the  strings,  a  stranger 
appears  clad  in  the  raiment  of  a  Pil- 
grim, his  face  wild  and  drawn.  It  is 
Tannhduser,  who  supports  his  weary 
limbs  with  a  Pilgrim's  staff.  Wolfram 
greets  him  with  profound  emotion,  and 
learns  that  he  has  failed  to  win  the  for- 
giveness of  the  Pope,  who  vowed  never 
to  forgive  him  till  the  barren  papal 
staff  should  again  put  forth  leaves  and 
blossoms.  In  despair,  Tannhduser  is 
determined  to  return  to  the  Venusberg; 


385 


VICTROLA     BOOK     OF     THE      OPERA 


as  he  voices  the  old  desire  once  more 
are  heard  the  wild  strains  of  the  Venus- 
berg  music.  The  mountainside  opens, 
the  Goddess  herself  appears  as  in  a 
vision, — beautiful,  open-armed,  sing- 
ing her  delirious  and  seductive  melody. 
Wolfram  struggles  for  a  long  time  with 
Tannhauser;  finally  it  occurs  to  his  tor- 
mented consciousness  to  mention  the 
name  of  Elizabeth.  The  unhappy 
Tannhauser,  in  sudden  repentance, 
sinks  to  his  knees.  As  the  dawn  slowly 
disperses  the  darkness,  minstrels  are 
seen  approaching.  They  carry  between 
them  a  bier  upon  which  lies  the  body  of 


Elizabeth,  whose  prayers  have  saved 
the  soul  of  the  repentant  sinner  at  the 
cost  of  her  own  life, — for  even  while 
Tannhauser  kneels  beside  her  body,  a 
procession  of  Pilgrims  is  seen  on  the 
heights  above,  announcing  how  shortly 
after  Tannhauser  had  left,  the  papal 
staff  had  miraculously  brought  forth 
green  leaves.  Tannhauser  has  been 
redeemed  through  the  prayers  of  Eliza- 
beth. Supported  by  Wolfram,  he  looks 
once  upon  her  face,  and  while  the  Pil- 
grims sing  their  praises  to  the  Lord,  he 
kneels  beside  her  body  and  gives  up  the 
ghost. 


THE   VICTOR   RECORDS 


ACT  III 


ELISABETHS  GEBET 

(Elizabeth's  Prayer)  GERALDINE  FARRAR, 

Soprano  In  German      88053     12-in.,  31-75 
EMMY  DESTINN,  Soprano    In  German 

88488     12-in.,     1.75 
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! 


O  DU  MEIN  HOLDER  ABENDSTERN 

(The  Evening  Star)  EMILIO  DEGOGORZA, 

Baritone  In  German     88154     12-in.,  31.75 
MAURICE  RENAUD,  Baritone  In  French 

91067     10-in.,     1.25 
MARCEL  JOURNET,  Bass  In  German 

74006     12-in.,     1.75 
WOLFRAM: 

Like  Death's  dark  shadow,  Night  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'  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  of  vision, 
She  rises  to  an  angel's  mission. 
(He  continues  to  play,  his  eyes  raised  to 
Heaven) 


DOUBLE-FACED  RECORDS 

(Lied  und  Chor  der  Pilger  (Shepherd's  Song  and  Pilgrims'  Chorus)   (Part  I)     1 
(In  German) Gertrude  Runge  and  Nebe  Quartete  [68352 
Lied  und  Chor  der  Pilger  (Part  II) Gertrude  Runge  and  Nebe  Quartete) 


12-in.,  31.35 


{O  du  mein  holder  Abendstern  (The  Evening  Star) Reinald  Werrenrath\<,r,sn     17  • 
Treue  Liebe — Ach,  wie  /V/'j  moglich  dann Emil  Muench,  Tenor) 

/Selection  from  Tannhauser Arthur  Pryor's  Band\-i  r-,-,-, 

\     Madame  Butterfly  Selection,  No.  2  Arthur  Pryor's  °  —  j{ 


1.35 


,  or 


fThe    Evening    Star Rosario  Bourdon,  '  Cellist}.  ,-Q. i 

\     Last  Rose  of  Summer Elizabeth  Wheeler,  Soprano J   ° 

386 


10-in.,      .85 


VICTROLA     BOOK     OF     THE      OPERA 

/The  Evening  Star  (In  English) ..  Alan  Turne  r,  Baritone  \ ,  7 ,,  ,n  • 

I     The  Rosary  (Nevin) Alan  Turner,  Baritone]11  ~m-' 

{Pilgrims'  Chorus Pryor's  Band\.f--,7  injr 

l     Lohengrin— Coro  delle  nozze  (Bridal  Chorus)  (In  Italian)  ....La  Scala  Chorus)  1O  in-' 

/Pilgrims'    Chorus Victor    Brass   9uartet\* 71 77  in  • 

I     Don  Carlos— Grand  March  (Verdi) Sousa's  Bandr/lii         ~m-> 

/Pilgrims'     Chorus     (In     English) Victor  Male  Chorus\.7~s*  1ft  • 

\     Trovatore— Anvil    Chorus    (In    English) Victor  Male  Chorus!1'^  ''"•' 


Dich,  teure  Halle  (Hail,  Hall  of  Song)  (In  German)  .  .  .  .Louise  Voigt,  Soprano} 
Freischiitz  —  Leise,  leiseyfromme  Weise  (Agatha  s  Prayer)  (In  German)  [68473 

Louise  Voigt,  Soprano) 

Fantasia  on  Tannhauser  (Dream  of  Wagner)  ................  Pryor's  Band 

Prelude,    Act    II  —  Air    for  Venus,  Act  I  —  Duet,  Elizabeth  and 


12-in.,     1.35 


Tannhauser,  Act  II  —  Bacchanale,  Act  I  —  Tannhauser's  Air,  Act  I 
Reminiscences  of  Verdi  .................................  Sousa's    Band 

Excerpts  from  "Rigoletto"  —  "  Trovatore"  —  "  Traviata" 


35230     12-in.,     1.35 


SETTING    OF    ACT    111    AT   THE    METROPOLITAN 


387 


THAIS 


THIS  opera  was  composed  by 
Massenet  with  a  view  to  provide 
the  American  singer,  Sybil  San- 
derson, with  a  role  worthy  of  her  tal- 
ents. After  its  successful  production 
in  Paris,  the  composer  went  to  Milan  to 
supervise  the  performance  at  La  Scala, 
where,  as  he  records  in  his  memoirs,  he 
for  the  first  time  met  Enrico  Caruso. 
Since  the  Hammerstein  production, 
"Thai's"  has  been  perhaps  the  most 
popular  of  Massenet's  worksin  America, 
largely  due  to  the  beautiful  Meditation. 

THE  OPERA 

OPERA  in  three  acts.  L-ibretto 
by  Louis  Gallet,  based  on  the 
novel  of  Anatole  France;  music  by 
Jules  Massenet.  First  production  at 
the  Opera  Comique,  Paris,  1894,  and 
the  opera  has  since  been  given  in  nearly 
every  music  capital  of  Europe.  First 
American  production  November  25, 
1908,  at  the  Manhattan  Opera  House, 
New  York.  Revived  at  the  Metro- 
politan Opera  House,  1917. 

CHARACTERS 

THAIS,  actress  and  courtesan 

(Tah-ees'}  ..............  Soprano 

ATHANAEL,  a  Cenobite  monk.  Baritone 
NICIAS,  a  wealthy  Alexandrian  .  .Tenor 
PALEMON,  an  aged  Cenobite  monk.  Bass 
ALBINE,  an  abbess  ....  Mezzo-Soprano 

r*  1 

MRY°RTALLEEjslave  §irls-  '  -Sopranos 


Monks,  Nuns,  Citizens,  Servants, 

Dancers,  etc. 

Time  and  Place:    Alexandria  and  the 
Egyptian  Desert.  Early  Christian  Era 

ACT  I 

SCENE  I  —  The  Camp  of  the  Cenobites 
near  the  Nile 

IN   a   time   when  Alexandria  is 
wrapped  in  luxury  and  profligacy, 
Thais,  a  priestess  of  Venus,  is  recog- 


nized as  the  loveliest  of  all  women. 
Athanael,  a  Cenobite  monk,  who  has 
been  to  the  city  in  an  effort  to  preach 
the  gospel,  returns  to  his  devout  as- 
sociates with  strange  stories  of  Alex- 
andria's subtle  wickednesses.  Wearied 
from  his  journey,  but  stirred  by  his 
own  recital,  he  falls  asleep,  when  a 
vision  comes  to  him  of  Thais  herself, 
posing  in  the  Alexandrian  Theatre 
before  a  great  throng  which  is  in 
rapture  over  her  beauty.  He  is  deter- 
mined to  "reform"  her,  and  against 
the  advice  of  the  good  Palemon,  he  sets 
out  upon  this  mission. 

SCENE  II — The  House  of  Nicias 
at  Alexandria 

IN  Alexandria,  Athanael  has  a 
friend  of  his  former  unregenerate 
days  in  Nicias,  whose  palace  occupies 
a  commanding  situation  in  Alexandria. 
As  Athanael  looks  down  from  the  ter- 
race upon  the  wonderful  yet  wicked 
city  beneath  him,  he  reflects,  in  a  mys- 
terious air,  upon  its  alluring  but  un- 
hallowed beauty:  "Voila  done  la  ter- 
rible cite"  (That  Awful  City  I  Behold). 
Nicias  greets  his  old  friend  with 
courtesy,  but  is  moved  to  laughter  at 
his  apparently  whimsical  notion  of  re- 
forming the  lovely  Thais,  upon  whom 
Nicias  himself  has  squandered  a  for- 
tune. Willing  to  help  for  old  time's 
sake,  however,  he  has  his  household 
slaves  array  Athanael  in  rich  robes, 
concealing  his  monkish  habit.  When 
at  last  Thais  herself  arrives  she  is  at 
first  repelled  by  this  austere  visitor, 
but  her  curiosity  is  awakened,  none  the 
less.  Athanael  tells  her  that  he  has 
come  to  bring  her  to  the  only  God, 
whose  humble  but  jealous  servant  .he 
stands  before  her.  Thais 's  reply  is 
characteristically  pagan — she  believes 
in  the  joy  of  living;  but  she  is  none 
the  less  impressed.  Athanael  leaves, 


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VICTROLA      BOOK.     OF     THE      OPERA 


shocked  by  the  preparations  for  an  orgy, 
which  he  beholds  going  on  about  him. 

ACT  II 

SCENE  I — The  Apartments  of  Thais 

IN  her  room  lies  Thai's,  weary  of 
her  world,  for  the  moment  wearied 
with  luxury,  and  stirred  to  an  un- 
usual soberness  by  memories  of  the 
monk  who  has  come  to  reform  her. 
Nearby  is  a  figure  of  Venus,  whose 
priestess  and  votarist  Thais  remains; 
before  it  burns  incense.  The  floor  is 
covered  with  precious  rugs  of  Byzan- 
tium, and  many  an  exotic  odor  is  blown 
in  from  the  rich  blossoms  in  vases  of 
agate.  Athanael  comes  to  her,  and 
she  answers  his  singular  admoni- 
tions lightly.  But  one  fear  lurks  in 
the  heart  of  Thais;  she  knows  that  in 
time  her  beauty  must  fade  as  the 
blooms  around  her.  Yet  Athanael 
speaks  to  her  of  life  everlasting,  of  an 
eternal  beauty  of  the  spirit.  Gradually 
the  vision  of  a  new  and  higher  life 
comes  to  the  pagan  priestess,  half 
'frightened,  half  defiant.  Athanael 
leaves  her,  confident  she  must  repent. 
"On  thy  threshold  till  dawn  I  shall 
await  thy  coming,"  declares  the  in- 
exorable Athanael)  who  longs  to  lead 
her  to  a  convent  in  the  desert. 

SCENE  II — A  Street  in  Alexandria 

TRUE  to  his  word  Athanael  main- 
tains vigil.  Sounds  of  revelry 
come  to  him  from  an  adjacent  house, 
where  Nicias  keeps  the  night  hours. 
Towards  dawn,  Thais  appears,  worn 
and  repentant  after  a  night  of  emo- 
tion, ready  now  to  follow  her  holy 
guide  into  the  wilderness.  She  leaves 
everything  behind  her,  only  begging 
that  she  may  bring  with  her  a  small 
statue  of  Eros  (Cupid)  which  has  been 
given  her  by  Nicias.  This  Athanael 
casts  to  the  ground,  shattering  it  into 
a  thousand  fragments.  He  then  goes 


into  her  palace  to  set  fire  to  her  mani- 
fold treasures.  Thais  accepts  her  sac- 
rifice without  demur.  As  soon  as  they 
are  gone,  Nicias  appears,  having  won 
heavily  at  the  games.  He  orders  fresh 
dancing,  wine  and  music,  and  a  scene 
of  luxury  is  revealed  in  the  awakening 
day.  Thais  enters,  in  the  robes  of  a 
penitent,  followed  by  her  lamenting 
women,  and  accompanied  by  the  stern 
monk.  The  attendants  of  Nicias  are 
enraged  at  the  prospective  loss  of 
Thais,  and  the  firing  of  the  palace. 
They  seek  to  hang  Athanael.  To  save 
him,  Nicias  throws  gold  coins  among 
them,  and  as  the  crowd  scrambles  for 
the  money,  Athanael  and  Thais  de- 
part for  the  desert  and  a  life  of  re- 
pentance. 

ACT  III 

SCENE  I — A  Desert  Oasis 

TORTURED  by  lack  of  water,  and 
weary  with  her  long  journey,  Thais 
almost  faints — though  the  end  of  the 
journey  is  in  sight.  Athanael  remorse- 
lessly drives  her  on,  and  she  goes  will- 
ingly. But  the  monk  is  moved  to  pity 
as  he  notes  her  sufferings.  He  permits 
her  to  lie  down  while  he  bathes  her 
feet,  and  he  gives  her  fruit  and  water. 
An  exquisite  scene  follows,  "D'acqua 
aspergini"  (With  Holy  Water  Anoint 
Me). 

Thais  now  seems  uplifted,  beyond 
the  dominion  of  flesh,  into  great  spiri- 
tual exaltation;  she  is  glad  when  the 
Abbess  Albine  and  the  White  Sisters 
come  to  lead  her  to  a  cell  in  the  con- 
vent, a  short  way  off.  At  last  she  has 
found  that  peace  for  which  her  soul 
has  craved.  Only  Athanael  is  troubled. 

SCENE   II — The   Cenobites1   Camp 

BACK  among  the  brethren,  Athanael 
is  compelled  to  confess  to  the  aged 
Palemon  that  he  has  saved  Thais  at 
the  cost  of  his  own  soul.    Passionately, 
raging  at  himself,  he  strives  to  cast  out 


389 


VICTROLA     BOOK     OF     THE      OPERA 


of  his  mind  the  memories  of  her  human 
weakness  and  of  her  intoxicating 
beauty.  He  longs  for  her,  and  cannot 
now  put  down  the  desires  that  have 
sprung  up  within  his  tortured  and 
struggling  consciousness.  In  sleep,  a 
vision  comes  to  him  of  Thais,  lovely, 


PHOTO  WHITE 

ATHANAEL:  "Courage,  oh,  my  sister! 
The  dawn  of  rest  begins." 
(Act  II,  Scene  II) 

self-sure,  mocking,  as  he  first  beheld 
her  in  Alexandria;  then  the  vision 
changes  and  he  sees  her  differently,  her 
face  illumined  with  the  white  fervor 
of  religious  mysticism  as  she  lies  dying 
in  the  convent.  Awakening  in  terror 
he  rushes  out  into  the  darkness  to  seek 
her  retreat. 


SCENE  III — The  Convent  of  the  White 
Sisters 

THAIS,  worn  with  repentance  and 
self-denial,  is  dying;  upon  her 
worn  eyelids  there  falls,  in  truth,  the 
"peace  that  passeth  understanding." 
Athanael  comes  to  her,  shaken  and 
distraught.  He  implores  her  to  return 
with  him  to  Alexandria.  There  is  no 
reply.  She  sees  the  gate*  of  Heaven 
before  her  and  hears  the  sweet  and 
powerful  beating  of  angels'  wings  as 
the  life  slips  away.  Athanael,  cheated 
by  himself,  falls  to  the  ground  in 
despair. 

The  lovely  "Meditation"  symbolizes 
the  conversion  of  Thais,  "Thy  word 
has  remained  in  my  heart  as  a  balm 
divine."  It  is  first  heard  between  the 
acts,  a  violin  solo  accompanied  by 
harp  and  strings.  But  it  recurs  again 
in  the  scene  in  the  oasis  of  the  desert, 
and  is  at  last  triumphantly  heard  at 
the  end  as  Thais  lies  dying,  enriched, 
ennobled,  and  with  the  melodies  sung 
by  the  repentant  sinner  and  the  con- 
current voices  of  the  orchestra. 

• 

THE  VICTOR  RECORDS 

D'ACQUA  ASPERGIMI 

(With  Holy  Water  Anoint  Me)  MME. 
JANNI,  Soprano  and  MATTIA 
BATTISTINI,  Baritone  In  Italian 

89123  12-in.,?2.00 
INTERMEZZO 

(Meditation  Religieuse)  (Te  souvient-il 
du    lumineux    voyage)    GERALDINE 
FARRAR,  Soprano  In  French 

88594  12-in.,  1.75 

MAUD  POWELL,  Violinist  74135  12-in.,  1.75 
FRITZ  KREISLER,  Violinist  74182  12-in.,  1.75 
MISCHA  ELMAN,  Violinist  74341  12-in.,  1.75 


DOUBLE-FACED  RECORD 

(Intermezzo   (Meditation)  ..................  Maximilian  Pilzer, 

\ 


'""'  1,35  306     j2-in     SI  35 
Humoresque  (Dvorak)  ..................  Maximilian    Pilzer,  Violinist) 


390 


TOSCA    AND    SCARPIA ACT    II 


TOSCA 


ATER  the  romantic  charm  of 
"La  Boheme,"  Puccini  turned 
to  the  gruesome  play  of  Sardou 
for  a  source  of  inspiration.  "La  Tosca" 
was  the  fifth  or  his  works,  coming 
between  "  Boheme "  and  "  Butterfly." 
The  story  is  "tense"  and  even  sensa- 
tional, so  much  depending  upon  the 
action  that  Puccini's  musical  oppor- 
tunities were  limited.  "Tosca  'has 
been  called  a  play  with  incidental 
music,  but  this  hardly  does  justice  to 
the  skilful  characterization  which  he 
reveals  throughout,  especially  with 
Scarpia.  The  opera  might  as  well 
have  been  called  "Scarpia"  as  "Tosca," 
for  this  sinister  gentleman  dominates 
the  whole  of  the  action. 


OPERA  in  three  acts.  Text  by 
Illica  and  Giacosa  after  Sardou's 
drama.  Music  by  Giacomo  Puccini. 
First  produced  at  the  Constanzi  The- 
atre, Rome,  January  14,  1900.  First 
London  production  at  Covent  Garden, 
July  12,  1900.  Given  in  Constanti- 
nople and  Madrid  in  1900.  During 
1901,  brought  out  in  Odessa,  January 
1st;  Lisbon,  January  29th;  Santiago, 
July  29th;  Cairo,  November  26th. 
First  in  Germany  at  Dresden,  October 
21,  1902;  in  France,  at  Paris,  October 
13,  1903,  in  French,  and  October  31, 
1904,  in  Italian.  Given  at  Budapest, 
May  10,  1906;  Berlin,  January,  1907; 
Vienna,  October  26,  1909.  First  pro- 
duction in  the  Americas  at  Buenos 


391 


VICTROLA     BOOK     OF     THE      OPERA 


Aires,  June  16,  1900;  in  the  United 
States,  February  4, 1901,  at  the  Metro- 
politan, the  cast  including  Ternina, 
Cremonini,  Scotti  and  Gilibert.  Also 
produced  in  English  by  Henry  W. 
Savage.  The  opera  has  become  a  fix- 
ture in  the  American  opera  repertoire, 
and  more  than  fifty  performances  have 
been  given  at  the  Metropolitan  since 
1908,  besides  those  by  the  Chicago 
Opera  Company  and  various  traveling 
companies. 

CHARACTERS 

FLORIA  TOSCA  (Floh'-ree-ah  Toss'- 

kah)  a  celebrated  singer .  .  Soprano 
MARIO  CAVARADOSSI  (Mah'-ree-oh 

Cav-a-rah-doss'-ee)  a  painter,Tenor 
BARON  SCARPIA  (Scar'-pee-ah}  chief 

of  the  police Baritone 

CESARE  ANGELOTTI  (Chay-zahr' -ay 

Ahn-j  el-lot1 -tee) Bass 

A  SACRISTAN Baritone 

SPOLETTA  (Spo-let'-taJi)  a  police 

agent Tenor 

SCIARRONE,  a  gendarme  (Shar-rohn'- 

nay) Bass 

Judge,  Cardinal,  Officer,  Sergeant, 

Soldiers,  Police  Agents,  Ladies, 
Nobles,  Citizens 

Scene  and  Period:  Rome,  June,  1800 

ACT  I 

SCENE— 7«/m'0r  of  the  Church  of 
St.  Andrea 

^  I  AHERE  is  no  overture  or  prelude. 
J_  As  the  curtain  rises  we  hear  the 
three  chords  of  Scarpia  thundered  out, 
and  we'  behold  the  high-vaulted  in- 
terior of  the  church.  Angelotti  enters, 
pale,  dishevelled,  panic-stricken,  in 
prison  garb.  He  looks  hurriedly  around, 
soon  discovering  the  key  of  the  At- 
tavanti  chapel  hidden  for  him  by  his 
sister.  The  escaped  prisoner  has  barely 
had  time  to  conceal  himself  before  the 
Sacristan  appears,  with  Cavaradossi  s 


paint-brushes,  which  he  has  been 
cleaning.  As  the  Sacristan  approaches 
the  platform  on  which  the  painter  has 
been  standing  to  decorate  the  church, 
the  Angelus  is  heard  and  he  sinks  to 
his  knees.  In  this  reverent  position 
he  is  found  by  Cavaradossi,  returning 
to  work.  Cavaradossi  has  been  paint- 
ing a  fair-haired,  blue-eyed  Madonna, 
using  for  his  model  an  unknown  wor- 
shipper in  the  church,  whose  beauty 
has  amazed  him.  She  is  the  sister  of 
his  friend  Angelotti,  but  he  is  not  aware 
of  it.  His  interest  in  the  portrait  is 
purely  artistic,  as  we  learn  from  the 
charming  melody  in  which  he  discusses 
the  more  or  less  technical  question  of 
its  contrasted  colors.  This  is  known 
as"Recondita  armonia"  (Strange  Har- 
mony). 

Eager  to  continue  work,  he  dismisses 
the  Sacristan,  who  departs  after  a 
covetous  glance  at  a  neglected  basket 
of  food  for  the  painter,  which  has  been 
left  on  the  platform.  Cavaradossi  has 
said  he  is  not  hungry,  but  the  Sacristan 
does  not  share  his  lack  of  appetite. 
Scarcely  has  the  man  left  him  than  the 
painter  is  startled  to  hear  the  sound  of 
a  key,  turning  sharply  the  lock  of  the 
chapel-door.  Angelotti  appears,  wild- 
eyed  at  the  sight  of  a  stranger.  His 
look  changes  to  one  of  relief  as  he 
recognizes  an  old  friend,  Cavaradossi. 
He  makes  known  his  condition,  and 
the  painter  promises  every  aid.  Giv- 
ing him  the  basket  of  food,  he  advises 
him  to  hide  in  the  chapel,  as  the  voice 
of  a  woman  is  heard  without,  calling 
to  Cavaradossi,  "Mario!  Mario!"  This 
is  La  Tosca,  the  beautiful  singer,  the 
betrothed  of  Cavaradossi.  With  a  few 
hurried  directions,  the  painter  dis- 
misses Angelotti,  who  takes  with  him  a 
woman's  dress,  belonging  to  his  sister, 
who  has  left  it  in  the  church  along  with 
the  key. 

When  Tosca  enters,  she  is  enraged 
that  Cavaradossi  has  kept  her  waiting. 


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VICTROLA     BOOK     OF     THE     OPERA 


LE   THEATRE 


TOSCA    AND    MARIO    IN?    THE    CHURCH ACT    I 


She  is  suspicious  of  his  confusion,  too, 
believing  she  has  heard  him  talking  to 
a  woman.  The  painter  consoles  her 
jealousy  in  lover-like  fashion,  but  her 
anger  breaks  out  afresh  when  she  dis- 
covers that  he  is  painting  a  fair-haired 
Madonna.  Her  own  hair  is  dark  and 
her  eyes  coal-black.  He  again  quiets 
her  jealous  fancies,  and  she  departs, 
arranging  to  meet,  him  again  that 
evening  after  the  brief  part  she  has  to 
take  in  a  cantata  to  be  sung  to  the 
queen. 

After  Tosca  has  gone  Angelotti  re- 
turns. He  is  directed  to  a  place  of 
escape,  to  await  Cavaradossi  later. 
Even  as  the  men  converse  the  sound 
of  cannon  is  heard  booming  out  the 
announcement  that  a  political  prisoner 
has  escaped,  Angelotti  rushes  off  in  a 
frenzy  of  fear,  knowing  that  his  im- 
placable enemy,  the  chief  of  police, 
Scarpia,  already  has  taken  up  the  trail. 
Mario  goes  with  him  to  point  a  further 
way  to  escape. 


The  Sacristan  returns,  is  surprised 
to  find  Mario  Cavaradossi  has  gone. 
With  him  are  members  of  the  choir, 
brought  to  prepare  for  a  festival,  news 
of  Bonaparte's  defeat  having  arrived. 
The  excitement  is  hushed,  however, 
when  the  dreaded  Scarpia  with  his 
assistant  Spoletta  and  the  police  enter 
the  church,  infuriated  at  Angelotti  s 
escape.  The  prisoner  has  been  traced 
to  the  sacred  building,  and  Scarpia 
savagely  questions  the  Sacristan.  The 
empty  food-basket  and  the  key  to  the 
chapel  are  discovered,  and  a  fan  be- 
longing to  Angelotti^ s  sister.  Hearing 
that  La  Tosca  nas  been  to  the  church, 
Scarpia  resolves  to  use  the  fan  to 
arouse  her  jealousy,  as  lago  used 
Desdemona's  kerchief  in  his  plot 
against  Othello.  Still  doubting  her 
lover,  Tosca  returns,  and  Scarpia  loses 
little  time  in  setting  his  plan  into  ef- 
fect. He  approaches  her,  courteously 
enough,  in  the  familiar  aria,  "Tosca 
Divina"  (Divine  Tosca!). 


393 


VICTROLA     BOOK     OF     THE      OPERA 


PHOTO    BOYBR 


THE   TE     DEUM ACT   I 


At  first  she  ignores  his  man's  atten- 
tions, but  Scarpia,  with  considerable 
skill,  insinuates  that  she  is  not  like 
other  women  who  come  to  the  church 
to  distribute  their  favors.  Then  he 
exhibits  the  fan.  The  excitable  singer 
soon  is  wrought  to  a  high  pitch  of 
jealousy  regarding  Mario.  She  leaves 
the  church  weeping,  just  as  the  pro- 
cession enters  for  the  festival  Te  Deum 
in  honor  of  the  victory.  Scarpia  bows 
low  to  the  Cardinal,  concealing  be- 
neath an  attitude  of  respectful  rever- 
ence, a  spirit  busy  with  ugly  and  mani- 
fold plans.  There  is  then  heard  the 
"Te  Deum"  which  has  been  recorded. 

The  tolling  of  the  bells,  and  the 
chanting  of  the  choir  above  a  ground- 
bass  in  the  orchestra,  form  a  striking 
background  for  Scarpia 's  monologue. 

ACT  II 

SCENE — A  Room  in  Scarpia  s  Apart- 
ments in  the  Farnese  Palace 
A3OVE  the  apartments  of  the  queen 
in  the   palace  are  Scarpia  s  own 
chambers.    The  table  is  laid  for  supper, 


but  the  chief  of  police  is  too  restless 
and  excited  to  eat.  He  awaits  with 
impatience  the  reports  of  his  men  re- 
garding Cavaradossi  and  Angelotti. 
Hearing  Tosca's  voice  in  the  apart- 
ment below,  where  the  cantata  is  in 
progress,  he  sends  her  down  a  message 
declaring  he  has  received  word  of  her 
lover.  He  knows  only  too  well  what 
the  effect  will  be.  He  exults  over  his 
imminent  conquest,  for  he  desires 
even  above  worldly  power  to  make 
Tosca  his  victim.  In  a  famous  solilo- 
quy he  repeats  his  creed  of  life.  Scarpia 
loves  such  a  victory  as  this — no  tender 
vows  by  moonlight  for  him !  Whatever 
Scarpia  desires,  he  wins  for  himself  by 
force;  when  wearied  he  is  ready  for 
more.  God  has  made  divers  wines  and 
many  kinds  of  beauty,  and  he  intends 
to  enjoy  them  all. 

Spoletta  returns  with  the  exasperat- 
ing news  that  Angelotti  is  still  in  con- 
cealment. Scarpia  blazes  with  anger; 
he  is  consoled,  however,  by  the  news 
that  Cavaradossi  has  been  taken.  The 
painter  is  brought  before  him,  but 


394 


VICTROLA      BOOK     OF     THE      OPERA 


when  questioned  he  refuses  all  infor- 
mation. He  is  consigned  to  the  torture- 
chamber  adjoining — just  as  Tosca  ap- 
pears. 

Then  begins  that  tremendous  scene 
where  Scarpia,  soft  as  a  cat  with  a 
mouse,  plays  upon  the  girl's  emotions 
to  find  out  where  Angelotti  is  hidden. 
He  greets  her  with  horrible  courtesy, 
and,  when  he  thinks  the  time  is  ripe, 
lets  her  know  bluntly  that  her  lover  is 
undergoing  torments  next  door,  and 
that  for  every  denial  he  makes  a  twist 
is  given  to  the  wire  about  his  head. 
She  hears  Mario  steadily  refuse,  and 
Scarpia  opens  the  door  to  the  chamber 
so  that  she  may  hear  his  stifled  cries. 
He  even  permits  her  to  look  in  and 
see  her  lover's  anguish.  Even  the 
hardened  Spoletta  gives  utterance  to 
a  horrible  prayer  at  sight  of  such 
abominable  double-torture.  A  scream 
of  pain  from  Cavaradossi  at  last  weak- 
ens the  girl's  resolution  and  she  tells 
Scarpia  where  Angelotti  is  hidden. 
Cavaradossi  is  brought  in  and  placed, 
fainting,  on  a  couch.  "  Did  I  betray 


him?"  he  asks  in  anguish;  and  Tosca 
answers  "No."  But  he  hears  Scarpia 
whip  out  directions  to  his  men,  and 
he  knows  that  Tosca  has  given  up  the 
information.  Weak,  faint,  like  to  die, 
he  denounces  the  singer. 

News  now  arrives  that  the  reported 
victory  over  Napoleon  is  a  mistake, 
and  that  Bonaparte  has  won  the  battle 
of  Marengo.  Scarpia  stands  abashed, 
but  Cavaradossi,  weak  as  he  is,  lets 
forth  with  a  cry  of  Victory,  a  hail  of 
freedom  from  the  tyrannical  Scarpia. 
Tosca  does  everything  she  can  to  with- 
hold her  lover,  but  in  vain.  The  words 
pour  forth,  and  the  maddened  Scarpia 
finally  orders  Cavaradossi  to  prison — 
and  to  death. 

When  Cavaradossi  has  been  taken 
away,  the  chief  of  police  resumes  his 
lovemaking.  He  tells  the  singer  he 
has  long  adored  her,  and  sworn  to 
possess  her.  This  declaration  is  made 
in  the  famous "Cantabile  Scarpia" 
(Scarpia's  Air). 

It  is  notable  for  a  curious  accom- 
paniment in  a  rhythmic  figure  which 


FARRAR    AS    TOSCA 


COPY  T   DUPONT 

CARUSd    AS    MARIO — ACT   I 

395 


copy  T  DUPONT 

EAMKS    AS    TOSCA 


VICTROLA     BOOK     OF     THE      OPERA 


persists  beneath  long-drawn  veritably 
"Cantabile"  phrases  and  heroic  high 
notes,  somehow  suggesting  both  the 
uprise  of  Scarpia  s  anger  at  news  of 
Napoleon's  victory  and  the  unholy 
passion  that  now  rages  in  his  heart. 

Tosca  s  spirit  is  broken,  and  she 
pleads  with  him,  weeping  for  shame. 
She  tells,  in  the  beautiful  "Vissi  d'arte 
e  d'amore"  (Love  and  Music),  how 
her  life  has  been  devoted  to  art  and 
to  music. 

What  has  she  done,  she  asks,  that 
Heaven  should  so  forsake  her?  The 
melody  is  infinitely  tender,  sympa- 
thetic harmonies  in  minor  key  murmur 
a  soft  accompaniment.  But  Scarpia 
stands  unmoved.  The  drums,  order- 
ing out  the  escort  for  the  condemned 
prisoner,  break  in  ominously  upon 
Toscas  pleading,  and  at  last  she  yields, 
stipulating  with  bowed  head,  that  she 
and  Mario  shall  the  next  day  be  given 
a  safe-conduct.  Scarpia  is  overjoyed. 
He  informs  her  that  a  mock  execution 
is  necessary,  and  summoning  Spoletta, 
he  gives  this  worthy  some  instructions 
which  he  understands  only  too  well. 

When  Spoletta  has  gone,  Scarpia 
returns  to  his  desk  to  write.  The  ex- 
hausted Tosca  fills  a  glass  of  wine,  and 


drinks  it.  She  sees  a  sharp  knife  on 
the  table,  seizes  and  conceals  it. 
Scarpia  advances,  inflamed  with  pas- 
sion— and  the  consciousness  of  tri- 
umph. He  takes  her  in  his  arms. 
But  in  that  first  unholy  embrace  the 
now  maddened  Tosca  drives  the  knife 
into  his  body.  Thus,  she  cries,  will 
Tosca  yield  her  kisses. 

As  the  life  passes  out  of  Scarpia,  she 
washes  her  hands  in  a  bowl  on  the 
table,  and  with  strange  reverence  lays 
out  the  body,  placing  candles  at  the 
head  and  a  cross  upon  the  bosom. 
Thus  she  leaves  him.  As  the  curtain 
descends,  we  hear  once  more  the 
ominous  three  chords  usually  associ- 
ated with  Scarpia. 

ACT  III 

SCENE — A  Terrace  of  San  Angela  Castle , 

Outside  the  Prison  of  Cavaradossi. 

A  View  of  Rome  by  Night 

\  MOVING  picture  of  the  awaken- 
./Y  ing  dawn  is  presented  by  the 
orchestral  Prelude. 

An  accompaniment  of  bells  is  heard; 
first  but  the  sheep-bells  of  the  dis- 
tant hillsides,  but  afterward  the  giant 
clang  of  those  in  the  church-tower. 


THE  MURDER  OF  SCARPIA ACT  II 

396 


VICTROLA     BOOK     OF     THE      OPERA 


Mario  is  brought  out  from  his  cell, 
and  shown  the  official  death-warrant, 
being  told  that  he  has  but  an  hour  to 
live.  He  sines  a  touching  farewell  to, 
his  dreams  of  art,  and  of  the  loved  one 
he  never  hopes  to  see  again.  This  is 
known  as  "£  lucevan  le  stelle"  (The 
Stars  Were  Shining). 

Mario  recalls  the  former  meetings  of 
the  lovers  on  starlight  nights  in  quiet 
gardens,  crying  out  his  passionate 
agony  in  a  melodic  phrase  that  strikes 
poignantly  to  the  heart  of  the  most 
indifferent  listener. 

Mario  receives  a  shock  when  Tosca 
herself  comes,  bringing  joyful  news. 
She  tells  him  of  the  death  of  Scarpia, 
and  he  commends  the  gentle  hands 
that  struck  the  blow,  however  much 
regretting  they  should  have  to  foul 
themselves  with  a  scoundrel's  blood. 
He  sings  the  lovely  "O  dolci  mani" 
(Oh,  Gentle  Hands). 

Tosca  then  explains  that  his  execu- 
tion is  to  be  a  mock  affair.  She  directs 
him  to  fall  when  the  volley  is  fired, 
and  she  exhibits  to  him  the  officially- 
sealed  safe-conduct  to  a  haven  of  safety 
and  a  future  with  some  promise  in  it: 
"Amaro  sol  per  te  m'era  il  morire" 
(The  Bitterness  of  Death). 

As  their  love  duet  closes,  the  soldiers 
enter.  The  shots  are  fired  and  Mario 
falls.  Tosca,  waiting  till  the  firing 
party  has  gone,  bids  him  rise.  "Now, 
Mario,  all  is  safe,"  she  cries,  but  he 
does  not  answer.  She  rushes  to  him, 
only  to  find  that  the  dead  hand  of 


Scarpia  has  struck  back.  The  firing 
squad  had  done  its  work,  and  Mario  is 
no  more.  She  throws  herself  upon 
his  body  in  an  agony  of  grief,  but  is 
roused  by  Spoletta,  who,  with  the 
soldiers,  comes  rushing  in  with  the 
news  of  Scarpia  s  murder.  They  at- 
tempt to  arrest  the  girl,  but  she  still 
has  one  alternative.  She  leaps  from 
the  castle  wall  to  freedom — and  death. 

THE   VICTOR   RECORDS 

(Sung  in  Italian) 

ACT  I 
RECONDITA  ARMONIA 

(Strange    Harmony)    ENRICO    CARUSO, 

Tenor  87043     10-in.,  $1.25 

GIOVANNI  MARTINELLI,  Tenor 

64420     10-in.,     1.25 
BENIAMINO  GIGLI,  Tenor 

64944     10-in.,     1.25 

ACT  II 
CANTABILE  DI  SCARPIA 

(Scarpia's  Air)   ANTONIO  SCOTTI,   Bari- 
tone 88122     12-in.,     1.75 
VISSI  D'ARTE  E  D'AMOR 

(Love  and  Music)  NELLIE  MELBA,  So- 
prano 88075     12-in.,     1.75 
GERALDINE  FARRAR,  Soprano 

88192     12-in.,     1.75 

EMMYDESTINN,  Soprano  88487     12-in.,     1.75 
FRANCES  ALDA,  Soprano  74400     12-in.,     1.75 

ACT  III 
E LUCEVAN  LE  STELLE 

(The  Stars  Were  Shining)  ENRICO  CA- 


RUSO, Tenor  87044 

ENRICO  CARUSO  (Piano  ace.) 
81028 

GIOVANNI  MARTINELLI,  Tenor 
64393 


1.25 


1.25 
1.25 


DOUBLE-FACED  RECORDS 

fVissi  d'arte  e  d'amor Maria  Bronzoni,  Soprano\±- 

IE  lucevan  le  stelle De  Gregorio,  Tenor) 

f  E  lucevan  le  stelle Paul  Althouse,  Tenor\ .  -nr  - 

\     Pagliacci—Vesti  la  giubba Paul  Althouse,  Tenor]** 


10-in., 
10-in., 
10-in., 

10-in.,  {51.00 
10-in.,     1.00 


397 


FARRAR    AS    VIOLETTA ACT    III 


LA  TRAVIATA 


OPERA  in  three  acts.  Text  by 
Piave,  founded  on  Dumas' 
"Lady  of  the  Camellias,"  but 
the  period  is  changed  to  the  time  of 
Louis  XIV.  Score  by  Giuseppe  Verdi. 
First  presented  in  Venice,  March  6, 
1853;  London,  May  24,  1856;  Paris,  in 
French,  December  6,  1856;  in  Italian 
October  27,  1864.  First  American 
production  December  3,  1856  with 
Brignoli  and  La  Grange.  Recent  pro- 
ductions at  the  Metropolitan  with 
Caruso,  Melba,  Tetrazzini,  Lipkowska, 
McCormack  and  Sammarco.  Many 
notable  productions  in  America  in  re- 
cent years,  among  the  most  recent  be- 
ing the  Metropolitan  production  of 
1905,  for  Caruso  and  Sembrich;  that 
of  1908  (debut  of  Amato)  and  1909 
(debut  of  Lipkowska);  the  Hammer- 
stein  revivals  for  Tetrazzini  and  Melba; 
and  the  recent  Metropolitan  produc- 
tion with  Hempel.  Always  considered 
a  "test"  opera  for  coloratura  sopranos. 

CHARACTERS 

VIOLETTA  VALERY,  a  courtesan 

(Vee-oh-let-tah  Vah-lay-ree),  Soprano 


FLORA,  friend  of  Violetta 

Mezzo-Soprano 
ANNINA,  confidante  of  Violetta 

Soprano 
ALFREDO, (ALFRED)  GERMONT,lover 

of  Violetta  (Ahl-Jray-do  Zhair- 

mon'} Tenor 

GIORGIO  GERMONT,  his  father 

(Jor-jo) Baritone 

GASTONE,  Viscount  of  Letorieres 

(Gahs-tohn) Tenor 

BARON  DOUPHOL,  a  rival  of  Alfred 

(Doo-fohl) Baritone 

DOCTOR  GRENVIL,  a  physician. .  .Bass 
GIUSEPPE,  servant  to  Violetta 

(Joo-  zep'-peh} 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  1700 


(The    name    of   the    opera    is 
nounced  Lah  Trah-vee-ah'-tah). 


pro- 


398 


VICTROLA    BOOK    OF   THE     OPERA 


ACT   I 

SCENE — Drawing-Room  in  the 
House  of  Violetta 

^  I  AHE  salon  of  the  coquettish  Vio- 
±.  letta  is  the  meeting  place  of  the 
gayer  element  of  Parisian  society.  To- 
night a  lively  entertainment  is  taking 
place.  Alfred  has  been  introduced  to 
Violetta  as  another  one  of  her  admirers, 
and  at  her  own  request  he  sings  a 
jovial  drinking  song,  in  which  Violetta 
joins,  and  the  guests  in  chorus.  This 
is  the  famous  "Libiam  nei  lieti  calici" 
(A  Bumper  We'll  Drink). 

The  energy  and  rhythmic  beauty  of 
this  number  place  it  among  the  finest 
of  the  many  operatic  drinking-chorus 
ensembles. 

The  dance  begins  and  all  go  into 
the  ballroom.  But  Violetta  is  attacked 
with  a  sudden  faintness,  an  ominous 
forewarning  of  consumption.  She  begs 
the  guests  to  proceed;  more  con- 
cerned for  their  own  amusement  than 
for  the  welfare  of  a  somewhat  notori- 
ous lady,  they  do — all  except  Alfred. 
Violetta  is  more  than  touched  by 
this  anxiety  for  her  well-being  and 
in  the  beautiful  duet,  "Un  di  felice" 
(Rapturous  Moment)  their  mutual  love 
is  told. 

After  the  guests  have  gone  and 
Alfred  has  followed  them,  Violetta 
dreams  of  the  new  influence  this  love 
has  brought  into  her  life.  It  is  ex- 
pressed in  the  "Ah,  fors  e  lui"  (The 
One  of  Whom  I  Dreamed)  and  the 
"Sempre  libera"  (The  Round  of 
Pleasure). 

These  two  (really  one)  of  the  most 
brilliant  of  coloratura  arias,  appear  in 
the  repertoire  of  every  singer  gifted 
with  a  voice  capable  of  interpreting 
brilliant  vocal  display  passages.  It  is 
preceded  by  the  soliloquy  "E  Strano" 
('Tis  Strange)  in  which  she  is  wonder- 
struck  at  finding  herself  the  object  of 
pure  love. 


ACT  II 

SCENE  I — Interior  of  a  Country  House, 
near  Paris 

SO  sweet  is  this  new  love,  that 
Violetta  yields  herself  up  to  it 
wholly,  going  with  Alfred  to  a  little 
home  near  the  city.  Poet  that  he 
is,  Alfred  is  enraptured  by  his  good 
fortune  in  finding  in  Violetta  a  true 
mate  after  his  somewhat  wild  youth. 
He  tells  her  so  in  the"Deimiei  bollenti 
spiriti"  (Wild  My  Dream). 

But  the  practical  affairs  of  life  insist 
upon  obtruding,  and  Alfred  is  much 
astonished  to  learn  from  the  maid  that 
Violetta  has  quietly  sold  all  her  jewels 
to  maintain  the  little  men  age  in  the  city. 
He  is  deeply  ashamed,  as  he  ought 
to  be.  Then,  without  warning,  Violetta 
departs  for  Paris  to  obtain  funds. 

Returning  to  the  little  home  she  is 
surprised  to  find  him  absent.  She  is 
more  surprised  when  she  is  visited  by 
Gennont,  the  father  of  Alfred.  The 
older  man  has  been  greatly  distressed 
at  what  he  conceives  to  be  a  boyish 
entanglement,  and  he  is  none  too  polite 
in  his  greetings.  Violetta,  however, 
maintains  such  dignity  that  he  is  both 
charmed  and  abashed,  especially  when 
he  learns  that,  far  from  being  depend- 
ant upon  Alfred^  she  has  sold  her 
property  to  support  him.  He  abandons 
his  former  attitude,  and  throws  him- 
self wholly  upon  her  mercy.  Alfred 
has,  it  seems,  a  younger  sister,  whose 
marriage  to  a  young  noble  will  be 
jeopardised  if  Alfred's  mesalliance  is 
made  known.  Her  character  is  described 
in"Purasiccome  unangelo"  (Pureasan 
Angel).  Violetta  at  first  refuses  to  give 
up  Alfred,  but  realizing  that  her  char- 
acter nas  been  destroyed,  and  that  this 
must  ultimately  react  ^Alfred's 
disadvantage,  she  finally  yields.  Two 
numbers  continue  the  scene:  the"Dite 
alia  giovine"  (Say  to  Thy  Daughter), 
and  "Imponete"  (Now  Command  Me). 


399 


VICTROLA    BOOK    OF    THE     OPERA 


In  these  Violetta,  having  resolved 
upon  the  sacrifice,  places  herself  un- 
reservedly at  Germont's  commands. 
He  is  deeply  grateful,  and  he  weeps  as 
he  enfolds  the  girl  in  his  arms. 

Soon  as  Germont  has  gone,  the  un- 
happy Violetta  writes  a  note  of  fare- 
well to  Alfred  and  makes  ready  to 
leave  for  Paris.  Alfred  returns,  mysti- 
fied by  her  con- 
fusion. But  she 
contrives  to  get 
away,  bidding 
him  fare  well  with 
such  tenderness 
that  he  is  deeply 
mo  ved.  H  e 
awaits  his  father, 
when  a  servant, 
however,  brings 
him  Violetta  s 
note.  Just  as  he 
sees  Germont  ap- 
proaching him  in 
the  garden,  he 
learns  that  Vio- 
letta has  left  him 
forever. 

Alfred's  de- 
spair is  dreadful; 
he  is  not  to  be 
aroused,  even 
when  his  father 
enters  and  vainly  strives  to  console 
him.  He  sits  down  at  a  table,  covering 
his  face  with  his  hands.  It  is  then  that 
Germont  endeavors  to  stir  him  with  the 
memories  of  his  home — by  singing  the 
ever-lovely  "Di  provenza  il  mar"  (Thy 
Home  in  Fair  Provence). 

In  this  touching  appeal  he  asks  his 
son  to  return  to  his  home — and  to  his 
father's  heart. 

The  appeal  is  not  successful.  Be- 
lieving Violetta  has  wilfully  duped  him 
Alfred  rushes  past  Germont,  and  he  is 
soon  on  his  way  to  Paris.  Violetta, 
though  not  forgotten,  is  put,  as  nearly 
as  may  be,  out  of  memory. 


GALLI-CURCI  AS  VIOLETTA 


SCENE  II — A  Richly  Furnished  Salon 
in  Flora  s  Palace 

A7TER  leaving  Alfred,  Violetta,  it 
becomes  known,  has  gone  to  Paris 
and  attached  herself  to  her  admirer, 
Baron  Douphol.  She  is  expected  with 
this  new  admirer  at  a  gambling  party 
given  by  her  friend  Flora.  She  is  ill, 
physically  and  spiritually  worn,  dis- 
inclined for  such 
a  life,  but  she 
knows  it  is  the 
only  way  to  con- 
vince  A  If  red 
their  ways  di- 
vide, and  she  has 
taken  it  to  fulfil 
her  agreement 
with  Germont. 

To  this  party 
now  comes  Al- 
fred, who  re- 
marks with  as- 
sumed indiffer- 
ence  that  he 
knows  nothing  of 
Violetta  s  where- 
abouts.  He 
begins  togamble, 
winning  heavily. 
When  Violetta 
arrives  with  the 
Baron, she  is  hor- 
rified to  see  Alfred,  but  he  pretends 
not  to  remark  her,  and  he  challenges  the 
Baron  to  a  game.  He  wins  extrava- 
gantly, and  the  excitement  runs  high. 
Supper  is  announced,  however,  and  all 
leave  the  room.  Violetta  returns,  fol- 
lowed by  Alfred.  She  implores  him  to 
leave  the  house,  now  horrified  at  the 
prospect  of  a  duel  between  the  two 
men.  He  refuses,  bitterly,  and  charges 
her  with  falseness,  asking  her  if  she 
loves  the  Baron.  Poor  Violetta,  re- 
membering her  promise  to  Germont,  is 
compelled  to  answer  yes,  and  Alfred 
then  loses  self-control.  He  flings  wide 
the  folding  doors  and  summons  back 


400 


VICTROLA      BOOK     OF     THE      OPERA 


the  astonished  guests,who  crowd 
into  the  room.  Before  them  all 
he  denounces  her  in  the  "Questa 
donna  conoscete"  (Know  Ye  All  This 
Woman?). 

He  completes  the  insult  by  throwing 
at  her  feet  a  small  portrait  of  herself 
which  she  has  given  him,  together  with 
the  money  he  has  won.  Violetta  faints 
in  the  arms  of  Flora  and  a  Doctor  who 
is  present.  At  this  moment,  Germont 
enters,  to  be  horrified  at  his  son's 
scurvy  treatment  of  the  woman  whose 
self-sacrifice  he  has  himself  brought 
about.  Then  follows  the  great  finale, 
"Alfredo,  di  questa  core"  (Alfred,  Thou 
Knowest  Not|. 

ACT  III 

Sc  E  N  E  —  Violetta  s  Apartment.    She  is 
Asleep  on  the  Couch 


act  has  a  prelude.    Then  the 
JL  story  resumes. 

The  illness  with  which  Violetta  has 
been  afflicted  from  the  first,  has  been 
intensified  by  these  new  developments, 
and  she  now  lies  upon  what  is  to  be 
her  death-bed.  The  Doctor  comes  with 
reassuring  words,  but  they  do  not  de- 
ceive her,  and  the  Doctor  confesses  to 
the  maid  that  she  has  not  long  to  live. 
Left  alone,  she  again  reads  a  letter 
she  has  received  from  Germont: 

"You  have  kept  your  promise.  The  duel 
took  place,  and  the  Baron  was  wounded,  but  is 
improving.  Alfred  is  abroad.  Your  sacrifice 
has  been  revealed  to  him  by  me,  and  he  will 
return  to  you  for  pardon.  Hasten  to  recover; 
you  deserve  a  bright  future."  —  Germont. 

"Alas!  it  is  too  late,"  is  her  com- 
ment, and  she  sings  her  beautiful  and 
pathetic  farewell,  "Addio  del  passato." 

She  has  not  long  to  wait  for  Alfred, 
who  arrives  in  repentance.  He  is 
speedily  forgiven,  and  Violetta,  for- 
getting, or  seeming  to  forget  her  ill- 
ness, plans  with  him  to  leave  Paris  for- 
ever. For  the  moment,  like  so  many 
others  in  the  shadow  of  disaster,  they 


are  happy.     They  sing  the  "ParigiO 
cara"  (Far  From  Gay  Paris). 

The  shock  of  their  meeting,  however, 
is  too  much  for  Violetta  s  strength. 
The  end  is  very  near  now,  and  she 
collapses  into  her  lover's  arms.  Not- 
ing her  pallor,  he  sends  for  the  doctor. 
Germont  enters  with  the  physician. 
The  scene  is  an  affecting  one,  and  Ger- 
mont blames  himself  for  having  brought 
all  the  troubles  upon  his  son  and 
Violetta.  But  Violetta  no  longer  feels 
pain.  She  rouses  herself  with  a  strange 
accession  of  strength.  "Ah!  Yes!" 
she  c.ries,  "I  live!  I  have  again  re- 
turned to  life."  And  with  this  she 
falls  back  upon  the  couch, — dead. 

THE   VICTOR   RECORDS 

(Sung  in  Italian  unless  noted) 

ACT  I 
LIBIAM  NEI  LIETI  CALICI 

(A  Bumper  We'll  Drain)  ALMA  GLUCK, 
Soprano,  ENRICO  CARUSO,  Tenor  and 
Metropolitan  Opera  Chorus 

AH,  FORS'ELUI  87511     «»"•,«•» 

(The  One  of  Whom  I  Dreamed)  AMELITA 

GALLI-CURCI,  Soprano  74594     12-in.,     1.75 
LUISA  TETRAZZINI  Soprano 

88293     12-in.,     1.75 
MARCELLA  SEMBRICH,  Soprano 

88018     12-in.,     1.75 

NELLIE  MELBA,  Soprano  88064  12-in.,  1.75 
FRiEDAHEMPEL,Soprano88471  12-in.,  1.75 
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  surround  me? 
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, 

Strewing  my  way  with  flowers, 
Waking  my  heart  to  love! 
What  folly!  what  folly! 
For  me  there's  no  returning! 
In  ev'ry  fierce  and  wild  delight. 
I'll  steep  my  sense  and  die! 
SEMPRE  LIBERA 

(The    Round    of    Pleasure)     AMELITA 

GALLI-CURCI,  Soprano  64820     10-in.,     1.25 


401 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  II 

DEI  MIEI  BOLLENTI  SPIRITI 

(Wild  My  Dream  of  Youth)  GIOVANNI 
MARTINELLI,  Tenor  74518  12-in.,  31-75 

DITE  ALLA  GIOVINE 

(Say  to  Thy  Daughter)  MARIA  GALVANY, 
Soprano     and  TITTA  RUFFO,  Baritone 

92503     12-in.,    2.00 
AMELITA    GALLI-CURCI,   Soprano    and 
GIUSEPPE  DE  LUCA,  Baritone 

89134     12-in.,    2.00 
IMPONETE 

(Now  Command  Me)  AMELITA  GALLI- 
CURCI,  Soprano  and  GIUSEPPE  DE 
LUCA,  Baritone  89133  12-in.,  2.00 

DI  PROVENZA  IL  MAR 

(Thy  Home  in  Fair  Provence)  PASQUALE 

AMATO,  Baritone  88474     12-in.,     1.75 

GIUSEPPE  DE  LUCA,  Baritone 

74528     12-in.,     1.75 
GERMONT: 

From  fair  Provence's  soil  and  sea, 

Who  hath  won  thy  heart  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. 


1.25 
1.25 


ACT  III 

ADDIO  DEL  PASSATO 

(Farewell   to   the   Bright  Visions) 

LUCREZIA  BORI,  Soprano 

87178     10-in.,  21.25 
AMELITA  GALLI-CURCI,  Soprano 

64945     10-in., 
MARIE  MICHAILOWA,  Soprano 

In  Russian  61178     10-in., 

VIOLETTA: 

Farewell  to  the  bright  visions  I  once  fondly 

cherish'd, 
Already  the  roses  that  deck'd  me  have  per- 

ish'd; 

The  love  of  Alfredo  is  lost,  past  regaining, 
That  cheer'd  me  when  fainting,  my  spirit  sus- 
taining. 

Pity  the  stray  one,  and  send  her  consolation, 
Oh,  pardon  her  transgressions,  and  send  her 

salvation. 
The  sorrows  and  enjoyments  of  life  will  soon 

be  over, 
The  dark  tomb  in  oblivion  this  mortal  form 

will  cover! 
PARIGI  O  CARA 
(Far  From  Gay  Paris)  LUCREZIA  BORI, 

Soprano  and  JOHN  McCoRMACK,  Tenor 

89126     12-in.,     1.75 
ALICE    NIELSEN,  Soprano  and  FLORENCIO 

CONSTANTINO,  Tenor    74075     12-in.,     1.75 


DOUBLE-FACED  RECORDS 


/Ah,  fors'  e  lui    (One  of  Whom  I  Dreamed) Lucy  Marsh,  Soprano}  r  r ,  n7     19  •        CM  en 

\     Pea-la  valse     (Arditf) Lucy  Marsh,  Soprano]^  m>'  * 


/Dei  miei  bollenti  spiriti  (Wild  My  Dream  of  Youth). .  .Alberto  Amadi,  _ 
\Questa  donna  conoscete  (Know  Ye  All  This  Woman?)  .Alberto  Amadi,  Tenor 

/Entr'acte — Prelude  to  Act  III Orchestre  Sym^ 

\     Colombe,  La-Entr'acte  (Gounod) Orchestre  Symphonique 

Gems  from  "  Traviata,"  Part  I Victor  Opera  Co 

Chorus,  "Drinking  Song"— Duet,  "The  One  of  Whom  I  Dreamed "- 
(Ah,  fors'  e  lui) — Solo,  "Thy  Home  in  Fair  Provence "(Di  Provenza) — 
Solo,  "I'll  Fulfill  the  Round  of  Pleasure"  (Sempre  libera) — Chorus  of 
Matadors 

Gems  from  "Traviata"  Part  II Victor  Opera  Co 

Chorus  of  Matadors — Duet,  "May  He  Be  Spared  the  Anguish  "  (Cono  sea 
il  Sacrifizio) — Solo,  "Farewell  to  the  Bright  Visions"  (Addio) — Duet, 
"Far  from  Gay  Paris"  (Parigi  o  cara) — Chorus,  Finale 

Traviata  Selection Arthur  Pryor's  Band 

"Bacchanal  Chorus" — "Far  from  the   Busy  Throng,"  Finale— "Death 
of  Violetta" 
Trovatore   Selection Arthur  Pryor's  Band. 


10-in.,       .85 
10-in.,       .85 


35433     12-in.,     1.35 


35076'  12-in.,     1.35 


402 


TRISTAN   AND  ISOLDE 


OPERA  in  three  acts.  Words 
and  music  by  Richard  Wagner. 
First  presented  in  Munich,  June 
10,  1865.  First  London  production 
June  20, 1882.  First  American  perform- 
ance in  New  York,  December  1,  1886, 
with  Lehmann,  Brandt  and  Fischer. 
Produced  at  the  New  Orleans  Opera 
December  21,  1895.  Some  notable 
American  productions  were:  in  1895 
with  Sucher,  Alvary,  Brema  and 
Fischer;  in  1896  with  the  de  Reszkes, 
Nordica  and  Brema;  in  1901  with 
Ternina  and  Van  Dyck;  and  in  1910 
with  Homer,  Fremstad,  Knote  and 
Van  Rooy,  this  being  Gustav  Mahler's 
American  debut  as  a  conductor. 

CHARACTERS 

TRISTAN,  a  Cornish  knight, 
nephew  of  King  Mark 
(Triss'-tan) Tenor 

KING  MARK  of  Cornwall Bass 

ISOLDE,  Princess  of  Ireland 

(Ee-sohl'-deh) Soprano 

KURVENAL,  Tristan's  devoted 

servant  (Koor' -vee-nahl)  Baritone 

MELOT,  one  of  King  Mark's 

courtiers Tenor 

BRANGANE,  Isolde's  friend  and 

attenda.nt(Brahn-gay-neh)  Soprano 

A  Shepherd,  a  Steersman,  a  Sailor  Lad; 
Chorus  of  Sailors,  Knights, 
Esquires  and  Men-at-Arms 

Time  and  Place:  Legendary  Cornwall 

TRISTAN  has  been  sent  to  Ireland 
by  King  Mark  of  Cornwall  to  fight 
Morold,  a  recalcitrant  knight  who 
refuses  to  pay  tribute,  and  to  bring 
back  Isolde  as  the  King's  bride. 
Morold  is  slain  and  Tristan  badly 
wounded.  He  is  nursed  by  Isolde, 
Morold's  betrothed,  who  does  not 
know  it  is  he  who  has  slain  Morold. 


Tristan,  however,  is  loyal  to  King 
Mark  and  brings  her  with  him  to 
Cornwall.  During  the  voyage,  he 
keeps  clear  of  Isolde,  but  as  they 
approach  the  coast,  the  anguished 
Isolde,  longing  for  vengeance  and 
death,  and  loathing  her  fate,  begs  him 
to  drink  with  her  a  cup  of  poison. 
Tristan,  knowing  that  he  owes  his 
life  to  her  nursing,  is  honorably  dis- 
posed to  yield  her  the  life  she  has 
spared,  and  he  takes  the  potion  with 
her.  The  maid,  Brangdne,  however, 
has  substituted  in  its  place  a  love- 
philtre,  so  that,  as  the  ship  comes  to 
anchor,  the  two  are  lovers  in  each 
other's  arms.  The  all-over-powering 
love  of  the  pair  causes  them  to  meet 
after  Isolde  is  married  to  the  Cornish 
King  Their  tryst  is  suspected  by 
Me/of,  himself  in  love  with  Isolde. 
He  warns  the  King,  and  the  guilty 
couple  are  discovered.  Tristan,  who 
fights  but  half-heartedly,  is  wounded 
and  he  departs  to  his  castle  in  Brittany. 
There,  in  mortal  agony,  he  yearns  for 
Isolde,  and  King  Mark,  having  learned 
about  the  love-potion,  brings  her  to 
him,  forgiving  all;  but  it  is  too  late. 
She  arrives  just  as  Tristan  expires,  and 
after  singing  her  marvellous  "Death- 
Song"  she,  too,  dies  beside  him. 

The  Prelude,  which  has  been  re- 
corded, is  founded  on  the  following 
theme,  which  is  used  continuously 
throughout  the  opera,  in  various  forms, 
to  express  the  love  and  longing,  and 
the  suffering  of  the  two  lovers: 


im 


fc£ 


^^ 


It  will  be  noticed  that  the  theme  in  the 
upper  stave  is  "two-voiced,"  the  upper 
notes  being  used  to  suggest  love 
and  longing,  and  the  lower  ones  to 
indicate  pain  and  suffering.  Some- 


403 


ISOLDE: 

Tristan!     Traitor  beloved! 
TRISTAN: 

Isolde!     Woman  divine! 

(Tristan  and  Isolde,  Act  I.) 


404 


VICTROLA      BOOK     OF     THE      OPERA 


times  heard  together,  sometimes  sepa- 
rate, and  in  all  manner  of  forms  they 
recur  again  and  again.  A  peculiarity 
of  the  Prelude  also,  is  that  it  contains 
no  "cadence"  or  halting-place  where 
dissonant  chords  resolve  into  con- 
sonance. Though  for  concert-use  the 
Prelude  comes  to  an  end,  in  the  opera 
it  continues  right  through  to  the 
lifting  of  the  curtain  and  beyond. 
There  is  in  fact  no  full  "cadence" 
until  the  end  of  the  Act,  the  hearer's 
attention  being  kept  continually  at 
high  pitch  and  his  expectancy  led  on 
by  dissonances  that  do  but  resolve 
into  fresh  dissonances.  The  same 
principle  obtains  through  the  following 
acts,  and  it  is  typically  Wagnerian. 
The  various  themes  of  the  work  are 
made  to  recur  in  countless  different 
forms  and  the  whole  score  becomes 
really  symphonic  in  its  intricacy. 
This  accounts  for  the  fact  that  a  first 
performance  attempted  in  Vienna  was 
abandoned  after  fifty-four  rehearsals 
between  November,  1862,  and  March, 
1863,  the  work  being  regarded  as 
"impossible."  In  spite  of  its  elabora- 
tions, however,  the  music  is  surpris- 
ingly lucid,  and  the  simple  amateur, 
provided  he  loves  good  music,  can 
yield  himself  up  to  it  in  perfect 
certainty  that,  with  a  reasonable 
knowledge  of  the  plot,  he  can  follow  the 
themes  and  realize  to  the  full  the 
depth  and  beauty  of  the  tale,  and 
the  varied  qualities  of  human  emotion 
that  furnish  it  material. 

In  concert  performances,  it  is  cus- 
tomary to  follow  -up  the  yearning 
Prelude  with  the  ecstatic  "Liebestod" 
(Love-Death)  at  the  end,  and  the 
available  Victor  records  make  this 
course  possible  with  the  Victrola.  It 
will  be  noted  how  the  "yearning" 
theme  at  the  opening  of  the  Prelude 
is  heard  at  the  very  last  in  extended 
form,  resolving  exquisitely  into  perfect 
consonant  harmony. 


ACT  I 

SCENE — On  Board  the  Vessel ',  nearing 
the  Cornish  Coast 

ON  the  deck  of  a  great  ship  has 
been  set  up  a  pavilion  richly 
hung  with  tapestry.  Within  it  Isolde 
lies  on  a  couch,  her  face  buried  in 
cushions.  Her  maid,  Branganey  hold- 
ing open  a  curtain,  peers  over  the  side 
of  the  vessel.  The  voice  of  a  young 
sailor  is  heard  from  the  masthead 
trolling  out  a  sea-song.  It  is  a  bold 
tune,  yet  it  strangely  suggests  the 
lonesomeness  of  the  ocean.  The 
words,  however,  bear  upon  the  present 
voyage,  and  Isolde,  looking  up  suddenly 
from  her  couch,  construes  them  as 
an  insult.  She  calls  Brangane,  who 
reports  that  land  is  already  in  sight. 
The  passionate  Isolde  gives  way  to  fear 
and  anger;  this  frightens  the  maid  and 
she  is  compelled  to  open  the  pavilion 
for  air.  The  whole  length  of  the  ship  is 
seen,  clear  to  the  stern,  where  Tristan 
stands  apart  among  hisknightswhilehis 
henchman  Kurvenal  reclines  at  his  feet. 

The  sight  of  Tristan  brings  back  to 
Isolde  a  flood  of  recollection.  He  has 
remained  aloof  from  her  during  the 
voyage,  determined  to  bring  her  safely 
to  his  uncle,  King  Mark.  She  attrib- 
utes this  to  her  undeclared  lover's 
cowardice  and  her  love  for  him  is 
turned  to  hatred.  She  bids  Brangane 
go  fetch  him,  and  the  maid,  unwilling 
enough,  departs.  Always  solicitous 
for  his  charge,  Tristan  receives  her 
courteously  enough.  But  he  excuses 
himself  on  theground  that  they  are  near- 
ing  shore  and  it  is  his  duty  to  attend  the 
ship.  Kurvenal,  a  sturdy  soldier,  a  plain- 
spoken  man  of  no  diplomacy,  finds  this 
a  good  time  to  gloat  over  Tristan's  vic- 
tory over  Morold, — killing  the  Irish 
knight,  and  bringing  Ireland's  tribute 
to  Cornwall,  and  Isolde  to  boot. 

His  vainglorious  song  is  loudly 
taken  up  by  the  knights.  Isolde  is 


405 


VICTROLA     BOOK     OF     THE      OPERA 


inflamed  with  anger.  Alone  with 
Brangane,  the  curtain  again  drawn 
tight,  her  wild  brain  repeats  the  story 
of  Tristan's  "treachery,"  how  she 
nursed  him  without  recognizing  him 
under  the  pseudonym  of  "Tantris," 
how  she  found  a  piece  of  the  sword 
which  slew  Morold,  her  betrothed, 
exactly  fitted  the  wounded  man's 
weapon;  how  she  took  the  sword  and 
sought  to  slay  the  knight  in  his  bed; 
how  his  weakness  and  suffering  brought 
pity  to  her  heart;  how  she  nursed,  him 
back  to  health;  and  how,  finally,  he 
had  repaid  her  kindness  by  bringing 
her  aboard  this  ship  as  the  bride  of  the 
hereditary  enemy  of  her  race,  and  one 
whom  she  had  never  seen,  King  Mark 
of  Cornwall!  Images  of  these  scenes 
inflame  the  wild  brain  of  Isolde  and 
lend  greater  wildness  to  her  speech. 
Brangane,  much  astonished  at  this 
recital^  tries  to  comfort  her  mistress 
with  the  notion  that  Tristan  seeks  to 
repay  her  by  making  her  a  queen, 
but  Isolde  only  cries  upon  Death  to 
ease  her  sufferings.  The  horrified 
maid  seeks  to  dissuade  her,  but  is 
commanded  to  bring  a  certain  mysteri- 
ous casket  of  herbs  and  drugs.  Bran- 
gane tries  to  induce  Isolde  to  take  a 
soothing  balm,  but  Isolde  choosessome- 
thing  of  known  deadly  qualities.  At  this 
moment  cries  to  reduce  sail  indicate 
that  the  journey's  end  is  near  and 
Kurvenal,  entering  boisterously,  bids 
them  prepare  to  land.  Isolde,  with 
open  scorn,  bids  him  direct  Tristan  to 
attend  her.  In  due  course  the  hero 
enters  pausing  respectfully  at  the  door- 
way. After  taking  him  to  task  for  his 
511  manners  in  remaining  away  so  long, 
Isolde  offers  him  the  cup.  Tristan, 
who  has  kept  a  chivalrous  aloofness 
throughout,  accepts  the  cup,  knowing 
well  the  contents  are  deadly.  He  tries 
to  drink  it  to  the  dregs,  but  Isolde 
snatches  it  from  him,  determined  to 
end  her  own  life  too. 


The  effect  is  not  what  they  expected. 
They  stand  for  a  long  time  facing 
each  other,  dazed,  but  with  growing 
wonder.  Unknown  to  them,  Brangane 
has  substituted  a  love  potion  for  the 
death  draught,  and  the  hatred  of 
Isolde  and  the  indifference  of  Tristan 
are  turned  to  overpowering  love. 
They  fly  to  each  other's  arms,  while 
Brangane,  wringing  her  hands,  looks 
on  in  despair.  She  at  last  arouses 
them  to  the  fact  that  King  Mark's 
followers  are  near  at  hand.  Isolde 
puts  on  her  royal  robe.  The  curtains 
of  the  pavilion  are  thrown  back,  so 
that  the  officers  and  crew  are  seen 
pointing  to  the  shore,  and  heard 
shouting  their  loyal  greetings:  "Hail 
to  King  Mark!  Cornwall,  hail!" 

ACT  II 

SCENE — A  Garden  before  Isolde  s 
Chamber:  Summer  Night 

SINCE  Isolde's  marriage  to  King 
Mark,    her    beauty    has  attracted 
Melot,  a  knight  of  the   court,  whose 


TRISTAN    AND     ISOLDE 

ISOLDE:  "Ah,  look  again!  it  hath  the  grace  of 
dawn,  the  stars  are  flushed  with  crimson,  and 
the  sky  holds  some  new  light  I  know  not!" 
(Tristan  and  Isolde— Act  II) 


406 


VICTROLA      BOOK     OF     THE      OPERA 


suspicions,  quickened  by  jealousy, 
arise  round  Tristan  and  Isolde.  He 
persuades  King  Mark  to  pretend  to 
go  off  on  a  night  hunt  with  the  hope 
that,  returning  unexpectedly,  they 
may  find  the  guilty  lovers  together. 

When  the  curtain  rises,  there  are 
heard  the  horn  calls  of  the  departing 
huntsmen,  blended  with  the  music  of 
Isolde's  longing,  against  the  enchanting 
tone-picture  of  a  warm  and  lovely 
summer  evening.  A  lighted  torch 
burns  before  Isolde's  chamber,  warning 
Tristan  not  to  approach  until  it  is  put 
out.  Brangdne  is  suspicious,  but 
Isolde,  after  a  lengthy  talk  with  her, 
finally  seizes  the  torch  and  throws 
it  to  the  ground,  waving  her  kerchief 
as  a  signal  to  her  lover  to  come  to 
her.  He  appears,  like  one  in  a  dream. 

The  long  duet  follows,  setting  forth 
with  amazing  musical  eloquence  the 
passionate  ecstasy  of  the  lovers,  their 
joy  and  faith  in  each  other.  Through- 
out the  night  they  rest  in  one  another's 
arms,  oblivious  of  all  things  save  only 
the  magic  spell  of  their  love.  Brangdne 
has  confessed  to  the  love  potion,  but 
heedless  alike  of  honor  and  of  danger, 
they  glory  in  her  mistake. 

They  do  not  hear  Brangdne 's  warn- 
ing, even  when,  with  a  piercing  cry, 
she  announces  the  return  of  the  hunts- 
men. Kurvenal  rushes  in  with  his 
master's  sword,  but  is  followed  almost 
immediately  by  King  Mark,  Melot 
and  their  followers  who  regard  the 
scene  astounded.  Tristan  makes  no 
move,  only  to  draw  his  cloak  about  the 
girl  in  his  arms.  Dawn  breaks,  and 
Tristan  notes  that  "the  dreary  day 
its  last  time  comes."  Melot  grows 
voluble;  he  has  proven  his  charges. 
King  Mark,  deeply  moved  and  with 
trembling  voice,  then  addresses  the 
pair.  His  utterances  to  his  trusted 
friend  and  nephew,  the  bravest  knight 
of  his  court,  on  his  black  treachery, 
are  full  of  dignity  and  nobility, 


especially  where  he  reminds  Tristan 
that  it  was  upon  his  counsel  that 
Isolde  was  brought  from  Ireland.  He 
offers  Tristan  banishment  with  Isolde 
who  is  only  too  willing  to  follow.  But 
such  leniency  does  not  suit  Melot  who 
rushes  forward  sword  in  hand.  Tristan 
draws  in  turn,  and  reproaches  Melot; 
But  Tristan  has  no  real  intention  of 
fighting;  he  only  seeks  death  with 
honor,  so  he  drops  his  guard  and 
receives  a  terrible  stroke  from  his 
adversary.  Isolde  throws  herself  upon 
the  breast  of  her  wounded  lover,  and 
the  King  restrains  Melot  as  the  curtain 
descends.  What  next  will  follow? 

ACT  III 

SCENE — In  the  Garden  of  Tristan's 
Castle  in  Brittany,  overlook- 
ing the  Sea- 

TRISTAN  lies  delirious,  Kurvenal 
beside  him  bowed  with  grief. 
From  beyond  comes  the  strange  and 
melancholy  piping  of  a  shepherd  boy, 
who,  when  he  has  finished  comes  to 
Kurvenal.  Other  peasants  appear,  to 
look  with  sadness  upon  their  stricken 
lord.  They  depart  shaking  their  heads. 
Kurvenal  bids  the  shepherd  scan  the 
horizon  for  a  sail,  for  he  knows  that 


COPY  T    DUfONT 

GADSKI    AS    ISOLDE 


407 


VICTROLA     BOOK     OF     THE      OPERA 


none  can  cure  his  master  save  the 
"lady-leech"  who  has  been  the  cause 
of  his  plight.  The  shepherd  sees  no 
sail,  but  he  promises  to  play  a  livelier 
strain  should  one  appear  upon  the 
golden  horizon. 

Tristan  comes  back  to  momentary 
consciousness,  and  Kurvenal  tells  him 
how  he  has  been  brought  hither.  The 
wounded  man  soon  relapses  into  delir- 
ium, pining  for  Isolde.  The  scene  is  a 
prolonged  one,  but  at  length  the 
shepherd's  pipe  takes  a  joyful  turn. 
Kurvenat,  crying  out  that  Isolde  is  at 
hand,  rushes  off.  Tristan  is  overcome 
with  joy,  and  in  his  feverishness  he 
rises  to  his  feet,  tearing  away  the 
bandages  from  his  wounds,  and  madly 
rejoices  to  see  the  red  blood  flow. 
He  staggers  forward,  but  the  effort  is 
his  last  and\  soon  he  crashes  to  the 
ground.  Isolde  arrives,  but  too  late! 
The  dying  Tristan  can  but  turn 
eloquent  eyes  upon  her  before  he 
expires  and  Isolde  sinks  senseless  upon 
her  lover's  body. 

King  Mark  and  his  followers  follow 
hard  behind,  the  King  all  forgiveness, 
having  learned  of  the  fatal  love-potion. 
Kurvenal  does  not  know  this,  and 
seeing  Melot  he  draws  his  sword  and 
slays  the  man.  But  he  is  himself  mor- 
tally stricken  in  the  process. 

All  of  these  painful  scenes  only  lead 
on — to  the  sublime  and  terrible  climax 
of  the  work. 

Isolde  returns  to  consciousness. 
Then  begins  that  marvellous,  ecstatic 
Liebestod,  or  "Love-Death, "which 


brings  the  drama  to  its  close.  The 
following  is  the  melody  upon  which 
the  music  is  based: 


This  "theme"  is  carried  through  a 
prolonged  and  exquisitely  beautiful 
series  of  modulations,  or  changes  of 
key,  the  sequences  rising  and  falling 
and  rising  again  until  from  them  is 
evolved  with  almost  superhuman  skill 
the  great  crescendo  which  leads  to 
Isolde's  ecstatic  death.  Words  cannot 
convey  the  extraordinary  effect  of  this 
crescendo,  rising  ever  higher  and 
higher  in  pitch,  semitone  by  semitone. 
On  the  basis  of  an  impassioned  melody, 
Wagner  builds  a  mighty  climax  of 
bitter-sweet  dissonances  which  seem 
ever  about  to  resolve  into  restful 
harmony,  yet  which  never  rest  until 
they  reach  at  length  their  gloriously 
impassioned  climax.  Without  question 
this  is  the  greatest,  the  most  ecstatic 
love-song  in  the  whole  realm  of  music. 
As  Isolde  falls  at  length  upon  the  body 
of  her  lover,  the  orchestra,  with 
heavenly  serenity  after  long  storm 
and  stress,  plays  an  extended  form  of 
the  unutterably  sweet  theme  of  longing 
with  which  the  Prelude  commenced, 
now  resolving  at  the  last  into  a  concord 
of  almost  intolerable  beauty. 

THE   VICTOR   RECORD 
ISOLDENS  LIEBESTOD 

(Isolde's  Love-Death)  JOHANNA  GADSKI, 
Soprano  In  German       88058     12-in.,  31.75 


DOUBLE-FACED  RECORDS 

/Isolde's  Liebestod  (Isolde's  Love-Death)  ..........  Victor  Herbert's  Orchestral 

I     Trdume   (Dreams]    (Wagner)  ...........  :  ......  Victor  Herbert's  Orchestral 

/Prelude  .............................................  La  Scala  Orchestra\,-QTi(\ 

Usolde's  Love-Death...  .  La  Scala  Orchestra}™1™ 


«~  •       CM  CA 
m'»  * 


408 


IL  TROVATORE 


(THE  TROUBADOUR) 


NEARLY  two  years  after  "Rigo- 
letto,"  "11  Trovatore"  was  pro- 
duced at  Rome,  and  a  month 
later  "La  Traviata"at  Venice.  "II 
Trovatore"  was  a  success  from  the 
first,  and  it  has  been  popular  ever  since. 
Naturally! — for  it  is  full  of  melody 
from  start  to  finish,  and  the  action,  if 
blood-curdling,  is  swift  and  plentiful. 
There  are  more  technical  things  that 
are  equally  admirable.  The  harmonies 
are  rich  and  varied,  though  a  little 
trite  in  comparison  with  the  newer 
style  already  coming  into  vogue  with 
Berlioz,  Liszt  and  Wagner.  The  or- 
chestration is  masterly — rich  and  son- 
orous. There  is  even  considerable 
character-analysis  in  the  role  of  Azu- 
cena,  who,  to  many,  is,  in  truth,  even 
more  human  and  convincing  than  the 
Wagnerian  Briinnhilde,  the  gradual 
wane  of  her  vindictive  fury  as  death  ap- 
proaches, and  the  last  flare  of  ven- 
geance being  especially  touching.  "II 
Trovatore"  preaches  no  moral  and  it 
cloaks  no  muddy  philosophy.  It  aims 
only  to  tejl  a  thrilling  story  of  a  gypsy's 
vengeance  in  straightforward  fashion, 
and  the  most  hardened  playgoer  cannot 
deny  that  it  succeeds  admirably. 

THE  OPERA 

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  Tea- 
tro  Apollo,  Rome,  January  19,  1853;  at 
the  Theatre  des  I  (aliens,  Paris,  December 
23,  1854;  at  the  Opera,  Paris,  as  Le 
Trouvere,  January  12,  1857;  at  Covent 
Garden,  London,  May  17,  1855;  in 
English  as  The  Gypsy's  Vengeance, 
Drury  Lane,  March  24,  1856.  First 
New  York  production,  in  Italian,  April 
30, 1855,  with  Brignoli,  Steffanone, 


Amodio  and  Vestvali.  First  Phila- 
delphia production  at  the  Walnut 
Street  Theatre,  January  14,  1856,  and 
at  the  Academy  of  Music,  February  25, 
1857.  Produced  at  the  New  Orleans 
Opera,  April  13,  1857.  A  German 
version  was  given  at  the  Metropolitan 
Opera  House  in  1889.  Some  notable 
revivals  occurred  in  1908,  with  Caruso, 
Eames  and  Homer;  and  again,  in  1914, 
with  Destinn,  Ober,  Martinelli,  Amato 
and  Rothier. 

CHARACTERS 

LEONORA  (Lay-oh-noh'-rah],  a 
noble  lady  of  the  Court  of  an 
Aragon  Princess. Soprano 

AZUCENA  (Ahz-you-chay'-nah),  a 
wandering  Biscayan  gypsy 

Mezzo-Soprano 

INEZ  (Ee'-nez),  attendant  of  Le- 
onora  Soprano 

MANRICO    (Man-re  e'-koh),    a 
young    chieftain    under    the 
Prince  of  Biscay,  of  mysteri- 
ous  birth,   and   in   reality   a 
brother  of  Count  di  Luna Tenor 

COUNT  DI  LUNA  (dee  Loo'-nah), 
a  powerful  young  noble  of  the 
Prince  of  Aragon 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  dragon ; 
Middle  of  the  Fifteenth  Century 

ACT  I 

SCENE  I — Vestibule  in  Aliaferia  Palace 

AT  the  outset  we  plunge  into  an  at- 
mosphere of    mystery  and    ro- 
mance. The  retainers  of  Co unt  di 
Luna,   awaiting   the   arrival   of  their 


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VICTROLA    BOOK    OF    THE    OPERA 


master,  are  beguiled  by  Ferrando  with 
the  history  of  the  Count's  childhood, 
and  the  supposed  loss  of  his  brother. 
The  brother,  as  a  baby,  came  under  the 
evil  eye  of  a  witch,  condemned  to  the 
stake.  This  woman,  however,  had  a 
daughter  who  was  determined  to 
avenge  her  mother's  death.  After  the 
capture  of  her  mother  the  child 
disappeared.  Nothing  was  absolutely 
known  of  its  fate,  but  among  the 
charred  embers  about  the  stake  where 
the  witch-woman  had  been  burned 
were  discovered  the  bones  of  a  child. 
Such  is  the  circumstance  that  Ferrando 
tells  in  the  "Abbietta  zingara"  (Swar- 
thy and  Threatening).  The  story  is 
set  to  a  melody  with  a  strong,  almost 
fierce  rhythm  that  gives  it  peculiar 
force. 

The  hearers  are  much  affected;  in 
their  comments  they  declare  the  witch 
appears  in  ghostly  shape.  They  are 
interrupted  by  the  clock,  striking 
twelve,  and  they  disperse  with  cries  of 
"Cursed  be  the  witch  infernal!" 


SCENE  II — The  Garden  of  the  Palace 

IT  is  evening.  In  the  garden  of  the 
Palace,  Leonora,  a  noble  lady  of 
great  beauty,  is  walking  with  her  faith- 
ful companion,  Inez,  to  whom  she  con- 
fides her  interest  in  an  unknown  knight 
she  has  seen  at  a  Tournament.  This 
unknown  hero  has  since  serenaded  her 
— hence  his  descriptive  title, "//  Trova- 
tore — The  Troubadour."  She  sings  of 
him  in  the  "Tacea  la  notte  placida" 
(Peaceful  Was  the  Night). 

The  melody  has  a  wistful  tenderness 
that  is  actually  grateful  after  the 
stormy  first  scene. 

The  ladies  go  into  the  house,  just  as 
the  Count  di  Luna,  himself  bent  on  sere- 
nading the  lovely  Leonora,  comes  to  her 
window.  But  he  has  barely  taken  his 
station  before  the  mysterious  Trouba- 
dour appears  upon  the  same  errand. 
The  Count  hides,  and  listens  to  the  song 
of  Manrico,  which  is  so  effective  that 
Leonora  comes  out  to  greet  her  lover. 
She  is  met  by  the  Count,  too;  and  the 
Count  is  in  a  fine  rage.  Manrico  defies 


COF1TT  MC  1N10SR 

HOMER    AS     AZUCENA 


COPY  T  UUPONT 

MARTIN    AS    MANRICO 


COPY  T      MISHK.IN 

SLEZAK    AS    MANRICO 


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VICTROLA     BOOK.     OF     THE      OPERA 


him,  and  unable  to  restrain  their  jeal- 
ous passions,  the  two  men  rush  at  one 
another  with  drawn  swords.  Leonora, 
fearing  the  death  of  her  lover,  swoons 
away  as  the  curtain  descends.  What  is 
to  be  the  next  development? 

ACT  II 

SCENE  I —  A  Gypsy  Camp  in  the  Biscay 
Mountains 

THE  sun  rises  upon  a  gypsy  encamp- 
ment, where  the  men  are  already 
beginning  the  business  of  the  day, 
hammering  lustily  as  they  sing  the  fa- 
miliar Anvil  Chorus:  "La  Zingarella." 

The  swinging  tune,  accompanied  by 
blows  on  the  anvil  swelling  the  rough 
voices  of  the  men,  is  justly  famous. 
The  rhythm  is  broad  and  sweeping,  and 
there  are  few  who  listen  to  it  without 
being  carried  away. 

Among  these  workers,  however,  is  a 
wild  woman  of  fierce  aspect  and  violent 
passions,  Azucena.  It  was  she  who 
stole  the  infant,  as  told  by  Ferrando, 
and  she  now  repeats  the  story  for  the 
benefit  of  Manrico,  who  is  supposed  to 
be  her  son.  He  was  wounded  in  the 
duel  with  the  Count,  but  she  has  nursed 
him  back  to  health.  The  story  is  told 
in  the  "Stride  la  vampa"  (Fierce 
Flames  Are  Soaring). 

In  this  wild  air,  so  well  adapted  to 
its  grim  recital, — through  which  the 
changing  tones  of  the  contralto  voice 
are  so  powerfully  brought  into  play, — 
Azucena  lives  over  again  the  dreadful 
scene  of  her  mother's  burning  at  the 
stake.  Questioned  by  Manrico,  she 
tells  how  her  mother's  last  unearthly 
cry  for  vengeance  led  her  to  steal  the 
child  of  the  present  Count  di  Luna  s 
father,  intending  to  throw  it  on  the 
flames  which  had  consumed  her  mother. 
She  discovered,  however,  that  in  her 
frenzy  she  had  destroyed  her  own  in- 
fant, preserving  the  child  of  her  enemy. 

The  story  sets  Manrico  thinking. 
''If  your  son  perished,"  he  asks,  "whose 


child  am  I?"  But  the  gypsy  woman, 
with  a  born  instinct  for  prevarication, 
avoids  the  question,  claiming  him  as 
her  son.  She  changes  the  subject  by 
reminding  him  how  she  had  nursed  him 
back  to  life  after  the  almost  fatal 
wound1  received  in  the  duel  with  the 
Count.  Manrico  at  once  tells  of  his 
violent  struggle  with  his  rival,  in  which, 
by  an  irresistible  impulse,  he  had 
spared  the  man's  life  after  felling  him 
to  the  ground  in  the  first  rush. 

The  air,  "Mai  reggendo  all'aspro 
assalto"  (At  My  Mercy  Lay  the  Foe), 
is  in  martial  vein,  yet  smooth  and  flow- 
ing. Azucena  brings  a  more  agitated 
feeling  into  the  music  as  she  bids  her 
foster-son  never  to  allow  an  enemy  to 
escape,  but  to  kill  without  hesitation. 
This  leads  to  a  powerful,  intensely 
rhythmic  climax,  in  which  both  voices 
are  strikingly  blended. 

SCENE  II — The  Cloister  of  a  Convent 

SINCE  the  duel,  Leonora  has  heard 
no  more  of  her  Troubadour  lover, 
and  she  believes  him  dead.  She  now 
decides  to  enter  a  convent.  Count  di 
Luna,  however,  is  determined  that  be- 
fore this  may  happen  he  will  carry  her 
away  by  force,  and  so  has  come  to  the 
walls  of  the  convent  with  a  body  of 
troops.  His  deep  love  for  her  finds 
expression  in  a  remarkable  number,  the 
"II  balen  del  suo  sorriso"  (The  Tem- 
pest of  the  Heart).  It  is  a  genuine 
and  heartfelt  tune,  one  of  the  finest 
in  the  operatic  baritone  anthology. 

As  its  last  cadenza  comes  to  an  end, 
the  convent  bell  is  heard  tolling  as  a 
signal  for  the  final  rites  which  will  re- 
move Leonora  from  the  outward  world. 
The  Count,  in  a  passion,  declares  she 
nVust  be  taken  before  she  reaches  the 
altar.  This  gives  way  to  the  vigorous 
"Per  me  ora  fatale"  (This  Passion  that 
Inspires  Me).  The  Count  and  his  fol- 
lowers conceal  themselves  among  the 
trees,  and  the  chanting  of  the  nuns  is 


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VICTROLA     BOOK     OF     THE      OPERA 


heard,  the  "Ah!  se  Terror  t'ingombra" 
('Mid  the  Shades  of  Error). 

The  women  sing  in  pure,  sweet  har- 
monies of  Leonora  s  abstraction  from 
the  world  of  desire  and  unhappiness. 
From  their  place  of  hiding  the  Count 
and  his  men  discuss  their  coming 
triumph. 

The  nuns  issue  from  the  chapel,  es- 
corting the  penitent.  They  are  terri- 
fied when  the  Count  and  his  troops  rush 
forward  to  seize  Leonora.  But  just  as 
they  are  about  to  carry  the  girl  away, 
they  are  confronted  by  Manrico,  who 
manages  to  protect  her,  and  gain  at 
least  a  short-lived  victory.  His  followers 
contrive  to  fend  off  the  followers  of 
the  baffled  Count.  Leonora  is  saved. 

ACT  III 

SCENE  I — The  Camp  of  di  Luna. 

AZ  UCENA  has  fallen  into  the  hands 
of  a  scouting  party  sent  out  by 
the  Count,  and  she  is  led  before  him  as 
a  possible  spy:  "Giorni  poveri  vivea" 
(In  Despair  I  Seek  My  Son),  she  sings, 
vainly  enough. 

Questioning  brings  out  the  story  of 
her  past  life,  and  her  connection  with 
the  episode  of  the  Count's  childhood. 
Ferrando  swears  she  is  the  murderess  of 
di  Luna's  long-lost  brother.  Azucena 
in  her  extremity,  cries  out  the  name  of 
Manrico,  and  the  Count,  on  finding  she 
claims  the  Troubadour  as  her  son,  vows 
upon  her  a  double  vengeance.  She  is 
bound  and  dragged  away. 

SCENE  II — Manrico' s  Castle 

BEFORE  the  final  catastrophe,  Man- 
rico  and  Leonora  enjoy  a  brief  res- 
pite in  which  to  avow  their  love.  An 
attack  by  the  Count  di  Luna  is  hourly 
expected,  and  Manrico  is  forced  to  sing 
a  tender  farewell  before  departing  to 
repel  the  assault.  This  is  the  "Ah,  si 
ben  mio"  (The  Vows  We  Fondly 
Plighted).  It  is  a  lyrical  number,  ten- 


der and  wistful,  a  relief  from  the 
stormy  scenes  that  have  passed,  and  a 
preparation  for  that  which  is  to  come. 

The  quiet  of  the  lovers  is  interrupted 
by  news  of  Azucena 's  capture.  Already 
the  faggots  are  being  piled  about  the 
stake  at  which  she  is  to  be  burned,  as 
her  mother  was  before  her.  Manrico 
still  believes  the  gypsy  woman  to  be  his 
own  mother,  and  he  is  maddened  by  the 
news.  He  prepares  to  rush  to  her  aid 
and  sings  a  fiery  air,  the  "Di  quella 
pira"  (Tremble,  Ye  Tyrants). 

This  is  led  up  to  by  a  powerful  intro- 
ductory passage,  and  the  high  notes  at 
the  end,  delivered  in  robust  tones,  and 
rising  to  the  high  tenor  C,  never  fail  of 
their  musical  and  dramatic  effect. 

ACT  IV 

SCENE  I — Exterior  of  the  Palace  of 
Aliaferia 

DEFEATED  by  Count  di  Luna  and 
his  men,  Manrico  has  been  taken 
captive,  and  he  is  languishing  in  a  dun- 
geon with  Azucena.  To  the  castle,  Leo- 
nora also  wanders,  and  outside  its 
frowning  battlements  sings  the  first 
plaintive  melody  of  what  may  almost 
be  considered  the  greatest  scene  in 
Italian  opera, — the  "D'amor  sull'ali 
rosee"  (Love,  Fly  on  Rosy  Pinions). 

As  she  sings,  the  chanting  of  the 
priests  is  heard,  and  a  solemn  bell  tolls 
out  announcement  of  her  lover's  im- 
pending doom.  She  hears,  too,  the 
voice  <A  Manrico,  from  his  prison.  This 
is  set  forth  in  the  ever-famous 
"Miserere"  (I  Have  Sighed  to  Rest  Me). 

Quite  apart  from  its  dramatic  signifi- 
cance, the  music  of  this  scene  is  extra- 
ordinarily impressive.  It  begins  with 
the  chanting  of  priests.  This  leads  to 
a  strange  accompaniment  for  the  or- 
chestra, shuddering  chords  in  slow  but 
irresistible  reiterated  rhythm  which 
sound  like  the  veritable  approach  of 
doom.  Then  comes  a  lovely,  passion- 


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VICTROLA     BOOK     OF    THE     OPERA 


LEONORA:     What  voices  of  terror! 

For  whom  are  they  praying? 


ately  sorrowful  minor  melody  for 
Leonora. 

In  upon  this  breaks  the  exquisite  air 
of  Manrico,  from  within  the  prison 
walls,  followed  by  a  joyful  cry  from  his 
beloved. 

These  passages,  heard  separately  at 
the  beginning,  are  combined  and  inter- 
woven into  the  marvellously  impres- 
sive ensemble  which  makes  the  scene 
perhaps,  the  best-known  and  the  best- 
beloved  of  all  operatic  situations.  It 
comes  to  an  end  when  the  Count  ap- 
proaches to  enter  the  castle.  Leonora 
begs  mercy  for  Manrico,  but  he  refuses, 
almost  gloating  over  his  triumph.  As  a 
last  resource  she  offers  to  marry  the 
Count  if  her  lover  may  go  free,  though 
she  never  intends,  in  her  heart,  to  be 
his  actual  bride.  His  manner  changes, 
and  Leonora  so  far  forgets  her  own  fate 
as  to  rejoice  over  the  safety  assured 
Manrico:  "Vivra!  Contende  il  giub- 
ilo"  (Oh,  Joy,  He's  Saved),  cries  his 
beloved  one. 

The  Count's  rapture  is  well  expressed 
in  this  number,  and  he  does  not  hear 
the  words  of  Leonora,  as  the  scene 


changes  and  she  proceeds  to  enter  the 
tower  and  set  free  Manrico:  "Thou 
shalt  possess  but  a  lifeless  bride." 

SCENE  II — The  Prison  Cell  of  Manrico 

AZUCENA  lies  on  a  pallet  of  straw. 
With  the  second-sight  of  her  race 
she  is  predicting  her  own  end.  Manrico, 
believing  her  his  mother,  strives  to 
comfort  her,  and  they  sing  an  exquisite 
duet,  the  "Ai  nostri  monti"  (Home  to 
Our  Mountains). 

No  longer  is  Azucena  a  wild  and 
vengeful  gypsy;  she  is  but  a  poor  old 
woman  very  near  to  death,  longing  for 
that  peace  and  rest  which  only  the  hills 
of  her  childhood  may  restore. 

Into  this  touching  scene  comes  Leo- 
nora with  the  news  of  Manr.icos  free- 
dom. His  joy  at  the  news,  however, 
is  turned  to  desperation  as  he  learns  the 
price  to  be  paid.  In  a  sudden  frenzy 
he  accuses  Leonora  of  betraying  his 
love:  "Ha  quest'  infame"  (Thou  Hast 
Sold  Thyself),  he  shouts. 

In  this  vivid  number,  Leonora  pro- 
tests to  Manrico,  and  Azucena,  who 
cares  nothing  for  their  love,  counsels 


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VICTROLA     BOOK     OF     THE     OPERA 


flight,  singing  her  everlasting  "Home 
to  Our  Mountains"  through  the  music 
of  the  lovers.  But  the  end  comes. 
Leonora  has  already  taken,  from  its 
concealment  in  a  finger-ring,  the  poison 
which  is  to  be  her  bane,  and  she  falls  at 
the  feet  of  her  lover,  who  now  realizes 
the  full  degree  of  her  sacrifice.  He  is  all 
contrition,  and  he  pleads  for  the  for- 
giveness the  dying  girl  is  only  too  will- 
ing to  give. 

At  this  juncture,  Count  di  Luna  en- 
ters.   Perceiving  that  Leonora  has 


cheated  him  by  dying,  he  orders  Man- 
rico  to  instant  execution. 

The  guards  at  once  lead  him  out. 
dzucena,  half-mad  with  excitement, 
drags  the  Count  to  the  window  where 
he  sees  his  own  sentence  carried  out. 
Now  is  the  moment  of  the  gypsy's  final 
vengeance  before  she  too  must  die. 
With  her  ancient  fire,  the  last  effort  of 
her  passionate  soul,  she  shrieks,  "You 
have  killed  your  brother!"  Di  Luna, 
with  a  wild  cry,  falls  at  her  feet.  The 
gypsy  at  least  has  had  revenge ! 


THE  VICTOR  RECORDS 

(Sung  in  Italian  unless  noted) 


ACT  I 
ABBIETTA  ZINGARA 

(Swarthy    and    Threatening)    MARCEL 

JOURNET,  Bass  74474     12-in.,  31.75 

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. 

One  morning,  as  the  dawn's  first  rays  were 
shining, 

From  her  pillow  she  rose, — 

Who  was  found,  think  ye,  near  the  child  re- 
clining? 

(Impressively) 

Sat  there  a  gypsy-hag,  witch-like  appearing; 

Of  her  dark  mysteries,  strange  symbols  wear- 
^ing. 

O'er    the    babe    sleeping — with    fierce    looks 
bending, 

Gaz'd  she  upon  him,  black  deeds  intending! 

Horror  profound  seized  the  nurse; 

And   the   dark   intruder   was   soon   expelled. 

Soon  they  found  the  child  was  failing, 

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, 

Quick  to  avenge  her,  no  means  disdaining. 

Thus  she  accomplished  her  dark  retribution! 

I-ost  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! 

TACEA  LA  NOTTE  PLACIDA 

(Peaceful   Was   the   Night)    LUISA 
TETRAZZINI,  Soprano    88420     12-in.,     1.75 


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  Heav'n  an  earnest  pray'r, 
My  heart  with  deep  joy  filling, 
I  heard  a  voice  oft  heard  before, 
My  long-loved  knightly  Troubadour! 

ACT  II 
STRIDE  LA  VAMPA 

(Fierce    Flames    Are    Soaring)    LOUISE 

HOMER,  Contralto         87033     10-in.,  31.25 
MARGARETE  OBER,  Contralto 

64506     10-in.,     1.25 
GABRIELLA  BESANZONI,  Contralto 

64875     10-in.,    1.25 
Upward   the  flames  roll;   the  crowd  presses 

fiercely  on, 

Rush  to  the  burning  with  seeming  gladness; 
Loud  cries  of  pleasure  from  all  sides  re-echoing! 
By  guards  surrounded — forth  comes  a  woman! 
While,  o'er  them  shining,  with  wild,  unearthly 

glare, 
Dark   wreaths   of  flame   curl,   ascending    to 

heaven! 

MAL  REGGENDO  ALL'  ASPRO  ASSALTO 
(At  My  Mercy  Lay  the  Foe)  LOUISE 
HOMER,      Contralto      and      ENRICO 
CARUSO,  Tenor  89049     12-in.,     2.00 

IL  BALEN  DEL  SUO  SORRISO 

(The  Tempest  of  the  Heart)  EMILIO  DE 

GOGORZA,  Baritone       88175     12-in.,     1.75 
GIUSEPPE  DE  LUCA,  Baritone 

64668     10-in.,    1.25 


414 


VICTROLA     BOOK.     OF     THE      OPERA 


COUNT: 

Of  her  smile,  the  radiant  gleaming 

Pales  the  starlight's  brightest  reflection, 
While  her  face  with  beauty  beaming, 

Brings  me  fresh  ardor,  lends  to  my  affection. 
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! 

ACT  III 
AH,  SI  BEN  MIO 

(The  Vows  We  Fondly  Plighted)  ENRICO 
CARUSO,  Tenor  88121     12-in.,  31-75 

GIOVANNI  MARTINELLI,  Tenor 

74439     12-in.,     1.75 
MANRICO: 

Tis  love,  sublime  emotion,  at  such  a  moment 

Bids  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. 

But,  if,  upon  the  fatal  page 

Of  destiny  impending, 

I'm  doomed  among  the  slain  to  fall, 

"Gainst  hostile  arms  contending, 

In  life's  last  hour,  with  fainting  breath, 

My  thoughts  will  turn  to  thee. 

DI  QUELLA  PIRA 

(Tremble,  Ye  Tyrants)  ENRICO  CARUSO, 

Tenor  87001     10-in.,     1.25 

FRANCESCO  TAMAGNO,  Tenor 

95006     10-in.,    5.00 
GIOVANNI  MARTINELLI,  Tenor 

64505     10-in.,     1.25 
MANRICO: 

Ah!  sight  of  horror!  See  that  pile  blazing — 
Demons  of  fury  around  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! 

ACT  IV 

D'AMOR  SULL'  ALI  ROSEE 

(Love,    Fly    on    Rosy    Pinions)  LUISA 

TETRAZZINI,  Soprano    88426  12-in.,  31.75 

EMMY  DESTINN,  Soprano  88557  12-in.,     1.75 

LEONORA: 

In  the  dark  hour  of  midnight 

1  hover  round  thee,  my  love! 

Ye  moaning  breezes  round  me  playing, 

In  pity  aid  me,  my  sighs  to  him  conveying! 

On  rosy  wings  of  love  depart, 

Bearing  my  heart's  sad  wailing, 

Visit  the  prisoner's  lonely  cell, 

Console  his  spirit  failing. 

Let  hope's  soft  whispers  wreathing 

Around  him,  comfort  breathing, 

Recall  to  his  fond  remembrance 

Sweet  visions  of  his  love; 

But,  let  no  accent  reveal  to  him 

The  sorrows,  the  griefs  my  heart  doth  move! 

MISERERE 

(Pray  that  Peace  May  Attend  a  Soul) 
ENRICO  CARUSO,  Tenor,  FRANCES 
ALDA,  Soprano  and  Chorus  of  the 
Metropolitan  Opera  89030  12-in.,  200 

EMMY  DESTINN,  Soprano,  GIOVANNI 
MARTINELLI, Tenor  and  Metropolitan 
Opera  Chorus  89119  12-in,  2.00 

AI  NOSTRI  MONTI 

(Home  to  Our  Mountains)  LOUISE 
HOMER,  Contralto  and  ENRICO 
CARUSO,  Tenor  89018  12-in.,  2-00 

ERNESTINE  SCHUMANN-HEINK,  Con- 
tralto and  ENRICO  CARUSO,  Tenor 

89060     12-in.,     2.00 


DOUBLE-FACED  RECORDS 

(Trovatore  Selection Arthur  Pryor's  Band 
Introduction,   Act    111 — "1-ierce    Names,"    Act    II — Introduction, 
Act  I — "At  My  Mercy,"  Act  II 
Traviata  Selection Arthur  Pryor's  Band 

/Tacea  la  notte  placida  (Peaceful  Was  the  Night)  (In  English)  .  .Edith  Helena} 
\     Lucia— Mad  Scene Edith  Helena,  Soprano} 


[Per  me  ora  fatale  (This  Passion  That  Inspires  Me).  . 


.  Ernesto  Caronna  and  \ 

La  Scala  Chorus\  16814 
.  .La    Scala    Chorus) 


\     Pagliacci — Opening   Chorus — Son   qua 

[Miserere  (In  English) Olive  Kline,  Soprano;  Harry  Macdonough,  Tenor} 

and  Victor  Chorus  \15443 
(Home  to  Our  Mountains  Marguerite   Dunlap,   Contralto;    Harry  Macdonough) 

( Miserere  (In  English) Stevenson  and  Macdonough  and  Victor  Chorus\.f().  * 

\    /  W ould  That  My  Love Stevenson  and  Macdonough] 

415 


35076     12-in.,  31.35 


12-in.,     1.35 


10-in.,      .85 


12-in.,     1.35 


10-in.,      .85 


(Miserere Trombone-Cornet,  Arthur  Pry  or  and  Emil 

\     Spring  Song  (Mendelssohn) Victor  String  Quartet 

/Anvil  Chorus  (In  English) Victor  Male  Chorus}-,  j-^ 

\     Tannhduser — Pilgrims'  Chorus  (In  English) Victor  Male  Chorus) 

/Anvil  Chorus  (In  English) Victor  Male  Chorus} 

\     Samson  and  Delilah— Spring  Flowers Victor  Women's  Chorus] 

(Anvil    Chorus..  ..Victor    Orchestra) 


l7231 


Zll 

\    Forge  in  the  Forest  (Michaelis) Arthur  Pry  or' s  Band) 

(Home  to  Our  Mountains  (In  English)  Corinne  Morgan  and  Harry  Macdonough},^^^.^ 
\     Bohemian  Girl — Heart  Bow'd  Down  (In  English)  .  .  Alan  Turner,  Baritone) 

(Home   to  Our  Mountains Vessella's  Italian   Band} 

\     Rigoletto  Quartet — (Verdi) Kryl's  Bohemian  Band) 

/Tempest  of  the  Heart  (In  English) Alan  Turner,  Baritone} 

\     Carmen — Toreador  Song  (In  English) Alan  Turner,  Baritone) 


10-in.,  30.85 

10-in.,  .85 

10-in.,  .85 

10-in.,  .85 

10-in.,  .85 

12-in.,  1.35 

10-in.,  .85 


FROM  AN  OLD  DRAWING 

THE    DEATH    OF    LEONORA 


416 


DIE  WALKURE 


(THE  VALKYRIE) 


MUSIC-DRAMA  in  three  acts. 
Text  and  music  by  Richard 
Wagner.  Completed  in  1856 
but  not  given  until  June  25,  1870,  at 
Munich.  First  London  production,  in 
English,  at  Covent  Garden,  October  16, 
1895.  First  New  York  production  at 
the  Academy  of  Music,  April  2,  1877, 
with  Mme.  Pappenheim,  Canissa, 
Listner,  Bischoff,  Blum  and  Preusser. 
Not  heard  again  in  New  York  until 
January  30,  1885,  when  Dr.  Leopold 
Damrosch  revived  the  work  at  the 
Metropolitan,  with  Brandt,  Schott  and 
Materna.  Since  that  time  the  work 
has  seldom  been  absent  from  the  Met- 
ropolitan. Among  the  artists  who  have 
appeared  in  the  opera  during  the  past 
thirty  years  may  be  mentioned  the 
following:  as  Sieglinde — Fremstad, 
Ternina,  Nordica,  Morena,  Saltz- 


mann-Stevens,  Osdorn-Hannah;  as 
Briinnhilde — Ternina,  Gadski,  Walker, 
Leffler-Burckhard,  Matzenauer,  Nor- 
dica, Litvinne,  Weidt;  as  Siegmund — 
Burrian,  Burgstaller,  Dalmores,  Urlus, 
Kraus;  as  Wotan — Van  Rooy,  Gris- 
wold,  Whitehfll,  Feinhals  and  Goritz. 

CHARACTERS 

SIEGMUND  (Zeeg'-moond) Tenor 

HUNDING  (Hoond'-ing) Bass 

WOTAN  (Voh'-tahri) Baritone 

SIEGLINDE  (Zeeg-lin'-dch] Soprano 

BRUNNHILDE  (Bruen-hill'dcti) . Soprano 

FRICKA  (Frik'-ati) Soprano 

VALKYRIES — Gerhilde,  Ortlinde,  Wal- 
traute,  Schwertleite,  Helmwige,  Sieg- 
rune,  Grimgerde,  Rossweise. 

(The    name    of    the    opera    is    pro- 
nounced Dec  V ahl-kucr-rch) . 


TH  E    O  PE  RA 


ACT  I 

Interior  of  Hunting's  Hut  in  the  Forest 

— a  Large    Tree  rises   through 

the  Roof 

A  TERRIBLE  storm  is  raging.  Sieg- 
/~V  mund,  weaponless,  wounded, 
spent,  finds  his  way  into  the  house 
of  Hunding,  where  he  is  received  and 
comforted  by  Sieglinde.  When  Hund- 
ing  returns  he  perceives  an  extraor- 
dinary likeness  between  the  two,  and 
learns  that  the  stranger  was  brought  up 
by  his  father  Wolsung  in  the  woods, 
whither  they  had  fled  after  their  home 
had  been  ravaged,  and  his  infant  sister 
carried  off  by  the  Neidungs.  Knowing 
now  that  he  entertains  a  mortal  enemy, 
Hunding  out  of  hospitality  permits 
Siegmund  to  remain  for  the  night,  but 
declares  that  on  the  morrow,  he  shall 


die.  Sieglinde  is  dismissed,  but  she 
glances  significantly  at  the  ash-tree, 
the  pillar  of  the  hut,  where  the  hilt  of  a 
sword  is  visible.  She  mixes  with  Hund- 
ing s  night-draught  a  potion  to  make 
him  sleep  soundly.  When  all  is  quiet 
she  returns  to  Siegmund^  telling  him  of 
the  sword,  which  has  been  stuck  into 
the  tree,  at  the  time  of  her  wedding,  by 
a  one-eyed  warrior,  whom  Siegmund 
recognizes  to  have  been  his  own  father, 
Wolsung.  The  storm  clears,  and  when 
the  door  is  opened  a  wonderful  spring- 
night  is  revealed.  The  two  cbmpare 
stories,  and  find  that  beside  being  lovers 
they  are  also  brother  and  sister. 
Their  love-song  is  one  of  the  most  beau- 
tiful of  melodies. 

The  mating  of  Siegmund  with  Sieg- 
linde has  awakened  bitter  criticism. 
But  it  is  well  to  remember  such  mat- 


417 


PAINTED    BY   DEL1TZ 

BRUNNHILDE   BEARING  A  WOUNDED  WARRIOR  TO  WALHALLA 


418 


VICTROLA      BOOK     OF     THE      OPERA 


ings  are  common  in  mythology — Ori- 
ental, Greek,  Roman,  as  well  as  Teu- 
tonic, and  it  is  absolutely  essential  that 
the  race  founded  by  Wotqn  shall  be 
of  immortal'  strain  through  earthly 
parents.  It  supplies  one  of  the 
greatest  love-scenes  in  music.  Toward 
its  close  Siegmund,  with  a  mighty 
effort,  draws  the  sword  Nothung  from 
the  tree  and  the  lovers  escape  into 
the  woods.  The  sword-theme,  which 
plays  such  an  important  part  in  this 
scene,  is  heard  frequently  in  subse- 
quent dramas.  Derived  from  the  Rhein- 
gold-Fanfare,  it  will  make  new  themes 
in  turn: 

tjM  f  I  r      j.     /  N-    c    r       I 

ACT  II 
SCENE — A  Wild  and  Rocky  Pass 

WOTAN,  the  one-eyed  father-god, 
chief  of  the  immortals,  the  Jupi- 
ter of  Rome,  the  Zeus  of  the  Greeks, 
and  the  Indra  of  Brahmanism,  confers 
with  his  daughter  Brunnhilde^  com- 
manding her  to  protect  Siegmund  in  the 


forthcoming  combat.  Brunnhilde  is  one 
of  nine  daughters  of  Wotan  and  Era'a, 
goddess  of  the  earth,  whose  mission  is 
to  bring  the  souls  of  heroes  toWalhalla 
for  protection  against  Fafner.  The 
Valkyrie  warns  him  that  his  plan  will 
offend  his  wife  Fricka,  the  protector 
of  the  Neidungs  and  the  goddess 
who  specially  protects  the  marriage 
institution.  Arrayed  from  head  to 
foot  in  armour,  and  mounted  on 
her  steed  Grani,  Brunnhilde  then 
goes  off  shouting  her  weird  battle- 
cry:  "Ho,  yo,  to,  ho!"  (Briinnhilde's 
Battle-Cry). 

This  wild  and  technically  difficult 
number  is  founded  on  the  battle-cry 
which  plays  so  significant  a  part  in  the 
"Ride  of  the  Valkyries"  from  the  third 
act.  It  is  hard  to  sing  with  the  re- 
quired force  and  accuracy,  from  the 
leaping  width  of  its  intervals  and  the 
unusual  harmonies  upon  which  it  is 
founded.  It  ascends  to  "high  C." 


£E 


I- in -in    MATZKNE 

WHITEHILL  AS   WOTAN 


WOTAN  S   FAREWELL 


420 


VICTROLA     BOOK.     OF     THE      OPERA 


No  sooner  is  Brunnhilde  gone  than 
Fricka  approaches  on  her  chariot 
drawn  by  two  rams.  She  is  furious  at 
the  injustice  done  to  Hunding,  in  the 
illicit  union  of  Siegmund  and  Sieglinde. 
Wotan,  for  once  no  god  but  only  a  hus- 
band, explains  his  purpose,  whenFricka 
shrewdly  points  out  that  his  children 
are  in  fact  himself,  and  that  his  protec- 
tion virtually  amounts  to  a  breach  of 
his  contract  with  Fafner — which  may 
lead  to  the  downfall  of  the  gods.  Forced 
to  agree,  he  finally  swears  that  Sieg- 
mund shall  be  punished.  Fricka  then 
triumphantly  recalls  Brunnhilde,  who 
is  dismayed  when  IVotan  revokes  his 
order.  IVotan  explains,  at  great  length 
of  the  circumstances  told  in  "Das 
Rheingold,"  and  she  departs  to  warn 
Siegmund  of  his  approaching  doom. 
IVotan,  at  parting,  enjoins  obedience. 

Britnnhilde  discovers  Siegmund  and 
Sieglinde  still  fleeing  from  Hunding  and 
his  hounds.  While  Sieglinde  sleeps, 
the  Valkyrie  warns  Siegmund  of  his 
fate,  and  in  some  of  the  noblest  music 
ever  conceived,  she  promises  him  hap- 
piness in  Walhalla.  When  Siegmund 
learns,  however,  that  Sieglinde  may  not 
join  him  there,  he  spurns  all  hope  of  it, 
defying  IVotan  himself.  Erunnhilde 
is  deeply  moved.  She  knows  that 
IVotan  loves  these  fearless  children  of 
his,  and  she  herself  is  struck  with  Sieg- 
mund's  indomitable  courage.  The 
scene  grandly  unfolds.  Brunnhilde, 
more  than  half  human,  disobeys  the 
divine  command,  promising  help  to 
Siegmund  in  the  forthcoming  struggle. 
Hunding  arrives,  and  the  fight  takes 
place,  Erunnhilde  hovering  above  the 
hero,  who  trusts  fearlessly  in  the  sword 
from  the  ash-tree.  But  IVotan  has 
learned  of  Erunnhilde' s  disobedience 
and  through  the  riven  skies  he  comes 
raging  upon  his  wild  steed.  He  fends 
off  the  sword  with  his  own  spear,  shat- 
tering it  into  fragments.  Siegmund  is 
felled  by  Hunding;  then  the  outraged 


god,  having  accomplished  the  will  of 
Fricka,  contemptuously  slays  Hunding 
with  a  motion  of  the  spear.  Brunn- 
hilde has  already  escaped  with  Sieg- 
linde, but  Wotan,  bent  on  punishment, 
rides  into  the  skies  in  full  pursuit. 

ACT  III 

SCENE — The  Summit  of  a  Rocky 
Mountain 

THE  meeting  place  of  the  Valkyries, 
and  thdr  wild  ride  through  the 
skies  is  pictured  by  Wagner  in  an 
orchestral  prelude  of  thrilling  power, 
the  so-called  "Ride  of  the  Valkyries." 
This  is  possibly  the  most  imagina- 
tive of  all  orchestral  compositions;  cer- 
tainly nothing  approaching  it  for  wild 
and  savage  energy  has  ever  been  writ- 
ten into  any  opera.  Several  themes 
work  out  simultaneously;  a  trilling 
theme,  the  neighing  of  the  Valkyries' 
horses;  a  "snorting"  theme  over  the 
musical  interval  of  a  fourth;  a  gallop- 
theme,  and  the  motive  of  the  "Walk- 
iirenrittes,"  or  the  ride  itself,  bandied 
about,  like  a  minor  bugle  -call,  between 
trombones  and  trumpets,  finally  em- 
phasized by  the  tuba.  In  the  midst  of 
it  appears  the  Valkyries'  shout,  later 
sung  by  the  eight  Valkyries  in  their 
heroic  garb,  with  great  winged  helmets, 
shields  and  spears.  As  the  Valkyries 
one  by  one  alight  upon  the  great  rock 
where  they  congregate,  they  behold 
Brunnhilde,  their  favorite  sister,  ca- 
reering toward  them,  bearing  not  a 
dead  hero  but  a  woman  at  her  saddle- 
bow. Alighting,  she  runs  from  one  to 
the  other,  asking  protection,  but  none 
dares  offer  it.  Brunnhilde  gives  to 
Sieglinde  the  pieces  of  the  broken 
sword,  bidding  her  flee  to  the  woods 
where  Fafner  dwells;  there  she  may 
give  birth  to  her  child — who  shall  be- 
come the  inheritor  of  the  world. 

The    Valkyries     hurriedly     conceal 
Brunnhilde  in  their  midst  as  the  out- 


421 


FERD.  LEEKE 


BRUNNHILDE: 

Was  it  so  shameful,  what  I  have  done, 
That  for  my  deed  I  am  scourged? 

(Walkiire,  Act  III) 


422 


VICTROLA     BOOK     OF     THE      OPERA 


raged  IVotan  springs  from  his  horse. 
Brunnhilde  is  compelled  to  come  forth. 
The  other  Valkyries  separate  with  cries 
,  of  woe.  Left  alone,  Brunnhilde  pleads 
with  IVotan.  Was  it  such  a  dreadful 
thing  to  do, — knowing  his  love  for  his 
mortal  children,  and  the  deceit  prac- 
ticed on  poor  Siegmund  with  the  sword  ? 
She  pleads  with  tender  eloquence,  and 
IVotan  is  deeply  moved.  But  he  re- 
mains inexorable.  She  must  lose  her 
power  as  a  goddess,  put  off  divinity  and 
lapse  into  a  mere  earthly  woman;  she 
must  sleep,  to  become  the  bride  of  any 
one  who  awakens  her.  The  shame  of 
this  rouses  Brunnhilde  ^  and  she  pleads 
at  least  that  she  be  surrounded  with 
fire  so  that  only  a  hero  may  break 
through.  This  is  granted  her,  and 
Wotan  bids  her  farewell  in  music  of  un- 
exampled power  and  almost  heart- 
breaking pathos,  the  great  "Wotan's 
Abschied"  (Wotan's  Farewell). 

Brunnhilde  sinks  rapt  and  transfig- 
ured upon  Wotan  s  breast,  and  he  holds 
her  in  a  long  embrace.  She  throws  her 
head  back,  gazing  with  solemn  emotion 
into  her  father's  eyes. 

As  Wotan  kisses  her  godhood  away, 
Brunnhilde  sinks  back  into  her  long 
sleep.  He  assists  her  to  lie  upon  a  low, 
mossy  bank,  closes  her  helmet  and 
covers  her  over  with  her  great  steel 
shield.  Slowly  moving  off,  he  touches 
a  rock  with  his  magic  spear,  and  sum- 
mons Loge,  the  God  of  Fire.  A  stream 
of  answering  flame  issues  from  the  rock, 
surrounding  IVotan  and  leaping  wildly 
and  touching  the  skies  to  a  red  volcanic 
glow.  This  scene  is  the  thrilling  "Ma- 
gic Fire  Spell." 

It  begins  with  the  end  of  "Wotan's 
Farewell,"  and  develops  one  of  the 
most  amazing  passages  of  tone-painting 
ever  imagined  by  mortal  musician. 
The  leaping,  whistling  flames  writhe 
up  before  one's  very  eyes,  subsiding  as 
peace  enfolds  the  sleeping  woman. 

There  is  heard   the  motive  of  the 


Twilight  of  the  Gods — a  kind  of  pre- 
monition; Brunnhilde's  godhood  lost, 
others  will  inevitably  follow,  through 
the  working  out  of  the  Curse  placed  by 
Alberich  upon  the  stolen  gold  of  the 
Rhine.  The  farewell  is  heartrending 
— but  sorrow,  like  all  sorrow,  is  deeper 
and  finer  than  joy.  The  cruelty  of 
this  parting  seems  dramatically  unnec- 
essary; but  as  its  consciousness  steals 
over  the  listener,  there  is  heard  as 
IVotan  disappears,  the  stern  three-note 
motive  of  the  Decree  of  Fate — it  is 
Fate  working,  Fate  which  is  stronger 
than  life  or  death,  stronger  than  joy  or 
suffering,  Fate  which  was  stronger  yet 
than  the  will  of  the  gods.  This  is  one 
of  Wagner's  sublimest  scenes.  As  with 
the"Ride  of  the  Valkyries,"  a  number  of 
motives  are  worked  out  together:  al- 
most the  last  is  the  heroic  theme  of 
Siegfried  Guardian  of  the  Sword,  or,  as 
many  call  it,  Siegfried  the  Inheritor  of 
the  World,  which  trumpets  magnifi- 
cently through  the  dying  mazes  of  the 
Fire-music.  Had  Wagner  never  writ- 
ten another  scene,  this  would  have 
sufficed  to  yield  him  place  among  the 
greatest  three  composers  of  the  modern 
world. 

THE  VICTOR  RECORDS 

(Sung  in  German) 
ACT  II 

HO,  YO,  TO,  HO! 

(Brunnhilde's  Battle  Cry)  EMMA  GADSKI. 

Soprano          87002     10-in.,  ?1.25 

BRUNNHILDE: 

Ho-yo-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! 


423 


VICTROLA     BOOK     OF     THE      OPERA 


ACT  III 
RIDE  OF  THE  VALKYRIES 

Philadelphia  Orchestra     74684     12-in.,  31.75 
FORT  DENN  EILE 

(Fly   Then    Swiftly)    MARGARETE    MATZEN- 

AUER,  Contralto  87102     10-in.,     1.25 

BRUNNHILDE: 

Fly  then  swiftly,  and  speed  to  the  east! 

Bravely  determine  all  trials  to  bear. 

The   highest  hero  of  worlds  hidest  thou,  O 

wife, 

In  sheltering  shrine! 
(She  produces  the  pieces  of  Siegmund's  sword 

and  hands  them  to  Sieglinde.) 
For  him  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! 


WOTANS  ABSCHIED 

(Wotan's  Farewell,  Part  I)   CLARENCE 
WHITEHILL,  Baritone    64278     10-in.,  31.25 

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, 

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! 


DOUBLE-FACED  RECORDS 

(Ride  of  the  Valkyries  .............................  Vessellas  Italian  Band\ 

\     Gotterddmmerung  —  Siegfried's  Funeral  March  .............  Vessellas  Band] 

(Magic  Fire  Spell  (Feuerzauber)  ....................  Vessellas  Italian  Band\ 

\     Rienzi  Overture  (Wagner)  .........................  Arthur  Pry  or  s  Band] 


(Magic  Fire  Spell  (Feuerzauber).  .  ............  Julius  L.  Schendel, 

\     Rustle  of  Spring  (Sinding)  (2)  Papillon  (Grieg)  ..........  Julius  Schendel 

(Siegmund's  Love  Song  ...................  Violin-  Cello-Piano  Tollefsen  Trio\ 

\    Romance  (Rubinstein)  .................  Violin-  Cello-Piano  Tollefsen  Trio] 


12-in.,  31  35 
12-in.,  1.35 
12-in.,  1.35 
10-in.,  .85 


HUGO  BRAUNE 

WOTAN    SUMMONING    THE    FIRE    GOD 


424 


WERTHER 


E'RIC  drama  in  four  acts  and  five 
tableaux.  Libretto  by  Edouard 
Blau,  Paul  Milliet  and  George 
Hartman,  founded  upon  Goethe's  story 
of  his  own  life,  The  Sorrows  of  Werther. 
Music  by  Massenet.  First  produced 
Imperial  Opera  House,  Vienna,  Feb- 
ruary 16,  1892,  with  Van  Dyck  and 
Renard.  Paris,  Opera  Comique,  Janu- 
ary 16, 1893,  with  Mme.  Delna.  Milan, 
December,  1894.  New  Orleans  Opera, 
November  3,  1894.  First  American 
production,  the  Metropolitan  Opera 
House,  April  20,  1894,  with  Eames, 
Arnoldson  and  Jean  de  Reszke.  Re- 
vived at  the  New  Theatre  by  the 
Metropolitan  Opera  Company,  1910, 
with  Farrar,  Clement,  Gluck  and  Dinh- 
Gilly;  Boston  Opera,  1913. 

CHARACTERS 

>  WERTHER  (Wair-tair) Tenor 

ALBERT,  the  bailiff Baritone 


SCHMIDT]  i  •    /•  •  Bass 

JoHANN)hlsfnends| Tenor 

CHARLOTTE,  his  daughter.  .  .  .Soprano 
SOPHIE,  her  sister Mezzo-Soprano 

Time  and  Place:  In  the  Vicinity  of 
Frankfort,  Germany,  1772 

CHARLOTTE,  surrounded  by  her 
\^t  brothers  and  sisters,  is  preparing 
the  noonday  meal.  Werther,  a  serious- 
minded  and  romantic  young  man, 
comes  to  the  house  with  Albert,  who  is 
betrothed  to  Charlotte.  Werther  falls 
in  love  with  the  young  girl.  Charlotte 
returns  his  affection,  but  feels  it  her 
duty  to  marry  Albert  to  fulfill  a  promise 
made  to  her  mother,  and  so  begs 
Werther  to  leave  the  village. 

After  Charlotte  and  Albert  are  mar- 
ried Werther  tells  Charlotte  that  he  still 
loves  her.  She  entreats  him  to  spare 


her  and  go  away  forever.  Werther 
then  writes  to  Albert,  telling  him  he 
has  resolved  to  go  on  a  long  journey, 
and  asking  him  for  his  pistols.  Char- 
lotte, alarmed,  follows  Werther.  It  is 
Christmas  Eve,  nearing  midnight,  and 
the  snow  almost  blinds  her.  The  scene 
changes  to  a  tiny  room,  and  reclining 
on  a  chair  in  the  lamplight  is  Werther, 
mortally  wounded.  Charlotte  arrives 
too  late,  and  he  dies  in  her  arms. 
Overcome  with  grief,  she  faints  on  the 
body  of  her  lover,  while  the  pealing  of 
bells  and  the  joyous  voices  of  little 
children  singing  Christmas  carols  are 
heard  in  the  distance.  The  gem  of 
the  opera  is  Werthers  love-dream, 
"  Do  Not  Waken  Me." 

THE  VICTOR   RECORDS 

AH!  NON  MI  RIDESTAR!  (Italian) 

POURQUOI  ME  REVEILLER  (French) 
(Why  Awake  Me?)  MATTIA  BATTISTINI, 

Baritone  In  Italian       88354     12-in.,  31.75 
GIOVANNI     MARTINELLI,     Tenor       In 

French  64774     10-in.,     1.25 

EDMOND  CLEMENT,  Tenor   In  French 

64234     10-in..     1.25 


FARRAR    AS    CHARLOTTE    IN    WERTHER 


425 


THE    OATH    (AL    FRESCO    PRODUCTION    IN    SWITZERLAND) 

WILLIAM   TELL 

(GUILLAUME  TELL) 

(French) 


WILLIAM  TELL,  outlining 
the  story  of  the  liberation  of 
Switzerland,  was  composed 
in  the  twenties  of  the  last  century, 
at  a  time  when  Europe  was  recov- 
ering from  the  Napoleonic  wars,  and 
many  theories  of  liberty  were  finding 
voice.  Schiller,  the  German  poet,  had 
attracted  considerable  notice  in  Paris 
following  the  translation  of  some  of  his 
works  into  French,  and  it  was  but  natu- 
ral that  Rossini  should  have  turned  to 
his  splendid  drama  for  an  operatic 
subject. 

Notwithstanding"IlBarbiere,""  Wil- 
liam Tell"  is  usually  regarded  as  the 
greatest  of  Rossini's  works,  from  a  mu- 
sical standpoint.  Rossini  is  known  to 
have  been  interested  in  the  works  of 
Beethoven  at  that  time,  the  death  of 
that  great  master  in  1827  having  per- 
haps called  special  attention  to  his 
works.  As  a  result  "William  Tell" 
was  a  revolutionary  departure  from 
Rossini's  usual  style  of  composition. 
This  is  the  more  remarkable  when  one 
reflects  that  Rossini  was  then  the  fore- 
most dramatic  composer  in  Europe, 


having  a  long  list  of  successful  works  to 
his  credit.  A  lesser  man  would  have 
thought  he  had  nothing  left  to  learn. 
Though  at  times  careless  enough  in  his 
workmanship,  Rossini  was  unerring  in 
his  artistic  judgment  of  others,  as 
shown  by  his  frank  acknowledgment  of 
the  genius  not  only  of  Beethoven  but 
of  Haydn  (whose  string  quartets  he 
studied  very  closely)  and  Mozart.  In 
many  of  his  now  forgotten  operas  he 
frequently  pleased  the  public  by  in- 
cluding airs  of  whose  banalities  he  was 
perfectly  well  aware;  but  in  "William 
Tell"  he  lavished  the  utmost  pains, 
showing,  in  addition,  an  amazing  fresh- 
ness of  inspiration.  Not  only  are  the 
melodies  exquisite  and  appropriate  in 
themselves,  but  the  harmonies  are  re- 
markably original  for  the  period,  and 
the  orchestration  a  marked  improve- 
ment on  anything  yet  produced  by 
Italian  composers.  The  Overture  of 
"William  Tell"  is  noteworthy  in  this 
respect,  and  it  was  truly  described  by 
Berlioz  (who  usually  loathed  Rossini 
and  all  his  works)  as  a  "symphony  in 
four  parts."  The  quintet  for  'cellos  at 


426 


VICTROLA     BOOK     OF     THE      OPERA 


the  opening  is  quite  unique  for  the 
period,  and  the  horn  passages  in  the 
hunting  chorus  of  the  Second  Act  is 
also  remarkable.  As  usual  with  Ros- 
sini, the  vocal  writing  throughout  is 
well-nigh  perfect. 

"William Tell"  was  the  last  of  his  op- 
eras. Just  why  a  composer  of  genius 
who  lived  to  be  seventy-six  should  have 
ceased  writing  operas  in  his  thirties,  at 
the  zenith  of  his  fame,  and  with  all  the 
opera-houses  of  Europe  open  to  his 
works,  will  ever  remain  a  mystery.  He 
was,  to  be  sure,  decidedly  lazy,  though 
he  could  display  amazing  energy  when 
the  fit  seized  him.  Political  and  do- 
mestic disturbance  may  in  some  degree 
account  for  his  long  lethargy  and  his 
spasmodic  working  methods.  The  fact 
remains  that  he  lived  many  years,  his 
salon  the  chief  meeting  place  of  the 
most  brilliant  people  in  Paris,  his  influ- 
ence in  music  of  the  highest  impor- 
tance yet  produced  practically  nothing. 
After"  WilliamTell"  the  only  significant 
work  was  the  sacred  cantata,  "Stabat 
Mater."  He  took  some  interest  in  the 
piano,  describing  himself  (probably 
with  accuracy)  as  a  fourth-rate  pianist, 
and  writing  trivial  pieces  for  the  instru- 


ment,— some  of  which  he  cynically  ded- 
icated to  his  parrot.  His  wittier  say- 
ings were  quoted  on  all  sides,  but  his 
criticism  treated  with  respect,  none  the 
less,  his  creative  genius  expended  itself 
for  the  most  part  in  inventing  new 
salads,  for  he  was  an  admirable  cook! 

"William  Tell  "was  a  popular  success, 
but  the  management  of  the  Opera  was 
given  to  presenting  the  work  with 
elaborate  cuts,  reducing  the  five  acts  to 
three,  and  occasionally  giving  only  one 
act  at  a  time,  using  it  as  a  curtain- 
raiser  or  as  an  accompaniment  to  the 
ballet.  One  day  the  Opera  Director 
met  Rossini  on  the  street,  and  said:  "I 
hope  you  won't  be  annoyed,  but  to- 
night we  play  the  second  act  of 'William 
Tell'."  "What,  the  whole  of  it?"  asked 
Rossini  in  simulated  astonishment. 
His  wit  made  many  enemies.  His 
most  bitter  critics  were  perhaps  Berlioz 
and  the  painter  Ingres.  But  his  admir- 
ers included  Schubert,  who  called  him 
"a  rare  genius,"  Schumann,  who  spoke 
of  his  "real,  exhilarating,  clever  music,' ' 
and  Mendelssohn,  who  allowed  none  to 
disparage  his  work.  With  these  masters, 
the  musical  world  now  generally  agrees, 
— especially  as  regards  "William  Tell." 


THE    OPERA 


OPERA  in  four  acts;  text,  by 
Jouy,  Bis  and  Marast  taken 
from  Schiller's  drama.  Music  by 
Rossini.  First  presented  at  Paris, 
August  3,  1829.  First  London  produc- 
tion, 1830.  Produced  at  the  New  Or- 
leans Opera,  1842.  Revived  at  the 
Academy  of  Music  by  Leonard  Grover's 
Opera  Company,  with  Carl  Formes. 
Produced  at  the  Metropolitan  1888, 
with  Fischer,  and  1890,  with  Tamagno. 
Revived  at  the  Century  Opera  1914. 

CHARACTERS 
WILLIAM  TELL,  Swiss  Patriot ....  Bass 


ARNOLD, suitor  1  [Tenor 

of  Matilda     I  Swiss  Patriots  | 
WALTER  FURST]  (Bass 

MELCTHAL,  Arnold's  father Bass 

GESSLER,  Governor  of  Schwitz 

and  Uri Bass 

LEUTHOLD,  a  shepherd Bass 

MATILDA, daughterofGessler.  . Soprano 

HEDWIGA,  Tell's  wife Soprano 

JEMMY,  Tell's  son Soprano 

Scene  and  Period:   Switzerland;   Thir- 
teenth Century 

(The  French  name  of  the  opera  is 
Guillaume  (Gee-ohm],  G  hard,  and  the 
Italian,  Guglielmo  (Gool-yel-moh)  Tell). 


427 


VICTROLA     BOOK     OF     THE      OPERA 


THE  Overture  is  a  lengthy  and  im- 
posing work,  frequently  heard  in 
our  concert  rooms.  It  is  in  four  parts: 
The  Dawn,  The  Storm,  The  Calm,  The 
Finale.  It  seems  to  be  designed  to  fur- 
nish the  "atmosphere"  of  the  drama, 
the  Swiss  background,  to  suggest  the 
beauties  of  nature  in  a  land  of  moun- 
tainous beauty  and  sudden  storms.  The 
opening  Andante  is  peaceful  and  se- 
rene, with  a  lovely,  chant-like  passage 
for  'cellos  after  the  slowly-climbing 
figure  at  the  opening: 


j5fe£F 


The  tranquil  mood  of  the  opening 
breaks  up  in  turmoil  as  the  rustling 
strings  suggest  the  distant  mutterings 
of  a  storm  which  finally  bursts  with 
tremendous  power.  After  a  furious 
crescendo,  it  dies  away,  a  few  liquid 
notes  from  the  flute  seeming  to  suggest 
the  birds,  restirring  in  the  trees  when 
the  sun  breaks  through.  Then  comes 
a  delightful  pastoral  melody  for  the 
English  Horn,  originally  assigned  by 
Rossini  to  an  obsolete  instrument  of 
this  type  known  as  the  oboe  di  caccia. 
As  the  pastoral  dies  away,  trumpet 
calls  introduce  the  vigorous  gallopade 
with  which  the  Overture  closes,  a 
splendid  and  stimulating  quick-step 
usually  played  very  swiftly, and  leading 
to  a  magnificent  finale  with  which  the 
work  comes  to  an  end.  . 

ACT  I 

SCENE — A  Village  in  the  Canton 
of  Uri 

IN  the  year  1207,  when  the  events  are 
supposed  to  take  place,  Switzerland 
suffers  beneath  the  German  yoke,  the 
tyrant  Gess/er  ruling  over  the  unhappy 
people  with  uncalled-for  ferocity.  Not- 
withstanding this,  the  people  strive  to 


carry  on  life  with  calmness,  and  the 
curtain  ascends  upon  a  peaceful  scene. 
William  Tell  and  his  family  are  at  work 
in  the  fields;  nearby  a  group  of  fisher- 
men are  about  to  set  out  on  the  lake. 
William  Tell  is  disturbed  by  their  ap- 
parent indifference  to  the  political 
tyranny  beneath  which  they  suffer,  and 
he  listens  with  grim  patience  when  a 
fisherman  sings  a  delighttul  barcarolle 
in  keeping  with  the  sunny  quiet  of  the 
day.  This  is  the  "Accours  dans  ma 
nacelle"  (Come,  Love,  in  My  Boat). 

A  horn  sounds.  It  is  the  signal  to 
open  the  annual  Shepherds'  Festival, 
at  which  three  marriages  are  to  be  cele- 
brated by  Melcthal)  the  patriarch  of  the 
village.  Melcthal  rejoices  in  the  task 
and  he  regrets  that  his  son  Arnold^  is 
not  among  the  betrothed.  Arnold, 
however,  though  he  dares  not  admit  it, 
is  in  love  with  Matilda^  the  daughter  of 
the  tyrannical  Gess/er.  William  Tell 
has  seen  that  the  youth  no  longer 
seems  to  share  the  general  hatred  of  the 
Swiss  for  their  oppressors,  and  he 
chides  him,  half  guessing  the  reason. 
Arnold  then  confesses  to  him  his  love 
for  the  girl,  in  thearia,"Ah,  Matilde,  io 
t'amo"  (Matilda,  I  Love  Thee). 

Arnold  is  finally  persuaded  that  his 
country  stands  first  in  the  matter  of 
duty,  and  he  agrees  to  set  aside  his 
private  wishes.  He  and  Tell  together 
join  the  peasants  in  their  festivities. 

While  these  are  at  their  height,  a 
sound  of  horns  is  heard  across  the  val- 
ley, proclaiming  that  Gess/er  and  his 
followers  are  near  by,  and  intruding  an 
ominous  note  into  the  general  merri- 
ment. Suddenly  the  weddings  are 
interrupted  by  Leuthold,  a  fugitive, 
crying  "Save  me,  from  the  tyrant." 
He  has  slain  one  of  Gess/er's  followers 
for  attacking  his  daughter,  and  the 
hunters  are  out  on  his  trail.  He  begs 
the  fishermen  to  convey  him  across  the 
lake  into  safety,  but  as  it  would  mean 
crossing  some  dangerous  falls,  they  re- 


428 


VICTROLA     BOOK     OF     THE     OPERA 


PASTORAL    SCENE    IV   THE    SWISS    OUTDOOR    PRODUCTION    OF    WILLIAM    TELL 


fuse.  William  TV//,  however,  comes  to 
the  rescue,  and  they  put  offjust  as  the 
pursuers  appear.  The  baffled  Gessler 
then  orders  the  village  to  be  put  to  the 
flames,  and  the  fields  devastated.  Mel- 
ctha/\s  seized  and  slain,  and  the  curtain 
descends  upon  a  scene  of  desperate  ruin. 

ACT  II 

SCENE — A  deep  Valley  in  the  Alps.   On 

the  /eft  the  Lake  of  the  Four  Cantons. 

Twilight 

MATILDA  waits  for  her  sweet- 
heart, Arnold^  but,  when  he 
joins  her  it  is  only  to  tell  her  of  his  de- 
termination to  remain  with  his  people. 
She  is  deeply  distressed,  but  both  of 
them  aredeepliershocked  when  William 
Tell  brings  in  the  news  that  Arnold's 
father  is  dead  and  the  village  burnt 
down  in  reprisal  after  Leut hold's  escape. 
Arnold's  desire  for  vengeance  now 
overpowers  even  his  love  for  Matilda, 
and  it  is  in  lament  that  he  rejoins 
William  Tell.  Soon  the  men  from  the 
Cantons,  or  districts,  gather  and  swear 
vengeance.  William  TV//,  the  best 
archer  and  strongest  swimmer  among 


them,  is  naturally  their  leader,  and  he 
longs  for  action.  Yet  for  the  moment 
he  advises  caution. 

ACT  III 

SCENE — The  Grand  Square  of  Altdorf— 
Gessler's  Castle  in  the  Background.  In 
the  Foreground  a  Pole  Surmounted  by 

a  Cap 

/~^  ESSLER,  after  the  manner  of  his 
VJ"  kind,  overlooks  none  of  the  "re- 
finements of  cruelty"  which  are  often 
more  bitterly  resented  than  flagrantly 
brutal  acts.  It  is  a  holiday,  and  he 
sits,  enthroned,  before  the  conquered 
people.  As  a  final  insult,  he  has  had 
erected  a  pole  with  a  cap  on  it,  as  the 
symbol  of  his  "might,  majesty  and  do- 
minion." It  is  his  august  will  that  the 
Swiss  people  shall  bow  before  the  pole; 
as  they  approach  it,  he  watches  them 
do  so  with  grim  pleasure.  Meanwhile, 
there  are  games  and  entertainments, 
set  to  the  "William  Tell  Ballet  Music." 
Among  those  who  come  to  the  fair  is 
William  Tell,  with  his  little  son,  Jemmy. 
Disgusted  at  this  fresh  outrage,  William 
Tell  refuses  to  bow  before  the  ridicu- 
lous symbol  of  power.  He  is  promptly 


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VICTROLA     BOOK.     OF     THE      OPERA 


captured,  and,  with  Jemmy,  brought 
before  Gess/er.  When  the  tyrant  learns 
that  Jemmy  is  his  only  son,  the  fiend- 
ish idea  occurs  to  him  that  he  may 
test  the  prisoner's  reputed  ability  as  a 
bowman  by  having  him  shoot  an  apple 
from  the  boy's  head.  If  he  refuses, 
both  shall  suffer  instant  death.  Having 
no  option,  Tell  is  forced  to  consent,  his 
hand  being  none  the  more  firm  because 
of  Jemmy' 3  confidence  in  his  powers. 
They  stand  the  boy  before  a  tree,  plac- 
ing an  apple  on  his  head.  They  offer 
to  bind  him,  but  Jemmy  refuses,  crying 
"Father,  remember  your  skill!  Fear 
not,  I  will  not  move." 

Tell  selects  not  one  arrow  but  two, 
hiding  the  first  in  his  cloak.  He  sends 
a  fierce  look  at  the  tyrant,  then  aims 
with  great  care  and  looses  a  flying 
arrow.  The  shot  is  successful,  despite 
the  long  range.  When  he  realizes  that 
the  boy  is  safe,  Tell  faints  away;  as  he 
sinks  down,  the  second  arrow  falls  from 
beneath  his  short  cloak.  "For  whom 
was  the  second  arrow?"  asks  Gess/er 
when  he  recovers.  "For  you,  tyrant, 
if  I  had  harmed  my  child!"  is  the 
answer.  Gess/er  then  orders  them  both 
put  to  death,  but  Matilda,  who  has 
entered  and  who  has  seen  the  whole 
ghastly  business,  boldly  demands  the 
child's  life  and  takes  him  under  her 
protection.  Tell  is  borne  to  prison 
amid  the  curses  of  the  Swiss. 

ACT  IV 

SCENE  I — The  Ruined  Village  of  Act  I 

ARNOLD,  who  knows  nothing  of 
Te/l's  capture,  has  come  to  his 
native  village  to  bid  farewell  to  the 
home  of  his  boyhood.  He  gazes  at  the 
desolate  cottage  and  sings  his  charm- 
ing and  pathetic  air,  "O  muto  asil,"  or 
"  Asile  hereditaire,"  (O  Blessed  Abode). 
Swiss  patriots  enter  hurriedly  and 
acquaint  Arnold  with  the  recent  events 
at  Altdorf.  He  calls  on  them  to  follow 
him  to  the  rescue  of  Tell,  and  they  depart. 


SCENE  II — Lake  of  Four  Cantons.   A 
Storm  is  Gathering 

T ELL'S  wife  is  resting  here  on  her 
way  to  demand  of  Gess/er  her 
husband  and  son.  Suddenly  she  hears 
her  son's  voice  and  is  overjoyed  to  see 
him  brought  to  her  by  Matilda.  She 
clasps  the  boy  in  her  arms,  and 
anxiously  inquires  for  her  husband. 
Matilda  says  that  Tell  has  been  re- 
moved 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  Gess/er  has  been  slain  and  that  the 
Swiss  are  free  once  more. 

The  storm  breaks,  and  as  if  to 
announce  liberty  to  Switzerland  the 
sun  bursts  forth,  revealing  the  glitter- 
ing, snowy  peaks  of  the  Alps  in  all 
their  dazzling  beauty.  An  invocation 
to  Freedom  swells  from  every  throat. 

THE   VICTOR  RECORDS 

ACT  I 

AH,  MATILDE,  IO  TAMO  E  AMORE 
(Matilda,  I  Love  Thee)  GIOVANNI  MARTINELLI, 
Tenor  and  MARCEL  JOURNET,  Bass 
In  Italian  76032     12-in.,  £2.00 

ACT  IV 

0  MUTO  ASIL 

(Oh,     Blessed     Abode)         FRANCESCO 
TAMAGNO,  Tenor   In  Italian 

95009     10-in.,     5.00 
ARNOLD: 

1  will  ne'er  abandon  my  resolve, 
My  heart's  thirsting  for  revenge! 

William  the  tyrant  has  in  chains  imprison'd! 

The  hour  of  battle  I  impatiently  wait! 

What  silence  in  this  lone  place  doth  reign; 

I  listen — my  own  steps  alone  I  hear! 

Oh!  bless'd  abode,  within  whose  walls 

Mine  eyes  first  saw  the  light, 

Once  so  belov'd,  yet  now  thy  halls, 

Bring  mis'ry  to  my  aching  sight. 

In  vain  I  call;  no  father's  greeting, 

Which  fancy  now  to  me's  repeating, 

Will  ere  again  these  ears  be  meeting, 

Then  home  once  lov'd,  forevermore,  farewell ' 


430 


VICTROLA     BOOK     OF     THE      OPERA 


DOUBLE-FACED  RECORDS 
THE  OVKRTURK 

fPart  I — At  Dawn Victor  Concert  Orchestra} 

IPart  II — The  Storm .  .  .  .  Victor  Concert  Orchestra' 


.,.  . 


/Part  III — The  Calm Victor  Concert  Orchestra\  i,.mi     )A 

IPart  IV— Finale Victor  Concert  Orchestra^™12 

(Part  I — At  Dawn Arthur  Pryor'  sBand\*r.~n     ,-  . 

\Part  II-The  Storm Arthur  Pryor's  Bandf 

/Part  III — The  Calm Arthur  Pryor's  Band} 

IPart  IV— Finale Arthur  Pryor's 


{Part  I — At  Dawn Pryor's  Band\,f^f)     ln  • 
Part  II-The  Storm  Pryor's  Band]U} 

fPart  III— The  Calm Pryor's  Band\.f^.     in  . 

\Part  IV-Finale Pryor's  D-jH< 


(Accours  dans  ma  nacelle — Barcarola  (Come,  Love,  In  My  Boat)  (In  French)] 

M.  Regis,  Tenor\4502(>     10-in. 
( Asile  hereditaire  (Blessed  Abode)    (In  French) Leon  Beyle] 


,  J50.85 
,,  .85 
,  1.35 
,  1.35 

,,      .85 

,,      .85 

1.00 


ACADCMIE    ROYAI.F.    PI     MtSIQl  K. 


4.  I   II   I    t  I    M  I 

TELL, 


Lt.s   l-NTHK.^   HI     I  \\MH-HM    SUSPCMDUCa 


FROM   THE   OPERA    ARCHIVES 

PROGRAM    OF   WILLIAM   TELL 
PREMIERE,   PARIS   OPERA,   1829 


TELL   REFUSES   TO   BOW  TO   THE   TYR.' 
431 


ZAZA 


ZAZA  had  to  wait  a  long  time, 
in  America  at  least,  for  any- 
thing like  recognition.  Rug- 
giero  Leoncavallo  himself  wrote  the 
vvords,  according  to  his  custom,  adapt- 
ing the  opera  from  the  well-known 
play  of  Berton  and  Simon.  It  did 
well  in  Europe,  and  it  was  actually 
given  in  America  as  early  as  1903,  but 
only  in  1920,  when  the  Metropolitan 
Opera  Company  presented  it,  did  the 
quality  of  the  work  reveal  itself. 

THE  OPERA 

OPERA  in  four  acts;  libretto  and 
music  by  Ruggiero  Leoncavallo. 
First  production  in  Milan,  1900.  First 
American  production  at  the  Tivoli, 
San  Francisco,  1903.  Excerpts  given 
at  Leoncavallo  Festival,  New  York, 
1906.  Revived  in  San  Francisco,  1913, 
under  Leoncavallo  himself.  Notable 
performances  during  1920  with  the 
Metropolitan  Opera  Company,  New 
York. 

CHARACTERS 

ZAZA  (Tsah-tsah) .  .A  concert  hall  singer 
NATALIE  (Na-tah-lee'-ah] .  .  Zaza's  maid 
MILIO  DUFRESNE  (Mee-lee-oh  Doo- 

frayn'} A   wealthy   Parisian 

SIGNORA   DUFRESNE His  wife 

CASC  ART  (Cas-cahr)  A  concert  hall  singer 

BUZZY A  journalist 

Actors,  Singers,  Dancers,  Scene  Shift- 
ers, Firemen,  Property  Men,  etc. 

Time  and  Place:  Paris;  the  Present  Time 

THE  first  scene  represents  a  stage 
divided  into  two  sections.  At  one 
side  is  the  dressing-room  of  Zaza,  while 
the  other  represents  the  rear  of  a  stage 
setting.  Zaza,  a  concert-hall  singer, 
has  taken  a  fancy  to  Milio  Dufresne, 
and  she  openly  boasts  to  Buzzy,  a 
"journalist,"  who  is  despised  yet 


feared  by  the  stagefolk,  that  she  will 
have  Milio 's  love.  She  puts  forth  all 
her  feminine  powers,  and  Dufresne 
succumbs.  It  is  during  this  scene 
that  Zaza  and  Cascart  sing  the  "II 
Bacio"  (The  Kiss),  from  the  rear  of 
the  actual  stage,  in  front  of  the  imagi- 
nary audience — whence  they  return, 
flushed  with  triumph.  The  duet  is  a 
cleverly  artistic  parody  of  the  music 
hall  style;  "catchy"  but  remarkably 
well-written. 

In  the  second  act,  the  love  affair  is 
well  under  way.  Zaza  is  told  by 
Dufresne,  in  her  own  country  house, 
that  he  must  go  away  on  a  business 
trip.  The  singer  takes  this  much  for 
granted,  until  Cascart  enters,  hinting 
that  Dufresne  may  have  other  reasons 
than  business  for  his  departure.  Zaza's 
suspicions  rise,  and  she  follows  him  to 
Paris. 

The  third  act  shows  a  room  in  Du- 
fresne's  Paris  house.  Zaza  enters,  ac- 
companied by  Natalie.  Discovering 
there,  a  letter  addressed  to  Signora 
Dufresne,  she  thereby  discovers,  to 
her  astonishment,  that  her  lover  al- 
ready is  married.  His  child  enters, 
finally  Signora  Dufresne  herself,  who 
is  equally  astonished  at  this  visitor. 
Zaza  declares  she  has  entered  the  wrong 
house.  Her  explanation  is  accepted, 
and  she  leaves. 

The  scene  of  the  last  act  again  is 
Zaza's  suburban  house.  Cascart,  who 
is  really  a  good  sort  of  fellow,  goes 
there  and  pleads  with  her  to  give  up 
Dufresne.  His  two  numbers,  "Buona 
Zaza,  del  mio  buon  tempo"  and  "Zaza, 
piccolo  Zingara"  (Zaza,  Little  Gypsy), 
have  been  recorded.  Zaza,  however, 
only  laughs  at  the  idea.  When  Cascart 
leaves,  Dufresne  himself  is  announced. 
He  greets  Zaza  in  the  old  affectionate 
manner,  but  she  informs  him  she  knows 
of  the  marriage — though,  woman-like 


432 


VICTROLA     BOOK     OF     THE      OPERA 


she  forgives  his  deception.  She  de- 
clares, nevertheless — for  Zaza  is  rather 
a  mixture — that  she  has  told  Signora 
Dufresne  of  their  intimacy.  In  a  rage 
he  curses  her  and  throws  her  to  the 
floor,  and  her  love  for  him  is  suddenly 
cured.  She  then  assures  him  that  her 
first  story  was  untrue,  that  Signora 
Dufresne  knows  nothing  of  the  affair, 
and  the  shallow  Dufresne  leaves  her. 

In  the  original  version  of  the  play, 
Zaza  returns,  logically,  to  her  stage 
life.  As  given  in  the  United  States,  it 
had  an  added  act,  in  which  Zaza, 
"purified  by  suffering,"  became  a 
great  actress,  and  returned  to  philoso- 
phize with,  and  confute,  Dufresne. 
More  accurate  French  and  Italian  dra- 
matic sense  and  clearer  discernment  of 
character  simply  returned  her  to  the 
music  hall. 

Whatever  Zaza's  fate  is,  or  should 
have  been,  the  opera,  like  the  original 
play,  is  a  study  in  human  character. 


THE   VICTOR   RECORDS 

(Sung  in  Italian) 

ACT  I 
IL  BACK) 

(The  Kiss)  GERALDINE  FARRAR,  Soprano 
GIUSEPPE  DE  LUCA,  Baritone 

87568     10-in.,  £1.50 
ACT  II 

BUONA  ZAZA,  DEL  MIO  BUON  TEMPO 
(Dear Zaza)  TITTARUFFO,  Baritone 

87114     10-in.,     1.25 
RENATO  ZANELLI,  Baritone 

64835     10-in.,     1.25 

ACT  III 

O  MIO  PICCOLO  TAVOLO  INGOMBRATO 
(My  Desk,  Like  My  Heart,  is  Encum- 
bered with  Carej  GIOVANNI  MARTI- 
NELLI,  Tenor  74683     12-in.,     1.75 

MAMMA  USCIVA  DI  CASA 

(Mother  Has  Gone)  GERALDINE  FARRAR, 
Soprano  87311     10  in.,     1.25 

ACT  IV 
ZAZA,  PICCOLA  ZINGARA 

(Zaza,    Little    Gypsy)    TITTA    RUFFO, 

Baritone  87125     10-in.,     1.25 

RENATO  ZANELLI,  Baritone 

64907     10-in.,     1  25 


DUFRESNE  DENOUNCING  ZA7.A — ACT  IV 


433 


5548— TXA— 10-18-21 

Victor  Talking  Machine  Company,  Camden,  New  Jersey 
Printed  November,  1921 


PLEASE  DO  NOT  REMOVE 
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1921 

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