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Text by Scribe', muaic by Me}rerbeer. Firat produced al the Op^ta, Pari*, April 28. 1665, 
with ■ OMt including Sane, Balteo, Naudin and Faure. Firat London performance in Italian, 
under the French title, at Covenl Garden. July 22. 1863 : and in Engliah at the Royal Engliah 
Opera, CoventGniden. OctoberZI. 1665. First American production December 1, 1865. Mmea. 
Hauk, Moran-Olden, Bettaque, Bieval. Nordica and Litvinne are aome of the famoui prftna 
Jomt who have appeared aa Sdlka in America. Koico dl Gama haa been (ung by Campanini, 
Giannini, Peroiti, Grienauer. DippeL de Reszke and Tamagnoi and Neluilfa by Faure, Scotti. 
StncciariandCampanaii. Produced at the NewOrleanaOpeiB December 18, 1869. Important 
New York revivaU occurred in 1901 with Breval, de Renke. Adam*. Ran;on and Joumet; 
and in 1906 with Caruao (his first appearance in the rOle). Fremstad, Plancon and JoumeL 
Strangely enough. Scribe gave Meyerbeer the libretto in IS38, and part of the muaic was 
written then, but the two could not agree as to alterations, and it was not until [652 that 
Scribe fumiahed a revised book. The work wa* not completed until I860, nor produced 
until 1663. two years after Meyerbeer's death. 

Characters in the Opera 

^UKA, (Sat^-kidi) a slave, formerly an African pnoceaa Soprano 

Inez, (Et'-na) daughter of Don Diego Soprano 

NELUSKO, {Na^Jaa/Jtah) a slave, formerly an African chief Basso 

Don Pedro. (Dm /\«'.ifr«A) President of the Royal 0>uacil Basso 


DON DIEGO. (Ddn Oi^^J.) Member of the Council Basso 

High Priest of BEIAHMA (Bnili'.mah) Basso 

VaSCO m GAMA ( t'oAi'-M i- Galf-mah) an oSicer in the Portuguese Navy, Tenor 
Chorus of Counsellors. Inquisitors, Sailors, Indians and Attendant Ladies 

The acHen ocean In Portugal, on Don PeJm'i ihlp al tea, and In loJia 



ACT l—Coundl ChaoAtr a/lht King of Pertugtd 
The tint Kcne occun at Portugal, in the King's Council Chamber, whjthet KoKO <A 
Gama hu come to annourtce hii discovery of a itrange land, producing two of the native 
■laves, Sdlka and /Vc/iu^. as proof, in this scene is given the noble and stately chorus. 

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

By La Seals Chorus (/n llallan) *62614 lO-inch, $0^9 

Dan PtJiB, President of the Council, who wishes to marry Vaaco'i sweetheart Ina, 

influences that body to discredit the eiplorer's tate and throw him into prison with his 

ACT II— PriMT) rf Iht ImpMllm 
As the curtain rises Faica is seen aaleep on a bench, while Stllka, who is secretly in love 
with him, gazes at the sleeping }roulh and sings a lullaby. 

He wakes and expresses his grie 
country. The slave reveals to him the 
grablude, and embraces her. 

Inti has been told that Vatco is false to her and consents to wed Don Pedio, provided 
Vaiat is released. She comes to the prison to bring the pardon, and iseonvinced of his guilt 
when she surprises Selllfa in his arms. Vajco finally makes her believe in his innocence, but she 
fears to break her word to Don Pedn. Vosco is released, but too late to prevent his enemy from 
sailing in search of the unknown land, carrying with him Vatco't private papers and maps as 
weU as the two slaves. Stilka and Nelialp,. The latter, who loves Sdlka. has discovered her 
attachment for yasco, and through jealousy offers to guide Don Ptdro to his country. The 
young explorer secures a ship and goes in pursuit. 

ACT III— Z)«t <!/■ Don Ptdro', Ship 

Preludio ( Prelude to Act III) 

By La Scab Of chcstr* *62614 10-iach, »0.6S 

Nduikoi who is secretly plotting to destroy the ship, comes on deck and wums the sailors 
to keep la the north, pretending that danger lies on the course they are pursuing. 

All 'erta. Mariner I (What Ho I Mariners I) 

By Titu Ruffo. Baritone (/n Italian) 87223 lO-inch, *1.00 

Tbe wind bslh disnged, quickly n 


The Hulor* aak him to relate the old legend oF AdamaMor, king of the aeos. 

During hii recital Bstoim ihiesteni, and amid the preparBliona for resisting the elements 
a ship ia seen, which provei to be A Gama't. He rashly comes on board, is promptly seized 
hy Don Pedro and ia about to be executed, when Seliko draw* her dagger and threateru to 
kill Inex unless her lover is released. The tyrant reluctantly yields, but afterward orders 
Sellka to be Bogged. The Morm breaks, and in its midst the ship is boarded by Indiana, 
fellow-countrymen of Ndiaka, and the entire ihip's company are either killed or made 

ACT rV~Tanplt of Brahma 
Act IV r^resenl* the Temple of Brahma in the country of Sdiko end Ndiuko. The act 
opens with the weird and striking Indian March. 

Marcia Indiana (Indian March) 

By L> Scala Orchestra *68027 12-inch, (139 

The priests, who have crovmed Sdll(o their Queen, announce the immediate execution of all 
die priaonera except Vasco ; and he loo is condemned to die on the morrow. The priests and 
pe^le disperse and Koko enter*, guarded by soldiers. He is entranced with (he beauty of 
this wonderful land, of which he had dreamed, and voices his admiration in the celebrated 
air, "OParadlio." 

O Paradise t (Ob Paradise I) 

By Enrico Caruio, Tenor {In llidlan) Be094 1 2-inch. * I .SO 

By Hippolito Laiaro. Tenor (/n Uallm) T449S 12-inch, 1,50 

By Giovanni Martinclli. Tenor {In Italian) T4440 12-inch, 1.90 

By Evan Williams {InEngUih) T4148 13-inch. 1.90 

\'t.tco: All enchant my hesrli 

Hail! fmilful land of plenty. Thou fair new world irt Tnine! 

An earthLy Paradise art ihuul Thie. a radiant gift. 

Oil ParidiM on earth! On my native land I'll bestow! 

Ob aiure sky. ob tragrsnl air O bcauleotH counlrj— mine thou art at last! 

When the soldiers arrive to kill Voko he is saved by Sdlka. who announce* that he 
I* her choaen husband. Nttatiip is forced to remain silent by threats that StUka will destroy 
herself. J'o«o, forgetting /ner, yield* to the spell and wed* the Queen by the native rites. 


ACT V-SCENE [— TA. Qu«n-| CW™ 
At the beginning of the last act. Intx, who had etcaped from the priaon, is recaptured and 
brought befoie the Queen, who becomes convinced thai Vokq (titl lovet the PoRugueae 
maiden, hi a moment of generonty ahe aacn6cea her own feeling* and aansta the loven 

SCENE IV—PnnKMto^ OtB the Sm 
The final scene show* a promontory from which Selll(a i» watching the ahip bearing 
Inez and Voko toward Portugal. Aa the vcmcI diaappeaia from view ahe advance* 
toward the deadly mancanilla tree, the fume* of which bring death. 

Ayt '. h«ic I look upon 
III wi»e« in ingrj furj 

(Pbitrvina Ike mancanilla Ir,,.} 
ound- Thou Ict^ temple. Ibou vault of folisge dark. 
After life's we»ry tumult I now tome 
To Hck rcpDK of thee, ind find ablivian fcom 

YhJ ihy sfaade eternal Is like the darkness of 

Gia I'odio tn'abbandona (.All Thought of Hate)] 

Su bianca nuvoletta (On Yon "WhiU Cloud) r'*"* lo-inch. *o.85 

By Maria Baldini. Soprano (In Italian) ] 

Gathering the fatal flower*, ahe inkalea their perfume, tadly aaying: "Farewell, my ^oico, 
I forgive thee," and i* loon overcome and aink* unconacioua beneath the tree. Nelailfi who 
haa come in aearch of her. finds her dying ; and ii> a frenzy of grief, also inhales the deadly 
blossoms and falls lifeles* by her side. 



e French of Lode by Antonio Gkialanzoni. Music by Ciuaeppe 
Verdi FiiM produced in Cairo. DecembcT 24, 1871 ; at La Scala, Milan, under the direc- 
tion of the composer himtelf. February 8, 1872: '^ Naples in March, 1872; at Parma, April, 
1872: Berlin. 1874; in Paria.althe Theatn Aa/fen, April 22, 1876; revived at the aame theatre 
in 1678; and given at the Op^ra, March 22, 1880, where it ha* aince been one of the moat 
popular of all work*. First London production at Covent Garden. June 22, 1876; produced 
at St. Peteraburs, in Russian, 1879, First perEoimance in America at the Academy of 
Muiic, New York, November 26. 1873. the cost including Torriani, Gary, Campanini and 
MaureL Produced in PhiUdelphia, December IZ 1673; and al the New Orleans Opera, 
December 6. 1678. The opera haa always been a favorite one in America, and holdi the 
Metropolitan Opera record for the largest number of performances. In 1904 Caruso made 
his first appearance at the Metropolitan as Rhadama. A highly impressive open air prO' 
duction was given in 1912 at the foot of the pyramids of Egypt. 

Characters of the Drsma 

fi, an Ethiopian slave Sopran» 
ER15. (AiH-^.,M his daughter Mezzo.^prano 
DAMES, (Rah/'-ah-mait) Captain of the Guard Tenor 
NASRO, lAni.Bli.nali^.nih) King of Ethiopia -rr-. Elaritone 
ns. (RoIW-Aj) High Priest . . . .~~7 Bass 

A Messenger Tenor 

Priests, Priestesses, Ministers. Captains, Soldiers. Officials, Ethi^ion 
Slaves and Prisoners. Egyptians, etc 

It laid In Mauphia and Thcba, In Phataoh't lime. 

of Egypt, who wished to celeb .. _, . .„ _ 

new Opera House al Cairo by the production of a work 
upon an Egs^tian subject From the pen of the most 
popular composer of the time, f It is one of the longest 
of all operas, lasting four hours and forty minutes 
when given without cuts. |No work of Verdi's has 
proved more popular than Aida,with the possible excep- 
tion of Trovatore. and it is beloved by opeta-goeis the 
world over, plie story originated with Maiietta Bey, the 
famous Egyptologist, and seems to have inspired Verdi 
to unusual efforts. 

AlJa, daughter of Amonatm, King of Ethiopia, has 
been captured by the Elgyptiana and is a slave at the 
Court of Memphis, where she and the young soldier 
Rhadama have fallen in love with each other. 
Rhadama goes to the Efnptian war, and during his 
absence the King's daughter, Amntiit, discovers his 
attachment and is furious, as she herself loves 

Rhadama returns, covered with glory and bringing 
many prisoners, among them Anvtnam, Alda't father. 
The King releases all the prisoners except Amonatro, 
and bestows his daughter on the unwilling Rhadama. 

In the next scene Amonaaro forces his daughter to 
persuade Rhadamts to become a traitor. The latter's 
love for Alda and his distaste for the approaching 
union with Amntrit lead him to consent Amnaii, 



however, he* overheard the plot, uid after vainly trying to 
induce Rhadama to abandon Alda, she denounces him ■* s 
traitor, and he ii condemned to be buried alive. When the vault 
ia aealed he diacovers AlJa, who had concealed heracif there 
that ahe might die with him ; and the lovera atowly auffocate in 


SCENE I— A Hall In Iht Palact. Thmagh the grand gale ai iht 
iaek mas ^ i^** i^ Pynmldt and the Tanpla of Maaphli 
Tlie curtain liaea, ihowing a hall in the palace of the King 
of Memphis, where RhaJama and the High Priett, Rair^fii, are 
discnuing the coming invaiion of Ethiopia; and Ranffii hinta 
that aome young and brave wnirior may be choaen to command 
the eipedibon. Rhqdama, left alone, hopea that he himself 
may gain the coveted honor, and promises to lay his triumphs 
at the feet of his Alda. 
Whil if I am cboscn, 
And Riy diesm be now ■ccompliibed! 

I the cho»fi leader—mine Ihe elorious victory — 

By MeiDphii received in triumph' 

To thee returned. Aids, my brow entwined with laurel— 

Tell Ihee. for thr» I battled. lor thee I conquered! 

Celeste AtcU (Heavenly Aida) 

By Enrico Caruso. Tenor 

(In Italian) 86121 12-inGh. *3.00 
By Giovanni Msrtioelli, Tenor UnllaUan) 74434 t2.iiieh. tl.90 

By Paul Althouse, Tenor (.la Italian) *9»049 12-inch. 1^0 

He voices these hopes in the splendid gem of Act I, the Ctlatc Alda, beginning 

nany late 

Would that Ihr bright lldel 

g warrior's glowing enthusiasm. 


lied fire 

1 thy glance 

With what noble pride glowi Ihy face 
Wonby of envv— oh. how much- 
Would be the woman whoH beloved 
Should awaken in Ihee this light of ji 
Rhadamei begins to explain his hope of securing the command of the expedition, 

Alda enters, and the young soldier's expressive glance reveals to Anmtrli his love ft 

Egyptian slave. 

The King and hia guards enter and receive a messenger, who reports that Egypt has 

invaded by the Ethiopian army, under the command of Amanaim. ("My father I** exc 

Alda aside.) Amid great excitement Rhadamei is appointed leader of the army, ■ 

presented with a banner by Amneni. 



Cr>, Rhidainci, r 

All depart to prepue for the expeditioa. while Alda, left alone, givei way to her grief 
and HiiK* the besutihi] RUoma eIncVer, eiprening her conflicting emotiona. 

Ritoma vincitor (Retium Victorious !) 

By Johsaiu Gsdaki, Sopri 

(/n hallan) 8813? 12-i 


tbc >mpi 

Of my 

er— of i 

For m 



. Idngdom; . 



I (m fi 

d to 


word fo. 

. Og 



To thi 


m of he 

r (. 

DettroT the 


Wh>t < 



Ci. 1 


This f. 



Ai the 




She givea way to her grief for a moment, t 

henelf, >he call* on her goda for aid and goe* alowly 
the cnrtain falla. 

Railfia, the High Priest, and the priesti and , 
have aaaembled to bleaa (he expedition. The chant in piaiae 
of Pich ia heard bom an inviaible choir. Rhadamet enten 
and receivea the conaecialed veil. iauks ai aida 

Nume. custode e vindice (God, Guardian and Avenger) 
By Antonia P>«li. Tenor: Perello de SepiroU. Baui and 

Chorui {In Italkm) 89120 12-ineh, «2.00 

Ramfii then ainga the cloaing invocatiork, in which Rhadamtt join*. He i* inveated with 
the aacred armor, and «• the prieiteaae* perform the myalic dance the curtain slowly falla. 




SCENE 1—/4 hall la Anmerit' aparimenti 
The curtain rise*, showing the Princess and her slaves, who ore adorning her for the 
triumphal fevtiva) in honor of Rhadama, juil arrired with hi* victoriou* army, Amntrii and 
the slaves sing the ode to the returned hero. 

Chi mai &a (His Glory Now Praise) 

By Maria Cippiello. Mexxo-^prano. and Choruf 

{In llailm) *S5009 12-inch, «1.»0 
Slavs CiaLS: With laurel and with flowers, 

Our »ngs bis glory poising. While loud our songs of praise resound 

Whose deeds the 

Ed ipse his daziltng Hiine. 

Come, bind Ibey flowing ti 

To joy n 


Slave Girls: 

Now wreaths of triumph glorious And love, o'er him victorious 

The victor's brow shall crown, Shall smooth his warlike frown. 

Seeing Aida approaching* the Princess dismisses her slaves and prepares to enjoy her 

Amneria pretends to sympathize with the afflicted girl, saying : 

AifNERis: AiDA (startled): 

The fate of arms was deadly to thy people. What sav'st thou? 

Poor Aids! The grief Amneris (menacingly): 

Which weighs down thy heart I share with Tremble! I read thy secret, 
thee. Thou lov'st him! lie no longer! 

AiDA (aside): I love him too— dost thou hear? 

Oh I love immortal! oh! joy and sorrow, I am thy rival, daughter of kings Egyptian. 

Sweetest delirium, dark doubts and woes! Aida: 

As in thy trials new life I borrow^ Thou my rival? 'tis well, so be it — 

A heav'n of rapture thy smiles disclose. Ah, what have I said? forgive and pity, 

Amneris (aside) : Ah, let this mv sorrow thy warm heart move. 

This death-like pallor, this strong emotion, 'Tis true I adore him with boundless love. 

Plainly reveal the fever of love! Amneris: 
(To Aida, cunningly): Tremble, vile minion! be ye heartbroken. 

Among the braves who fouRht so well. Warrant of death this love shall betoken! 

H^s someone a tender sorrow haply waken'd Come, follow me, and thou shalt learn 
m your heart? If thou canst contend with me! 

SCENE n—mihout the City Walls 

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

Grand March (Triumphal March) 

By Vessella*0 Italian Band '^35265 12-inch, $1.35 

King (descending from the throne to embrace 
Rhadames) : 
Saviour of our country. I salute thee. 
Come, and let my daug^nter with her own hand 
Place upon you the triumphal crown. 
Now ask of me 
What thou most wishest. 

The prisoners enter, including Amonasro, who is dressed as an officer. Aida sees him 
and cries, ** What do I see 1 My father I ** All are surprised, and Amonasro signals to Aida not 
to betray his rank. Amonasro then sings his recital : 


I am her father. I went to war, 

Was conquered, and death I sought in vain. 

(Pointing^ to hts uniform) 

This habit 1 wear may tell you 

That I have defendea my country. 

Fate was hostile to our arms; 

Vain was the^ courage of the brave ! 

At mv feet, in the dust extended. 

Lay the King, transfixed by many wounds; 

If the love of country is a crime 

We are all criminals — all ready to die! 

(Turning to the King unth a supplicating 

But thou. O King, thou powerful lord. 
Be merciful to these men! 

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

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




SCENE I— A moenHglH nlghl on the banlf of Iht Nllt—the Temfiit ofliis c 
auKtaleJ S^ palm («ej 
Aa the cuitain lisea on ihU 
chant of praiie. 

O tu che sei d'Oaiiide (Oh. Thou Who Art Osiris) 

By Maria Cappiello, Sopraao, aad Chorus [In Italian) *S5009 t2-ioch. *l.SO 
A boat approachea, bearing Ramfit and Amntrii, who go into the Temple. 

O^bou who »rt' of Osirit ""- ■--'-- °-' .J_ "^T '='""" "" 

Mother inimorl ' 

r of e1 



. chorui within the Temple U heard in a 

_ _ Hi!"wLfrhe"rt— 08 mine to him 

Come to the Temple of Isle. Is oonieciated forFvcrl 

Ahia, seiled, cautiouily enter*, hoping that Rhadama will come thither, and li 
tender and deipairing aong of that lovely land which she may never aee again. 

O patria tnia (My Native Land) 

By Emmy Deatinn. Soprano 
By Lucy Iiabelle Marih 

O ban 


O sldH 

mise of bapp)' days 
Where calm and peacetul my dawn at lile now hope is haniah'd, 1 

pa»'d o'er, dispelling. 
O bills of verdure, O perfum'd wateti flowing. O home beloved, I ne'r 
AlJa ii about to depart when she ia aitonithed to aee her father. 
Ilia daughter with her love foe hia enemy Rhadama, telling her i 

and yonder . 


^— = -- — 'e "t firw refuwa, but he 

bidi her be true to her country, utd pkturea 
the luffeiingi of her people. 

Nothina cbcims my sight; thou ail diatroTin 
ThyHlf with Ue for Rhatianiu; He loves the 
And here thou waiteil him. 
The daughter of the Pharaa 
An infamous race, abhorred 

Then delay nol- In 


Wh»t palh the enemy will folli 


excitement he detcribct tl 

Rue. Egyptian legioni 
With lire destroy our 

My daughter 
Don thou call Ihrtelf? 
AiDA (urriftd und lupplianl) 

On the cities of the vanquished— 
Scelh thou? Fro™ the black gulfs 
The dead are raised— 
To thee they point and cry; 

tioMASto: Thyseltl Rhadames will cone sw 

he loves Ihee— 
He leads the Egyptians. Dost thou undecati 

Horrorl What dost thou counsel me? No, 

conaequence* of hei refutal, 

A horrible ghost 

Among the shadows lo us approaches— 


Ah. I 



t the 

t Ph»i-a< 

rather''ih;fr . .... -=>- 
Reproach me nol^urM"me"not; 
Thy daughter again thou canst call me— 
Of my dqunlry 1 will be worthy! 

Courage! he comea-^here. I shall hear atl. 
(Cunreals himitlf amenff thi palm lr«i.> 

mbrsce her, but ahe repuUe* him, uying bittetljt: 

e of / 

Fug^iam (fli ardori (Ah I Fly With Me) 

By Lucy Mirah. Sopfitto. and P*ul Althoufc. Tcnof 

(Inllallan) •990»8 12-inch. *l.50 



There opens la us a Tieaven of love. Willi a mote limpid effulgence. 

Amonatn, who has overheaid, now entera, and Rhadamtt ii horrified at the knowledge 
that he has betrayed the army to the King of Ethiopia. His scruple* are finally over- 
come, Amonairc uying : 

Armierit, coining from the temple, pauses behind a pillar and overhears the final words. 
Mad with jealous, she rushes in and denounces the guilty trio. Alda and Amonatn) escape 
but RhaJamtM ia taken in custody as a traitor. 

SCENE ]~A room In the Palace-on one tide a dooi leading la Rhadamet' pHion ctil 
The curtain rises, disclosing Amnerii in en attitude of despair. She is torn between her 
love (or Rhadamtt and a desire for vengeance, and finally orders the prisoner brought 


AuHDii ibitlerly muaina): 
My rival ha> escaped me — 

And R 
the [ 

s froi 

The bigl 

I to fly— 

. .... _er— traitors all! . _ ,. 

loe punisnmeni oi a iraiior. To death, lo death! cornea. 

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

Gii i sacerdoti adunansi (The Priests Assemble) 

By Louise Homer and Enrico Caruso {/n Ilallan) 89050 12-iach. *2.00 



Aida a me totfliestt (Aida Thou Haat 

By Louue Homer ind Enrico C*nt«o 

(In Ilallan) 89091 12-incli, *2.00 
AmiKrii ttfktw to lave hi* life if he will TCDouoce 
Alda. He acomi her pioposBl, reaolving to die rather 
than be falie to hit Elthiopian PrinceM. 

To fur; bast tbou channd 
A love tbai b*d no cuaii. 

The Buarda a 
the judgment root 
dramatic and impreaaive one. 

Ohimel Motir tni sento (Ah. met 
Death Approaches !) 

By Lavin de CiMa, Contralto, and Chorua 

ilnllallaa) 88270 12-ineh. *1.90 

Amnait, aeeing Rhadama taken out by the Prieata, 

repenta her harthneaa and ainlca down deaolale on ■ aeat. 

rmi> (faUim 
I me I Deal 



Jealouij, vile raoni 

To death, and me 

(Skt a*t RamSt and ifc* Prii 

tht jiagf md iitler ihe tublrrrantm Hall.) 
Ab. let me not bebold tboK wbite robed 

K^mim htr fact attk h*r Aandj. Thr vvicr 
ef Ramft Ian bt hnrd within.} 

damea: thou ban betiajed 

Rhadamti. Rh 
The part of a 


and Ihou hast played 
o King, and to hoLr! 

He i* rilent 




ate hive decided. 

ate .hril belhln^. . 

Of tbjr C: 


d Ihe foei 

' before 


in^! Hated » 

d blind: 

The piieata now enter from the crypt and paat acroai the halL The wretched woman 
deDoUDCes them. 

PrietU of Heaven, a crime you have enacted, On the guillles) your sentence will falll 

Tigeci even in bloodsbed exulting, Pbiesti: IDtfianinff tietrlr.i 

Earthly justice and Heaven'a jtou are insultint. None can bia doom recall! 

SCENE \l—lnltrier of tht Ttm/Jt of yulcan—idow a SaUtnantan Apartmenl 
"Tht leork finltha In itmtHj/ and peact, and mch lambiaHoiu art ihc moil beaulifal. Ahoee, 
iht Itmpit full of llghl, lehat the eaanenlet amUrtat bnmalaile In Ihe tanclaaiy of fAe Indlfftnnt 
godt ; bebu, lioo human belngi dglng in each oilier 'm ami. Their tong <if hoe and dealh It among 
the moil teaallful of all muiic. " — CamllU Bdlalgue. 

La fatal pietra (The Fatal Stone) 

By Johanna Gadalu. Soprano, and Enrico Caniao. 

Tenor (fn Ilallan) 89028 12.incb, »2XM 

By Nicola Zerola, Tenor (Part of scene— "To die, m> 

pure and lovelyP) (In Ilallan) 74225 12-inch, 1.90 

Thia laat acene is a highly piclureaque one. Above we aee the aplendid Temple of 

Ptah, when prieata and prieateaaea are chanting theii atrange aonga. Below, a dark vault, in 


who*e depths Rhadama im awaiting with patience a 
•law death by Harration. 

Rhadauei (dtipairinglyt: 

Tbc fatal (tone upon mc now it elosingl 

Now has the tom6 engulfd mel 

The light of day no mere ihall 1 
No more bcl " ' ' ■ 

Aida, where 
Whate'er bel 

lay'st tbou be happy! 
the thadawi he ttti i 
/fida, who haiieCTiUd henrlf it 


My heart, 


ireboded thi 
lamb thai sb,. 

BO pure and IovcItI 
thyself thus d( — ■■ 
a beauty hlooii 
'hom the godi 

Yel t 

Thou _.._ _ . 

Thou art too lorelyl 
AiDA (Iratutcriidy-. 
See'at Ibou where de 
With heavenly ndiat 
Would waft ui to el 

igly lovely Hraina, while in 

O terra addto (Farewell, O Earth) 

By Johaaoa Gadaki, 
Soprano, and Enrico 
Caruao. Tenor 

(In Italian) 
89029 12-inGb. f2.00 

By Lucy Inbelle Marih, 
Soprano, and John 
McCornuck, Tenor 
{In Uaban) 
14396 12-ineh. 

Condemned to e 
See. brightly op. 
Brightly opens i 


eternal glow I 

nshadow'd. Shalt 


jV391»5 12-inch, 1J5 


I Chi mmi fn (Hl« Glory Now Prsite) By Maria ] 

Cappiello. Mezzo-Sapnno. and Choruf (In ItaHm)[., n :_.i. .1 an 

Otuche»eid'0»iride(Oh,ThouWhoArt0.irii) (In Italian) i^^"**^ l2-ioch, I1.50 
By Maria Cappiello. MeEzo-Soprano. and Chorufj 
f Celeite Aida (Heavenly Aids) Tromione By Arthur Pryorl_,„__ ,_ . . 
\ // Giaranj. Owrfure By Pruor's Band("°^° 12-uwh. 

JAida Selection By Pryof'f Band! - 

1 AlHla— Grand THo (I'erdI) By K^l't Bahemim Bandr 

/Aida— Grand March Veaaella'a Italian Band\_,-,. ,~ ;__i. , ,< 

\ Rondo CaprlcdoK, (Mtndduohn) VtmUai Italian Band]^^^"^ la-mett. 1.33 

jMareha Triunfal (Triumphal March) Garde Republicaine BL.,j.. ,„:— ,k a* 
i ToKO-ToKadtanal (In Ilallan) Gu^aoo Berl-Raky. Baritoncr^^^ 10-inch. .83 
(Prelude VeaaeUa'a ItalUn Bandl , ,_„ ,„ i_„L a. 

i Traolala—Pidudt (K.frffl l^tudh; Italian Band^"" 10-">':h. .85 

ICeleate Aida (Heavenly Aida) (.In Italian) Paul Althouael ,,^. n, i„^k i *n 
i Slandchtn (Schaicrt) (In German) Paul Relmtr,r^'^^ 12-mch. 1.50 

PuSSiam gli ardori (Ah 1 Fly with Me) (In Italian) \ 

Lucy Marih and Paul Althouael. ,..- ,, ■ 
Madama BaUz^y—O quanU occhi fi^ (In Italian) f53U5B IX-i: 

OIloe KllnE and Paul Mhoa«:\ 
Gems from "Aida*' — Part 1 Victor Opera Company) 

CKonii. "Almithty PhiK*"— Solo, "Huv-nlT AId>" (Celate Aidm) | 
— Wocnwi'. Chorui. "GiniP Bind TliT Flowini Treua"— Soprino I 
Solo, "Uire. Fatd Pin<rer"^3uH ud ChoRU. '"Oil U) Vidary" 
Gem* from " Aida ** — Part II Victor Opera Company f*' 

Cbonu, "Gloiy to tii>"— Solo. "Mr Nitin L>nd" (O Piiria M>>) 
—Sole and dioTOM, "O Kim in Thy Power TranKsndent"— Finale. 
DnO and Choni^ Fatal Stone" I 

Aida Selection (Chorua of the People — Grand March. Act II)| 

Hurtado Broa. Marimba BandyS955» 12-inch. 
Luda StxItHt (DanlnnO Hurtado Bm. Marfmta Band] 


^9428 12-tnch. 1.35 



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, 18%. Revived in 1908 by Hammerstein's Company. 



CHARLES Gerard Baritone 


Madeleine, her daughter Sopnno 

BERSI* her maid Mezzo-Soprano 


Ladies, Gendemen, Servants, Pages, Peasants, Soldiers, Prisoners, etc. 

The story tells of Andrea Chenler, a patriot, poet and dreamer, who was bom in Con- 
stantinople, coming to Paris for his education. The Revolution was in full swing, and being 
a worshipper of liberty he took vigorous sides, and was arrested, and finally guillotined in 1794. 

ACT I— Hall in the Castle of Coigny 

As the curtain rises a ball is in progress, and among the arriving guests is Andrea Chenier, 
the young poet. During the festivities Madeldne, the daughter of the hostess, C>unieas de 
Coign}^, coquettishly asks Chenier to improvise upon the theme of love. Instead, he sharply 
criticises the aristocracy, and speaks of the pride of the rich and its effect upon the poor. 

Improvviso — Un di all* azzurro spazio (0*er the Azure Fields) 

By Enrico Caruso, Tenor {In Italian) 88060 12-inch, $1.50 

The guests are displeased at his lack of taste, and later, when Gerard, one of the servants, 
who afterward becomes leader of the Revolution, appears with a crowd of ragged men and 
women, Chenier supports him and goes with the party when it is ordered from the castle. 

ACT II— Cqfi in Paris, Five years later 

Ber$i and a spy are dining at one of the tables, while at another table nearby is Andrea, 
Roueher enters and tells the young man that he is in danger and is being watched, giving 
him a pass which will enable him to escape. Andrea, however, tells Roueher that he has 
a rendezvous that evening with an unknown lady, and the latter begs him not to go. 

As darkness falls Madeleine appears and begs Chenier to save her from Gerard, They 
avow their love and are about to fly together when Gerard intercepts them and tries to drag 
Madeleine away, but Roueher interferes and escorts the girl to her home, while Chenier and 
Gerard draw their swords. Gerard is wounded, and warns Chenier that he is proscribed and 
begs him to save Madeleine. Chenier flees and the mob surrounds the wounded Gerard, whOe 
he declares his assailant is unknown to him. 


At a meeting of the people at which Gerard is spokesman, a spy enters and tells him 
that Chenier has been arrested and that Madeleirw is not far away. The spy urges him to 
denounce Chenier, and after much hesitation he consents to draw up the necessary papers. 
He signs them and hands them to the spy, when Madeleine appears and offers herself in 
exchange for Andrea's life. Gerard is touched by the young girl's grief, and when Andrea 
is denounced as a traitor, testifies for him, but the people insist upon the death sentence. 


Andrea is in his cell in the Prison of St. Lazare writing verses by the light of a lamp. 
He sings his poem to the bare walls of his cell. 

Come un bel di di maggio (As Some Soft Day in May) 

By Enrico Caruso, Tenor (In Italian) 87266 10-inch, $1.00 

Madeleine now succeeds in getting into the prison by bribing a jailer. Gerard conducts 
her to Andrea and then goes to appeal to Robespierre. The lovers cling to each other and 
when the death wagon comes for Andrea, Madeleine goes to the guillotine to die with him. 



Comic opera in two sctaj text by Sterbini-, founded on the trilogy of Beaumurch&is. 
Muricby Rowini. FirM presented at Rome, February 5. 1816. The opera waa at first called 
"AlmavivB," to diatinguiah il from Paiaiello'a "Barber." Firat London production, 1816. 
At Paris, in Italian, 1819; in French. 1824. Pint production in Ceimany at Brunnvick, 
1820. Produced ai Vienna. 1820: Berlin, 1822, FitM N. Y. production November 29, 1823, 
by Manuel Garcia and company; aung at the New Orleans Opera. March 9. 1828. Many 
notable revivJa have occurred in America o( recent years — in lfiS2 witb Patti, her lairt 
appearance in New York a> Ro»lna; in 1896, for Melba, who made her lirat American 
appearance as Rotina: foi Sembricb'a farewell operatic appearance in 1909; by Hammeritein, 
for Tetrazzini: the New Hieatre production with Lipkowaka, and the Metropolitan revival, 
February 5. 1916, on the lOOtb anniversary of the fint production, with Barrientoi, Mattfeld. 
de Luca, Damacco and de SeguroU. 


COUKT AlMAVWA (AU-mah-a^-tBh) Tenor 

BARTOLO {Bth/JoU.!,) phyaician Bass 

ROSINA. his ward Soprano 

BASIUO ^aalt^H/ -uth) music master Baas 

Bertha, Roaina'a goveme** Soprano 

FIGARO {Fti'-g<A.nli) Baritone 

FiORELLO, servant to the Count Tenor 

Scene tmJ Ptrlod : StellU, Iht leeailtenlh etnbirjf. 

Rossini's opera is a marvel of rapid composition, having been written in about fifteen days) 

This seems almost incredible, but the fact is well authenticated. While the opera did not 

achieve an instantaneous success, it gtaduallyfound favor because of its brightness and humor. 

The plot of "Barber" ia very simple. The Count Almatfoa loves Roilna. the ward of Dr. 

Bartolo, a crusty old bachelor who secretly wishes to wed her 

himself. Abnacfea pcnuades the village barber. Figaro, to 

arrange a meeting for him, and gains entrance to the house 

diaguised as a dragoon, but is arrested by the guardian. 

Not discouiaged, he reluma. pretending to be a substitute 
for Railna'i music teacher, who, he says, is ill. The appearance 
of the real Don BaMllo apoils the plan, and the Count retreats for 
the second lime, having, however, arranged a plan for elopement. 
Burtolo finally arouses Ratlna't jealousy by pretending that 
the Count loves another, and she promises to forget him and 
many her guardian. When the time for the elopement arrives 
she meets the Count, intending to reproach him, but he convinces 

Vker of the treachery of Bartolo, and the lovers are wedded by a 
notaiy, just as Barlolo airivea with officera to arrest the Count. 

' - Overture to Barber of Seville 

' ^lii. By ^ ^■'> Orchestra. Milan *6B010 12-inch. *1.35 

SCENE ]—A Strtd In StdlU. Dan I* Brtaking 
The Count, accompanied by his servant Fhrdlo and seveial 
muaiciana, enters to serenade the beautiful Rotlna. Accom- 

Eanied by the mandolins, he singa a seiensde, which faila to 
ring a leaponae from the window, but the Count still lingers. 
, ^-'^ concealing himself in the shadow as he aeea Figaro, the jack-of- 

^K all-trades of the village and general factotum, in the house of 

- Bartolo. Figaro unmlingt hiaguitsrand sings that gayest and mort 

difficult of all airs, the joy or despair of baritones the world over. 


Laxfo al factotum (Room for the Factotum) 

By Paaquale Aouco 88329 12-iiicb. *1.90 

By EmUio 4t Gaeorca 88181 I3>iach. 1.90 
By Tina RuSo 88391 12-inch. 1.90 

By Giuseppe de Luo 74914 12-inch. 1.90 

Figaro, who Bppean to be thoraushly Mtriafied with hi 

Whit ■ rnerrv life. i 
Awaits a bariwr of i 

"Obi what ■ bappy life," 
'wbst plesaure awaiii a barber o 

'ail) a barber of aualilyl— Oh. brave 

: thou an sure the happiest of m 

ol the night, and, by day, perpetually 

What nobler life for a ^rber Ih^ 

M. lancets, scissors— behold them al' 

mercy sake! Figaro here: Figaro there; Figaro above: 
IS lightning; in a word — 1 am Ibe faclatum of (he town. 

Seville" wi"l'inar"v; lo me W^itile i^Lwa\aVe' 
comb by day. and under favor of my guitar by ni| 


life I' 

ight, < 

I husband: 1. under 


The Count now accoota Figaro, aaking him to airanBe ■ meeting with Rodna, telUnB him 
tliBt hia Taink muat not be known and that he haa aaaumed the name of Llnjor. Figaro 
conaenta to become hia ally, Rotlna and Kei guardian come to the balcony, and RMlna, 
perceiving the Count, manage* to diop a note, which he aecurea. Bart^o teavea the houae 
and ordera (hat no one be admitted. 

Figaro now aaya that he ia expecting a military friend to arrive 
in the villBge. and auggeata that the Count dreaa himaelf aa thia —'-■- — 
and thua gain admittance to the houae. T ' 
•aaume the diaguiae. 

i, and letiiea to 

• //on. 

SCENE H— ^ Room 

Roilna ia diacovered holding in her hand a letter from the Count. 
ia agitated and eipreaaea her feelinga in her celebrated entrance 

Una voce poco fa (A Little Voice I Hear) 

By Marcella Scmbricb 68097 12-inch. •1.90 

By Luiaa Tetrazzini 88301 12-iach. 1.90 

By Amelita Galli-Curci 74941 12-inch, 1.90 

By Gitiseppina Hu^uet '68144 12-inch. 1.39 

KosiH*; A Uitle voice 1 heard just now: 

Roiina runa out aa her guardian and Don Bailllo come in. Barlolo 
ia telling Batllio that he wiahea to marry hia ward, either by love or 
force. Batlllo promiaea to help him, and aaya that the Count ia trying 
to make fioafno'a acquaintance. They decide (o inven( aome atoty 
that will diagrace him. "A calumny t " aaya Bailllo. Barlolo aalca what 


tkkt it. and Baslllo, in a celebrated sir, give* hii (amoua 
deacriptioD. which u b model of iu kind. 

La calunnia (Slander's Whisper) 

How sofllY «w«l along the ground. 
Its Km still vnict is heard around. 
So lofi, that ligbing amid the bowera 
It acarccly fans Ihc drooping flower*. 
Thus wilt Iht voice o( calumny. 
More subtle than the plaintive sigh. 
In many ■ Krpent- wreathing find 
Its secret passage to the mind; 
Thus calumn:;. a simple breath, 

An3 sinks the wretched man fortorn. 


of Ihe 

(Tkty s- 
Rotina and Figaro return, and the barber tella her that her 
guBidiBn la planning to marry her. She laughi at the idea, 
■nd then aal^ Figaro who the young man waa ahe had observed 

that morning. Figaro lella her hia name ia Llndor, and that he ia madly in love witt 
certain young lady, whoae name it Roalna. 

Dunque io son (What t I ?) 

By Maria Galvany and Titta Ruffo 

(In Italian) 92901 I2-il)ch, tlAM 

a fox she cunning seems. 

by niy faith, she i,e» thro' all). 

f Why real 
! Ob. here 

Was I 

What a fool 


Bartoio cornea in and accuaea Rotina o( dropping a 
note from the balcony, and ivhen ahe denies it he ahoiva 
her ink marka on her finger and calla attention to a 
cut pen and a missing sheet of paper. She aaya ahe 
wrapped up aome aweetmenta to aend to a girl friend, 
and cut the pen to design a flower for her embroidery. 
Barlalo then denounce! her in hia air, Manea un/ogllo, 

Manca un foglio (Here's a Leaf Missing) 

By Arcangelo Romi. Bass 

(fnliallan) *6814~4 12-u)oh. *135 

A loud knocking ia heard at the atreet door— it ia 

the C^iunt in hia soldier diaguiae. He puahet his way 

in, and insiata that the commandant haa ordered biro 

to put up in fiorfofo'i house. A long scene followa, full 


oE comedy, linally ending in the arrest of the Count, who, however, 
privately informi the office! who he i»; and the aatonished official 
■alutea leapectfuUy and take* hii loyierm away. Bartoto is in aucb • 
rage that he can haidly apeak, and the act endi with the (amou* 
quartet : 

Guarda Don Bartolo (Look at Don Bartolol) 

By Giiueppioa Huguet, Antonio Pitii-Cofsi. 
Gaetano Pini-Cof fi. Eroeita Badini 

(/nAof/on) *69171 10-inch. tO-SS 


SCENE— /4 Room In Barlolo'i //ou« 
Bartolo a diacoveied musing on the affair of the aoldier, and a* 

he has learned that no one in the leginient knows the man, he 

suspects that he waa sent by the Count. 

A knocking is heatd and the Count is again uiheied in. dressed 

as B music master. He greets Barloio, heginning the duet. 

Pace e gtoia (Heaven Send You Peace and Joy) 

By Antonio Pini-Corsi and Emilio Perea 

{In Ilallait) *62105 10-tnch. IO.S5 
BarUJo says he is much obliged for these kind wishes and 

wonders who this can be. The Count explains that Don Batilio is . 

ill and he has come in the music master's place to give Roilna a 

lesson. He shows Bartolo the note Railna had written, saying he 

found it at the inn, and offers to 
make RoMlna believe the Count has 
shown her note to another tady. 
Bartolo is pleased with the idea 
and calls Railna. Then occurs the 
celebrated "Lesson Scene" in which 
Rotlna usually interpolates an air. 
Itoaaini wrote a trio for this scene, 
but in some manner it was lost 

Bartolo, and inthecourseof the scene 
contrives to secure the key to the 
balcony. At ihismomentallatepet. 
riRed at the entrance of Don Batilla, 
who ia supposed to be confined to his 
bed. Figaro sees that quick action 
is necessary and asks him what he 
means by coming out with such a 
fever. "Fever?" says theaalooished 
music master. "A raging fever." ez- 
claimsFCgoro.feelinghispuUe. '"You 
need medicine," aays the Count, 
meaningly, and slips a fat purse in his 
hand. Den Batllla partially compre- 
hends the situation, looks at the purse 
and departs. 

The shaving is renewed, and 
RoMlna andtheCountpretend tocon. 
tinue the lesson, but are really plan- 
ning the elopement. Sar(o/o tries to 
watch them, but Figaro manages to 
get soap in the Doctor's eye at each 
of his efforts to rise. Hefinallyjumps 
up and denounces the Count as an 


e coupiratoTS laugh a 

ind go out followed by Bartolo, who 

iropcMtor. The thre 
purple with rage. 

Don Barloto now deapeiately plays hit last caid. and shows RoMina the note, saying that 
her lover is conspiring to give her up lo (he Gwnf Almavlea. Ratlna is furious and offers to 
marry Bartolo at once, telling him that he can have Undor and Figaro arrested when they 
arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when 
Figaro and the Count enter by means of the key which the barber had secured. Retina 
greets them with ■ storm of repiooches, accusing LinJor of pretending to love her in order to 
ucrilice her to the vile Giunl Almaolca. The Count leveals himself and the lovers are soon 
clasped in ■ Eond embrace, with Figaro in a "Bless you, my children," attitude. 

Don Batllh, who had been sent for a notary by Borlolo, now arrives. The Count de< 
mands that the notary shall wed him to Ratlna. Bailllo protests; but the sight of a pistol in 
the Count's hand soon silences him. 

Tliis scene is rudely interrupted by the arrival of Burtolo and the soldiers. The officer 
in charge demands the name of the Count, who now introduces Slgnor aiid Signora Abnaoloa 
to the company. Bartolo philosophically decides to make the best of the matter. However, 
he reproachhilly say* to Bailtla: 

Daitqlo; Dastolo: 

But you. you fBKsl — Ay. ■*! I underiUnd vAu. 

Even you too betray me! ' Well, well, whit maiieri it? 

wCkh "iher 

(Overture By L« Seals Orchestra) , 

1 Don Paiqaale—OftrtaK {DonUelll) By La Scala Onhaliar 

iMtnc* un fo^ (Here's « Leaf Out) By A. Rossi. BassI 

tUns voce poco fa By Giuseppins Huniet. SopranoJ 

i Guards Don Bartolo ( Look at Bartolo 1 1 By Huguet, I 

A. and G. Piai-Corsi. and Badini (In llallan)\b3\ 71 

Fra IHaoolo—AgtKtc la Zldtlla By Pltlm Lara (In llallan)} 

{II vecchietto cereamogUe By Emma Zaccaria (In IlallanjX,^ ^ 

Pace c tfioU By A. Pioi-Corsi and Perea (In /(o/ian) /**■"*" 

12-ineh. 1.35 

(Eaflith) IBDhcniu) 


Muaic by Friedrich SmeluiB. FirM per- 

_ .. . , - .. - Ji of the work led to Smetans'i appoint' 

mcnt u director of the Prague opera. Produced at the Vienna Music Festival 1692. Fir*t 
London production in 1895. Firat heard in Amenca at the Metropolitan. February 19, 1909, 
with Deatinn, Jam. Didur and ReiM. under the direction of GuKbt Mahler. 

Chanietcrf with Original Amerion Cait 

KRUSCKINA, a peaaant Baritone Robert Blau 

KATHINKA. hi* wife Soprano Marie Mattfeld 

Marie, their daughter Soprano Emmy Deatinn 

MlCHA a land owner BaM. .Adolf Muehlmann 

ACNES, hi* wife Mexxo-Sapraao . Henrietta Wakefield 

WENZEU their »n Tenor AlbeH Reia* 

HANS. MICHA'S aon by fir«t tDMmge Tenor Carl Jom 

KEZAL, a marriage broker Baa* Adam Didur 

The Bartend BrlJe illuatratei accurately Bohemian village life, and ia bawd on a aimple 
Uory full of mirth, and aometimea almoal farcical. 

Marir, daughter of Kraichina, a rich peaaant, ia betrothed to Ham, her father'a aervant, 
but the maiden'a father haa determined she ahall marry iVtnzcl, a half-witted aon of 
KwKhlna't old friend. Micha, but the girl Satly refuses to give up het old lover. Kezal finally 
offer! Ham three hundred crowna if he will renounce Marit. Hara finally conaenta. inaiatins 
on a rather Mrange condition--"th«t Marie ahall only be married to a aon of Micha. ' ' Kaal, 
although he doea not understand the reason for this, gladly agrees, and shordy afterward the 
paper is dgned. 

Marit refuses to believe that her lover has sold her for 300 crowna. hut ia finally 
compelled to realize the truth, although he still declarea his love for her. The mystery 
ia not explained until Micha and hia wife recognize Ham to be their long.loat eldest 
aon. So Hant not only wins hia bride, but gains 300 crowns, for Kezal has agreed ttiat 
Marit "shall marry only • son of Micha." Aa the money remaina in the family no one 
objeeta save Kcxal, who departs in wrath. 

The famous Oottiurt is a work of delightful melody, containing parts of the natiorud 
aits of Bohemia. 

(Overture By Arthur Pryor's B«ndl_«,.~ ,- - . 4, „ 

\ Madamt Balitifiy SdtcHon (Aicdrf) Bg Pryor't Bandf^ * IZ-l>»sB. »l-3» 



Text by Giacoia and lllica J miuic by Puccini; being an adaptation of part of Murger'a 
La Vie Boheme. which depicts life in the Quarter Latin, or the Studenta' Quarter, in 1830. 
Firit produced at the Teat™ Reggio. Turin, February I, 1696, under the direction af 
Toacanini. In Engliah, as "The BohemianB," at Mancheater (Carl Roaa Company), April 22, 
1897, and at Covent Garden with the tame company, October 2d of the aame year. At the 
CVki Comlqae. Par{>, June, 1896. In Italian at CovenI Garden, July I, [699. Firat pro- 
duction in the Americas at Buenoa Ayres in 16%. First U. S. production at San Francisco, 
March, 1696, by the Royal Italian Opera Company, following their tour of Mexico. The 
company Uler sang the opera in New York, Wallack's Theatre, May 16, 1696. Given in 
English by the C^le Square Opera Company at the American Theatre, New York. 
Nosember 20. 1696. Tbe Gnt important production in Italian was that given by Melba's 
Company in Philadelphia. December 29. 1698. Produced in 1907 at the Nletropolitan. with 
Caruso, Sembrich and Scotti. 


RUDOLPH.apoet Tenor 

Marcel a painter BariUine 

COLUNE. a philosopher Baas 

SCHAUNARD, a musician Baritone 

BENOIT, an importunate landlord Bass 

AIXINDORO. a state councilor and follower of Musetta Bass 

MUSETTA, a grisette Soprano 

MiMl. a maker of embroidery Soprano 

Students, work-girls, citizens, shopkeepers, venders, soldiera. waiters, etc 

Scent and PerioJ : Pari; aboal 1830 



The princinl characten in 
Puccini'a delightful opera are 
the inaepaiable quartet deacrib. 
ed by Murger. who with equa] 
cbeerhilnen defy the pangs of 
hunger and the landlord of 
their little garret. In the acenea 
of corelen gaiety ia interwoven 
a (ouch of pathos; and the 
mutic it in turn lively and ten. 
der, with n haunting aweetneaa 
that 11 moat f aacinatiikg. 

Rudoiph, a poet ; Marcel, ■ 
painter ; Collint, a philotopher; 

four friendi who occupy an at- 
tic in the Quariitr Latin, where 
they live and work together. 
Improvident, recklen and care- 
lesa, these happy-go-lucky Bo- 
hemian* find a joy in nierel)> 
living, being full of faith in 


SCENE— ^ Gartei In the 
Qaartltt Latin 
The opening scene shows 
the four friends without money or provisiont, yet happy, Maicd ia at work on s painting, 
"Passage of the fled Sea," and remarks, beginning a duet with RaiM^, ihat . (he paa- 
■age of this aupposedly (onrid sea seems, owing (o (he lack of fuel in the studio, to be a 
very cold affair! 

RuJolph says that in order to keep them from freezing he will sacrifice the bulky 
manuacript of his tragedy. Mated holds the landlord at bay until Schaunard arrives with 
an unexpected store of eatables. Having dined and warmed (hemaelvea, MarctI, Colllne and 
Schaunari go out, leaving Rudolph writing. A timid knock at the door reveals the presence 
of Mlmi, a young girl who lives on the floor above- 
She has come to ask her neighbor for a light for (he 
candle, which has gone out. They enter into con- 
versation, and when Mimf artlessly aska RuJo/pA what 
:cupBtion is, he sings the lovely air usually 

i the " ^■ ■ " 

termed tl 


Racconto di Rodolfo (Rudolph> 


By Enrico Caruso, Tenor 

(h Italian) 8e(>02 I2-in., »1. 
By Giovanni Martinelli, Tenor 

(In Italian) 74381 12-in., 1. 
By Jalw McCormack, Tenor 

(In Italian) 74222 12-in,. I, 
ByEvanWillum*. Tenor 

(In Engllih) 74129 12-in., 1. 
By Leon Campaffnola. Tenor 

(hFrencA) *S5083 12-in.. I. 


" Mlmi'i dtbcalt pttftclUm 
poel—t^itdaliu ha llllle handi, lohlclt. In ifiHe of hir 
modal leorlf, tht managai lo l(ttp oi lohlU oi inou). ' ' — 
Murser'i La Vie de la BohCme. 

TKis ia one of tKe great numbers of the opera, 
and alwayi aroutca an audience to a hish pitch o( 
enthuaiatm. The tender lympalhy of the openins 
—"Your httle hand ia cold"; the bold avowal^ 
" I am a poet"i the glorioui beauty of the love 
motive at the end — and the final brilliant high 
note, are all extremely effective. 

Then follow* the charminK Ml c/ilamano Miml. 
in which the young girl telli RaJolph of her piri- 
fnlly aimple life; of how she works all day making 
artificial flower*, which remind her of the blo*- 
•om* and green meadow* of the country ; of the 
lonely eziatence *he lead* in her chamber up 
among the houaetop*. 

Mi chtamano Mimi (My Name is 

By Nellie Melba, Soprano 

(Inllallait) 680 74 l2-in„ (l.SO 

By Lueresia Bori. Soprano 

(/n llallan) B84T5 l2-in„ 1.50 

(In Italian) 88413 12-in.. l.SO 

7444B 12-iA.. 1.90 

The young girl having finished her *tory, Rudolph hear* the *hout> of his friend* in the 
courtyard below. He opens ike vrindow to speak to them, letting in a flood of moonlight 
which brightens the room. The Bohemiaiu go oS singing. A* ~ " 

Radol/A turn* to Miml and see* her in the moonlight, he ia 

struck with her beauty, and tell* her 

how entrancing she appears to him. 

O soave fanciulla — Duo and 
Finale. Act I (Thou Sweet- 
est Maiden) 
By Nellie Melbs. Soprano, 
and Enrico Caruso. Tenor 

93200 12-inch, *2.50 
By Frances Aids. Sopratto. | 

and Giovanni Martinelli. 
Tenor 89132 I2-inGk, 2XMI 
By Lucretia Bori and John 
McCormack (/n llallan) 

87912 lO-inch. 1.50 
Love awakens in the heart of the 
lonely girl, and ahe pledge* her faith to 
the handsome atianger who haa come 
into her life. The lovely motive with 
which the duet begins is associated 
throughout the opera with the presence 
of Miml, and is employed with touching effect ii 
Act IV. 

Miml consent* to go to the G(fV Momat, where hi* friend* are 
to dine, and after a tender scene at the door they go out, and the cur- 
tain alowly falla. 




SCENE— /4 StudaiW Cafi In Parti 
Tlii* act cepretttata (He terracei of the Cnfi Momai, where 
the artiMi are holding a carnival. Puccini hiw pictured with 
lUMterly •kill the noUy, bustling activit]' of thi* 
■ceoe, and the boiilerous merriment of the gay 
revelen. The Bohemiaiu of Act iareteated 
at a table with Mlnti, when MuitUa, an old 
flame of Marcti't, appeaia with her latest con- 
quest, a (ooliah and ancient beau named At- 
cindoro, Marcd pretenda not to see her, but 
Miutlla ii detemiined on a reconciliation, and 
•oon get* rid of her elderly admirer and join* 

old (lit 

ia the charm' 

Musetta W^altz 

By Ainu Gluck. Soprano 

{InUahett) 64S60 lO-in. 11.00 

The fun now becomea fait and furioui. 
and Muitlla is finally carried off on the shoul- 
der* of her friendly while the foolish old 
banker, Alclniom, ii left to pay the bills. 


SCENE— /4 Qly Gale ef Pari* 
ThU act begins in the cheerless dawn of a cold morning at tike city ,;,,„,-,[ ^3 u\ui 
gates, the bleakness of the scene being well expressed in Puccini's music. 
The snow falls, workmen come and go, shivering and blowing on their cold fingen. Mimi 
appeeri, and aaka the officer at the gate if he will Gnd Marcef--that good and kind-hearted 
Etohemian painter being now located at the inn on 
the Orleaiu Road and painting, not landscapes, 
but tavern signs, in order to keep body and soul 
together. Moral enten and ii surprised to see 
Mbnl, whom he supposes to be in Paris. Noticing 
that she is melancholy and apparently ill. he 
kindly questions her and teams her sad story. 

Minu.IosonI (Minii,ThouHereI) 

By Gcfildine Famr, Soprano, and 
Aatonto Scotti, Baritone 

(InllaUan) B9016 ll-ia. 12.00 
Miml tells her friend that she can no longer 
beat the jealous quarrels with RuJoiph, and that 
they must separate. Marcel, much troubled, goes 
into the inn to summon Rudolph, but before the 
latter comes, Miml secretes herself, and when he 
enters she hears him again accuse her of lickle- 

Mimi e una ctvetta 

(Cold-hearted Mimi I) 

By de Grcgorio, Casini and Ferretti 

IJix Italian) '66493 12-in. tl.?? 

A distressing fit of coughing reveals h<E 
ettce, and she appears and sings 
whitji is one of the features of tl 

I reveals her pres- „„, „„ 
■ the sad litiU air ,*■■» 


Addio (Farewell) 

By Nellie Melbi. 

Saprano {Italian) 80072 12-ill„ *l.SO 

By Geraldine Famr, 
Sopnno (Italian) 86406 II-uIm 1.50 

By Alma Gluck. 

Soprano (Italian) 64225 10-in.. 1.00 

Moat pathetically doea the poor girt'a " Farewell, 
may you be happy " come from her limple heart, 
and she turns to go. Radolph proletta, aomethiiiB 
of hi* old aflection having returned at the light of 
her pale cheelu. 

Muteila now enten and ii accuied by Mated of 
flirting. A furious quarrel follows, which contrasts 
strongly with the tender passages between Mfm/ and 
Radolph a> the lovers are partially reconciled. 

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

By Genldine Farrar, Gina C. VUfora. 
Eorico Caruso anil Antonio Scotci 

Utt Italian) 96002 12-uich. 13.00 
the Rigoletto Quartet, this number is used by the composer to express many dif- 
lons ; The sadness of Miml 'i farewell to Radol/A ; his tender efforts to induce her 
the fond recollections of the biighl dayi of their first meeting — and contrasted 

quarreling of MiatUa and Maml, which f^IMUli baa skillfully 

with the pathetic passages sung by the lovers. 

to theae aentimenia 


ACT IV. SCENE— Same at Act I 

**Jit thU time, the friends for many week* had Ihed a lonely and melancholy existence, Musetta 
had made no sign, and Marcel had neoer met her, while no word of Mimi came to Rudolph, though 
he often repeated her name to himself. Marcel treasured a little bunch of ribbons which had been 
left behind ^ Musetta, and when one day he detected Rudolph gazing fondly at the pink bonnet 
Mimi had forgotten, he muttered: 'It seems I am not the only one I ' '* — Mtlrger. 

Bereft of their sweethearts, the young men are living sad and lonely lives, each trying 
to conceal from the other that he is secretly pining for the absent one. 

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

(Italiaa) (French) 

Ah Mimi, tu pivi Ah Mimi, s^en est alle (Mimi, False One I) 

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone 89006 12-inch, $2.00 

By Leon Campatfnola and M. Vitfneau {In French) *45122 10-inch, 1.00 

By Lambert Murphy and Reinald Werrenrath (/fa//an) 60108 10-inch, .75 

The friends, however, pretend to brighten up when Schaunard and Colline enter with 

materials for supper, and the four Bohemians make merry over their frugal fare. This 

scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends 

that Mimi, abandoned by her viscount, has come back to die. 

The poor girl is brought in and laid on Rudolph 's bed, while he is distracted with grief. 
The friends hasten to aid her. Marcel going for a doctor, while Colline, in order to get money 
to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He 
bids farewell to the coat in a pathetic song. 

Vecchia zimarra (Coat Song) 

By Marcel Joumet {In Italian) 64035 10-inch, $1.00 

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

Sono andati ? (Are ^Ve Alone?) 

By Claire Dux, Soprano; Karl Jom, Tenor {In German) *55070 12-inch, 1.50 

The pMist is all forgotten and the reunited lovers plan for a future which shall be free 

from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in 

the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons 

his friends, who are returning with delicacies for the sick girl. 

Mimis Tod (Mimi*s Death Scene) 

By Claire Dux, Soprano : Karl Jorn, Tenor {In German) *55070 12-inch, $1.50 

But the young girl, weakened by disease and privations, passes away in the midst of 
her weeping friends, and the curtain falls to Rudolph* s despairing cry of **Mimil Mimi!** 


68453 12-inch, $135 


55070 12-inch, 1.50 

[Mimi & una civetta (Cold-hearted Mimi I) 

By de Gretforio, Casini and Ferretti {In Italian) 

Trooatore — Soldiers' Chorus {Verdi) {In Italian) La Scala Chorus 
Sind wir allein ? (Are We Alone ?) 

By Claire Dux, Soprano : Karl Jorn, Tenor {In Qerman) 
Mimis Tod (Mimics Death Scene) 

By Claire Dux, Soprano ; Karl Jorn, Tenor {In German^ . 
"Bohame Selection By Pryor's Band\^-^-- io ;««K i ^* 

\ Jolly Rohbers Overtun By Pryor's Band]^^^^^ 12-mch, 1.35 

fBohame Selection By Pryor's Band^^j^^j 12-inch, 1.35 

1 Madame Butterfly Fantasia 'Cello By Rosario Bourdoni 

fMu.ettaW»lte (IVUMngSolo) Guido GUUiniK^g^j lO-inch. .85 

I Carmen Selection Xylophone Wm, H. Heitzj 

fAir dc Rodolphc By Leon Campajfnola, Tenor (/n^^-cAn 55^33 12-inch, 1.50 
\ PagUacd — VesU la giubba By Leon Campagnola, Tenor {trench) ] 
Ah, Mimi s*en est alles (Mimi, False One t) 

By M. Campagnola and M. Vi^eau {In French) 
Tosca—Le dd btisaid d'eioiles By M, Campagnola {In French). 



45122 10-inch, 1.00 


Opera in three acU; text by Buim; muric by Balfe. PirM produced at Drury Lane. 
London, November 27, 1643, the coat including E-tarriaon. Rainforth, Betta, Strelton and 
Borrani. An Italian venion waa bmusht out at Dniiy Lane, February 6, 1658. First 
American production November 25, 1844, with Frazer, Seguin, Pearaon and Andrewi. 
The work, after ila English aucceaa. was tranalated into many languagea, and produced 
in Italy as La Zlngara (at Trieate, 1854); in Hamburg as La Citana; in Vienna as Dit 
Zigeuntrin, and in Paria as La BohAnlenne. 


ARUNE. daughter of Count Arnheim Soprano 

THADDEUS, a Polish exile Tenor 

Gypsy Queen Contralto 

DEVILSHOOF, Gyp^ leader Baas 

COUNT ARNHEIM, Govamor of Presburg Baritone 

FLORESnNE. nephew of the Count Tenor 

Retainers, Hunters, Soldiers, Gypsies, etc 

7)me and Ptact : PntbuTg. Hungary ; ninetttnlh ccniary, 

SCENE— Coanlry BtlaU of Count Amheim. neat Pmturg 
I, and can be dismined with 

. . „ Ti Austrian troops, and to facilitate his escape be 

casta his lot with a band of gypsies, headed by DtoiUhoof. As the tribe ii crossing the estate 
of the Govcmoi of Presburg, Counl Amhtim, Thaddaa is enabled to reacuc the little daughter 
of the Count from a wild stag, and in his gratitude the Counl invite* the g3^sics to the hunt- 
ing dinner. In the course of the festivities ThaJdaa refuses to drink the health of the 
Emperor, and is about to be arrested when Dtollihoof interferes and is himself confined in 
the C^e, wh^c ThaJdeut is permitted to go, DedUhoof climb* from a window and steals 
the little Aiiint, making hi* escape by chopping down the bridge acroas the ravine. 



SCENE — The Gypsy Camp in the Outsktrls of Preaburg 

Twelve yean elapse and we see the camp of the gypsies, whom ThadJeua has joined, 
among whom Arline has giown to be a beautiful maiden of seventeen. Thaddeus, wno has 
fallen in love with the young girU now tells her of his atfection, and in a melodious duet the 
lovers pUght their troth. The Qfpty Queen, herself enamored of Thaddeut, is forced to unite 
him to Arline, but secretly plans vengeance. Her opportunity soon comes, as she contrives 
to have Arline accused of stealing a medallion from the young nephew of Count Amheim. 
Arline is arrested and taken before the Count, who in the course of the examination recog- 
nizes her as his daughter, from the scar made in her childhood by the wild stag. 



SCENE — Caatle of Count Amheim 

The third act shows Arline restored to her position, but still secretly pining for her gypsv 
lover. Dedhhoof contrives to get Thaddeus into the castle and he secures an interview with 
Arline, They are interrupted, however, by the Count'* approach, and Thaddeus hides in a 
closet as the guests arrive for a reception in honor of the newly-found heiress. 

The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals the 
hiding place of ThaddeuM, The Count asks for an explanation, and Arline declares she loves 
Thaddeus even more than her father. The Count, enraged, is about to attack Thaddeus, when 
the young man reveals his history and proves himself to be of noble blood. The Count then 
gives his consent and all ends happily. 


{Overture to Bohemian Girl 
La Czarine Mazurka (Ganne) 

I Dreamt I Dwelt in Marble Halls 

ri Dreamt I Dwelt in Marble Halls 
\Then You*ll Remember Me 

The Heart Bow*d Down 

rbe Heart Bow'd Down 
Faust — Eoen the Braoest Heart 

rie Heart Bow'd Down 
Home to our Mountains 

Then Youll Remember Me 

Then Youll Remember Me 

Mabel Garrison 64641 

Elizabeth Wheelerl, , -^^ 
Harry Macdonoutfh/*^^^® 

Clarence Whitehill 74407 

Reinald Werrenrathl --^-^ 
Reinald IVerrenrathr^^^^ 

Alan Turnerl - ^ . ^ - 
Morgan and Macdoiwugh) 

John McCormack 64599 

Geortfe Hamlin 74134 

10- inch, $0.85 

10-inch, 1.00 

10- inch, .85 

12-inch, 1.50 

12-inch, 1.50 

10-inch, .85 

10-inch. 1.00 

12-inch, 1.50 

(Then Youll Remember Me and I Dreamt I Dwelt 
(VioUn- 'Cello-Piano) McKee Trio f 181 90 10-inch, .85 


McKee Trioj 

Good Nitfht, Beloved (Nevin) 

{Selection from Bohemian Girl 
Yelva Overture {Reissiger) 

fGems from '" Bohemian Girl **— Part I Victor Opera Co 

Chorus, *'Away to Hill and Glen"— Solo, *M Dreamt 1 Dwelt 
in Marble Halb"— Solo, "Heart Bow'd Down**— Mixed 
Quartet, "Silence, the Lady Moon'* — Solo, "Fair Land of 

I Poland ** — Chorus, "Happy and Light*' 

' Gems from '* Bohemian Girl *"— Part II Victor Opera Co 

Chorus, "In the Gsrpsy 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" 


12-inch, 1.35 

-35603 12-inch, 1.35 


(BdIi'-iw <M-<l<KM»Kl 

T^l amnged hy MounorKsky, baaed on a hutorical drama by the (unous RuasiBn 
poet, Poushkin. Muaic by Modeste Mouuoigiky. Poitiona of the opera weie givea at 
St. Peteraburg in Febniacy. 1673, but the production of the woik in ita entirety was delayed 
until January 24, 1674. Produced at Moscow in 1689. In 1696 the orcheatrotion waa aome. 
what reviaed by the compoaer'afiiend, Rimaky-Koraakoff. Given atPaiia in I906by a Ruaaian 
opera compaiw. vrith Chaliapine in the title rdle, Fiiat American production at the Metro- 
politan C^era Houae, New York, November 19, 1913, with the origiDBl coatumea and acenei; 
painted for tha Paria production. 


(With the Cut of iha Rnl Amencan Praduction) 
Boris CODOUNOW, Regent of Russia 

Adamo Didur 

XENIA, hia daughter Leonora Sparkea 

THEODORE, hia son Anna Caae 

THE NURSE Maria Duchene 

Marina Louiae Homer 

CHOUISKY Angeto Bada 

DIMITRI Paul Akhouae 

VARLAAM Andrea de Sesurola 

MISSAIL Pietro Audiaio 

TCHEIXALOFF Vincenio Reachiglian 

PlMENN Leon Rothier 

A SIMPLETON Albert Reia* 

A POLICE OmCER Giulio Roaai 

•^"i^-" {«;lSrfchi^™ 

Timt and Plact : Aiout 1 600; on tht horitr of Paiani. 

Mouaaorgaky's maateily opera ii intenaely I 
Ruaaian in chantcter, and relatea actual events 
in the history of Ruaaia during the reign oF the 
Czar Fiodor. son of Ivan the Terrible, while 
Boiia Codounow was acting regent. Mouaaoig- 
aky haa aimpUGed Pouahkin'a text somewhat, I 
and haa written a prologue to precede the drama, I 
which haa acarcely anything in common with | 
Pouahkin'a book. 

aorit, the acting regent, haa cauacd the I 
murder of DimllH, the younger brother of lean ^bs/ . w. 
Iht Tertiblc, to whom the throne would have ^^BL- T^T 

pataed on Itan'i death, but he ia remoiKful ^B^^^lj^— ^_ -.^ , .myj 
for his act and haa entered a monastery on the ^EbM^^^^M^ ^^k^j^ • 
outskirta of Moacow. ^^^sKi^^K^ ^ ^'^j 


Al the opening of 
ar« urging him to dectai 
second acene the guilty 

an old monk, lelatuig to a young novice, Gngmy, 
the story a( the murder, which iirea Grtgary'i 
imaginarion ao that he escapes from the cell. 
Bees to the Lithuanian border and declares 
himself to be Dimllrl, who he insiats was never 



In the next (cene Borh ia in the 
Czar's private apartmenta in the royal 
palace, having yielded to the dentBods 
of the people and declaied himielf 
ruler. Hi* daughter, Xenia, and her 
young brother are with him, but when 
Choaliks. hia old accomplice, arrives. 

has brought alatming news — tile people 
are revoltins and an impoator, calling 
himself DimlM, has appeared. Borit. 
overcome, is once more a prey to 

In the third act Marina, betrothed 
I totheimpa*tor£)fmflr/(Grq[(in/), iaurged 
1 byRarvonf to try to influence the young 
I uiuiper to convert the heretics of Mos- 
1 cow. Failing to move the girl, he ap- 
I peals to the pretended DimlM, who ia 
I waiting in the garden for Marina. The 
I young girl appeara. and the tcene close* 
with a love dueL 

The acene now change* to the 
country, with the people in open revolt- 
Cries of "Death to Boris" can be heard, and the usurper passes through the forest, drawing 
the crowd with him. Aa the stage is emptied, the village idiot is left aitting alone in the 
falling anow, singing a heart-rending ditty on the hopeless condition of Russia. 

We now see a hall in the imperial palace. CAouUtv arrives and later Borii, haggatd 
from the terrible visions that are haunting him. Pjmenn entera and relates a miracle which 
has happened at the tomb of Dimltri. 14e tells how a blind man, commanded in a dieam to 
appear at Dimllri'i tomb, has hia viaion restored when he kneels at the grave. A cry of 
agony interrupts the old monk. It is Borit, who, feeling himself dying, aslu foi his aon, and 
in a few momenta expirea, begging hia son 
to rule wisely and always protect hia aiater. 

MouBSOTgsky'a maaterly opera has made 
one of the greatest aucceaaes in the hiatory of I 
the Metropolitan. It is astonishing that so 
fine a work should have been neglected for 
nearly (oity yeara — for Borii waa produced in 
1674 — and the Western musical world, as one 
critic has aptly remarked, must have been 
"dozing." However, the Metropolitan haa made 
amenda somewhat by giving a magnificent pres- 
entation of Mouaaotgaky's opera, with a caat 
that could not be equaled ansrwhere in the I 

The duet preaented here occura in the acene 
repreacntlng the garden of the castle of Michek 
b Poland. Marina, the beautiful daughter of 
Michdt, spurred on by both love and ambition, I 
urges IXntlM to conapire againat the throne. 

Finale. Act III (Garden Scene) i 

By M*rtf>rete Ober. Contralto, 
and Paul Althouae, Tenor 
(/n ItalloD) 76031 12-in«b. *2.00 



Test by Meilhkc and Htltvy, founded on the novel o{ Proiper MMm^e. Moaic by 
Bizet. Fint production at the Op^ra G>mique, Paru. Match 3, I87S. First London produc- 
tion June 22, 1S76. Pint Ameiican production October 23, 1879, with Minnie Hauk, 
Ounpanini and del Puente. Fi«t New Orleana production, January 14. 1861, with Mmea. 
Atnbre and Tournie. " ' ' - ■ - »» »< . 

6nt appearance, t 
and the Hammeri 

ataged a brilliant rt 

lurnie. So me notable revivala in New Y°'" l^ were in -1 693 , being QJv<|a 
:, the caat includina Eam'es, de Reszlce and La Salle; in l*K)5 with Caruao:' 
■ of 1906, with Breulei'Cianoli, Datmorei, Gilibert T 

revivaU o 

C^lxd. After five yeari' neglect the Metro 
"all-Bbr" caat, including Farrar, Canno .^ 

I '9'5. 


Don Jose. (Don Hb-W) a Bngatfier Tenc 

ESCAMILLO. (Et-a,-mat-o<>h) a Toreador Bariton. 

DANCAIBO. (Dan-W-raW 1 c , , f Baritone 

REMENDADO, (fi««n-A.V JoH f ^""Wlera ^ -j-^^^ 

ZUNlGA.(r»i>M«'-f«« a Captain Bbm 

Morales. iMoh-nh'-ki) a Brigadier Basa 

MICAELA, (MiUpih-a^Jali) a Peaunt Girl Soprano 

FRASQUITA, (f™**--!,/!) 1 (,^.- . £._„.. ^f r.™„ f .... Meao-Soprano 
MERCEDES. <M.«W-A«) i^^*"^ ^"'^' °* <-«"«" j .... Meizo-Soprano 

Carmen, « Ggarette Girt, afterward* a Cypty 

An Innkeeper, Guide. Ofiicera. Dragoon*, Lad*. 
Ggar Girl*, Gyp*ie*, Smugglers. 

Scene and Period: StoUU. Spain; about 1820. 



Georges Bizet was a native of Paris, where he was bom on October 25, 1636. Like 
Gounod and Berlioz, he won the Prix de Rome; in this case in 1637, the year that his first 
opera, Docieur Miracle, was produced. Among other productions came Les Pecheun de PeAet, 
in 1863, an opera recently revived at the Metropolitan Opera House in New York. 
Carmen was produced in 1673, and this most Parisian of all operatic works was received at 
its production with a storm of abuse. It was immoral, it was Wagnerian — the latter at that 
time being a deadly sin in France 1 Nevertheless, the supreme merits of Carmen have won 
it a place among the two or three most popular operas in the modem repertory. 

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

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



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


Act II takes place in the tavem of LiUas Pastia, a resort of smugglers, gypsies and ques- 
tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of 
the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug, 
glers, Dancalro and Remendado, have an expedition afoot and need Carmen to accompany 
them. But she is awaiting the return of the young soldier, who, as a punishment for allow- 
ing her to escape, had gone to prison, and she will not depart until she has seen him. The 
arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy 
measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the 
retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to 
return. The arrival of his captain, who orders him back, decides Jose. He defies his officer, 
who is bound by the smugglers, and deserts his regiment for Carmen. 


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

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


Some F»mou* Cirmeat of the P««t 

*62617 lO-incb. *0^5 
70067 12-incli. US 

Prelude (Overture) 

By L> ScaU Orcheitra 

By Victor Herbert'i Orcheitn (lit part only, 

preceded by Pirat Intermesio] 
By Victor Herbert'* Orcbeitra (Lait p*rt — Andante 

only, followed by Third Intermeizo] 70066 12-inch, 1,25 

The Prelude to Caimen open* with a quick march in 2-4 time, of an exceedingly %vile 
and 6eTy description, which i* taken from the mu*ic preceding the bull-fight in the 
la*t acL Following thi* atimuloting march comea the " Toieadar'i Sons," leading to 
the march theme asain. These tvro section*, complete in themaelvea, are now (ollovred 
by a abort andanle in triple bme indicating 
the tragic conctuaion o{ the drama. Here, the | 
appealing note* of the bra**, heard beneath j 
the tremolo of the strings, gives poignant | 

expression to the patho* which lies in the _ , 

jealous love of the forsaken /cue, and expresae* the menace of the future death <_ 
Carmtn. This movement breaks off on a sudden detached chord of the diminished 
seventh a* the curtain rise*. 

SCENE— /4 Pablh Sqaare In StollU 
The curtain rises on a street in Seville, gay with an animated throng. In the fore- 
ground ate the militaiy guard stationed in front of their quarter*. The cigarette factory 
lie* to the right, and a bridge aero** the river is seen in the background. 

Among the crowd which throngs the stage a young girl may be seen searching for a 
familiar tace. It is Micada, the maiden whom Jomc has left behind in his native village. 
The soldiers accost her. and from them *he leam* of her lover'* absence. She declines 
the invitation to remain, and departs hastily. 

The cigarette girls now emerge from the factory, filling the air with the smoke of 
their cigarettes, and with them Carmen, who answei* the aalutation* of her admirers among 
the men by ainging the gay Haianera, 

Habanera (Love is Like a 'Wood-bird) 

By Emma Cilv£. Soprano {In Fitnch) 880B9 12-ine)i. *1.90 

By Geraldiae Farrir. Soprano (In French) 67210 10-inch, 1.00 

By Sophie Brulau, Contralto (In French) 64469 10-lnch, 1^0 

Though often sttribuled to Bixet. the air wa« not ohf^nal with him. but wu taken 

from Yradier'a "ABnim Jet Chantont Etpagnola. " TheiefrBin; 

AmtUK^it trtv (v* 

*1», Jb »•«-*«■ RV 


HABANERA -"Lcnr* 1* Lik« a Wood-Bird Wild.' 
Carueh : 

Ahl lovr, Ibou art a wilful wild bird. Ah, IotcI 
And none may hups thy winss lo tame, For love he ii the k 
If it please thee to be a teb^T, And ne'er law'a icy 
Say, who can try and th« reclaim? If tbou me Invest no 
Thrials and prayers alike unheeding; And if I love Ihee. 
OfC ardent homage thou'lt refuse. If Ibou me lavett ni 
Whilst he who doth coldly slight th«, Hut if I love you, 

: I love you. twin 

ng air are oflered — by Calv^ 
ited aa one of the Bteatett of 
yy Miaa Farrar, the lateat of 
B Bieat mccen in the recent 
the youngeat of the Metto- 

SeveiBl recorda of thil char 
whose Carmen ia univenally aci 
all impenonstiona of the vAle: 
famous Cerrrteru, "who Kaa mad 
revival: and by Miaa Braslai 
pohtan contrattoa. 

The men invite Ginncn lo chooae a new lover, and in reply 
she Rings a Rower in the face of the surprised Jok and laugh' 
ingly depatta. 

Now Mfcafla returns, and Rnda the soldier she seeks. Her 
song tella of the message of greeting she brings Jote (torn his 
mother, and with it a kiaa. The innocence of Micada is here a 
foil to the riper attractions of the gypay, and the music allotted 
to the maiden possesses the same simple charm ; the conclusion 
of MJcae/o'i air being B broad sustained melody of much beauty. 
Joie lakes up the atrain, a* the memories of his old home 
crowd upon him, and the beautiful duet fallows. 

Parle-moi de ma mere (Tell Me of My 

By Lucy Marah, Soprano, and John McCorouck, 
Tenor (In French) 74349 13-inch. tUiO 

Josa: A li 



city go: 
cloved saa: 

My home 
My mot; 
h fondly 

yonder valley, 
r lov'd shall 1 e'er, seeP 

90 dear yet lo me. 

Twill strength anjcourage mve thee. 

\nd Ihy dea 


Micatia depart* after a tender (ajrewell, and Jatt begin* to read liii motliei'i letter, 
but ii inteiTupled by a commotion within tKe factory. Ginnen ha> atabbed one of her com- 
panions, and ia BTTeiitcd and placed under the guard of Dt/n Joit. The soldieii drive away 
the crowd, and Carmen, left alone with /ok, bringa her powers of faacination to bear on 
(he young soldier, partly to facilitate her escape, and partly because he has attracted 
her attention. Here she sings the StgalJllla, a form of Spanish country dance. 

Se^idilla (Near the ^^alls of Seville) 

By Geraldine Furar. Soprano (/n Frtnel 

Tba Seguldilla is one of Spain's rooit beloved dances, and 
ing. Bizet has given us a brilliant example in this dainty 
Michael Carre's words. 

88911 12-inch, «1.»0 
I rhsrtbm is most faacinat- 
irober, which he has set to 

irily) : 

o the 

ni trip It 
And ni q 



of Sevills, 

incnd LiLlu PaUU 

i' the light Seguidills, 

out my""'eni Lilli- - - 
aiiine planctt si Jatt) 


e few. 

nred by M 

is bent 

Although Joit says to himself that the girl is only amuung herself, and whiling away 
the time with her gypsy aonga, the worda which fall on his car — of a meeting-place on 
the ramparts of Seville — of a soldier she loves — a common soldier, all these play upon 
the feelings of /oic and rouse in him a love for the changeful gypay, who is fated to be 
the cause of his downfall. 

He unties her hands, and when the soldiers are conducting her to prison she pushes 
/ose, who purposely (atls, and in the confusion ^e escapes. 
Firat IntermcEEa and Prelude— 1st Part 

By Victor Herbert's Orchestra 70067 12-inch, «1.2» 

SCEJ^E—A Taoan In tht StAvAa >4 Stotllt 
The second act opens amid the Bohemian surroundings of the tavern of Lillas Pastia. 
the wild tune with which the orchestra leads off depicting the freedom aitd gaiety with 
which the miKed characters here assembled are wont to take enjoyment and recreation. 



Th* Mctropolittn Revival of 1915 


lies trinfles de siatres (Gypsy Song) 

By GermUiiie Fafr*r (FrancA) 88Sia 12-iQcb. *1.90 
By EmnuL Calvi {Fitnth) 88134 12-uioli, 1.90 

Carmen again leads them witK her (ong, another lively gypay 
tune, in the exulting refrain a( which all ioin, a picture of reck- 
leas roerrimeDt reaulting. 

Quickly forth tbc sipiicB ipringing. 
To iinct a merry, maiT round. 
While umbourincs tbc dins prolong, 
In rhytbm wJlh tbc musk bcaling, 

The mcr^ burthen of glad aons. 
Tn U !■ iL etc 

But Carmen it thinking of the aoldior who went to priaoD for 
her aake and who, now at liberty, will ahortly be with her. Her 
mutinga are interrupted by the arrival of a proceMion in honor 
of Eacamllto, whoae appearance i* follow^ by the famous 
"Toreador Song." 

Cancion del Toreador (Toreador Song) 

By Tina RuSo. Baritone, and La Scali """" '""' 

Chorua (In liaUan) 92065 12-iiich, »U0 ""* »o"g^m:t" """ 
By Emilio de Goforsa. Baritone, and New York 

Opera Choru* (In FroKh) 88178 il-inch, *1.50 

By Psaqnale Amato, Baritone {In Itallari) 86337 12-incli. 1.90 

By Giuaeppe Campanari. Baritone (In llallan) 89073 I2<inch, l.SO 
einaU Werrentath. Baritone, and Victor Choriu 

(InFrmch) *95068 I2-U)eh, 1.90 

{In Engllth) *16921 10-lnch. .89 

By Reini 

By AUn Turner. Baritone 
Franceaco Citfada. Giui. 
laet Salvador and La 9 

a Choru* (In Italian) *b26ie 10-inch. 


7 Etcamillo't departure, Car- 
mndea invite her to depart 
upon a amuggling eapedition, but 
■be rofuaes to atir until ibe sees the 
aoldier for whom ahe is waiting. 

/me J voice is now heard in the 
distance, and ComMn and her friends 
all look through the shutteis. 


bandiome d 


gallant fe 

Failb, he 
Bid him 

would ma 

No. he will rcfow. 


WeU, go 

I will try 


. and greeting /o*. 

with joy. questions him about his 
two months in prison. 


By Enrico Ciriuo, Tenor 
By Enrico Caruio. Tenor 
By Giovanni Mu^oeUi. Tenor 
By Evao Williami. Tenor 
By John McCormack, Tenor 

HalteUl quivali? (Halt There t) 

By Ceraldine Farrar, Soprano, and Giavanni 
Martinelli, Tenor 

[InFrtndi) 69112 ll-inch. t2.00 
Cannai then trie* her {Bscinationi on tbe stolid aoldier 
to induce him to )oin the band of imugglen, and dance* 
for him while he watchea her vrith faacinated gaze. 
However, her effort* are u*ele*at a* he ii reminded of 
hi* duty when he heari the hugle in the diatance mm. 
moning him to quarter*. 

" Then go, I hate you I " •aj'a Cannsn, and mocks him, 

Ab. tbii ii too moniCyinE.' 

iAtU*.) But now u ra lai'he tear* the liurapel calll 
And ofF he flies, like a guest lo a feast! 

She i* furious, and pitches at him hii cap and tabre, and 

bids him begone. 

There! thy cap. thy ubre, thy pouch I 
And go directly to the bsmckal 

(Ff«tich) (Inllsn) 

Air de la fleur — Romanza del fiore 


Flower Song 

(/n FrcncA} 8810B 12-mch, *1.S0 

(/n llailm) 88209 12-ineh, 1.90 

(/n French) 74391 12-inch. 1.90 

(/n En^hh) 74122 12>inch. 1.90 

(h Italian) 14218 l2-ii)ch. 1.90 

Desperate at the thought of losbg her forever, 'Don/oie show* her the flowers she 
threw him at th«r fir*t meeting, and which he had preserved, [hen linga thi* lovely 
a, beginning: 

■J'y i -rW-^-i i 

'■tnd-t*'lfUpri'imi will rtitttfll»^/tt-t* 

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

DoN Jo!B: 

Tha' wiih< 
Doth vci 1 

II me, desraded 
Itepi, iho'^ faded; 

Then alone myself I detested, 
Naughf efse i; hit but one desu" *' 

(lie truth, barmen, am confiding: 
IIS loved odor did I Inhale. 
And wildly called thee without avail. 
My love itself I cursed and hsled. 
Carmen then paint* the joys of the g 
desert hi* re^ment and follow her. 

La has dana la montagne (Away to Yonder Mountains) 

By Emma Calv^ and Charles Dalmore* {In Frtnch) 89019 12'inch. I2.00 

By Geraldine Firrar. Soprano (In Fitach) 86513 12-inch. l.ftO 

r life which might be /o)e'», 


•oldier luteni with Wf'WilliDB 
nice joining bera at the eloie. 
^ly duet puaase. 

}f, the sky— ■ wandering life; 

Up londir, up yonder, if thou lot 
To the raounlaina, together we'll 
Joss: Carmen! 

Go with Ihee, far away, 
A deaerter! Infamy! iMth 
It mtisl not be. 

ivcll. n 

; 1 hale you. 

In ipite of Ciniien'i (aacinatiODa, 
/oje i> about to return to bia duty, wben „,„„ ^ „„ 
the appearance of hli guperior ofiicei 

Zunlga, who orden him back, decidei the matter. Don Jott re- 
■ JOH acuta (he overbearing tone hia captain uiea and defiea bim. Zunlga 
ia finally overpowered and bound by the gypaiea, and the amuggleia all dep>art on their 

Second Intermezzo 

By La Sola OTcheatra *62102 lO-inch. tO-SS 

The retreat in the mountain* ia miuically deacribed by thia paatoral intetmezso. A 
dreamy melody given to the flute, with a pititcalo accompaniment, ia taken up by the other 
iaatrumenta in turn, the atringa joining in the coda. 


SCENE--^ Wild and RoJa Poa In Ihe Mounlalm 
Aa the curtain rieea, the amusglera aie aeen entering tbeir rocky lair. Here occura the 
noua lextette, a portion of whiii ia given in the "Gema from Carmen" (poge58). 

igslera prepare to camp foi the night. It ia evident that JoK ia already repenting 
nd that Carmen ia tiring of her lateat lover. After a quarrel vrith /ate, ahe joiiu 
' telling fortunea with csrda. 

Voyons que j'esaaie (Let Me Know My Fate) 

By Geraldine Farrar. Soprano (In French) B8S34 12-inch, *l.SO 

By Lavin de Caaa*. Contralto (Inllallan) *6Z617 lO-inch. .85 

r beraelf and then for her 


I, ]et Tnc know my dcstin;. 
! neishboring camp bi 

They lie not; first to me, and then to hii 
eadj, the ■mugglen retire, and the atoge is 

Je dis 

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

By Gersldine Firrar, Soprano 

(InFrtneii) 6B144 12-mcli. •l.»0 
By France* Aldi. SopriDO 

(/» French) 74353 12-iach. IJIO 
By Alma Gluck. Soprano 

(/n Fitneh) 74249 12-iaeIi. 1.50 

Into this atrange and wild scene now enters Micaela. 
the peasant sweetheart of Donjoit, who ha* forgotten her 
in his fascinatioD for the wayward Cnrnien. Mlcatla has 
braved the dangers of the road to the smugglerg' retieat. 
whither Don Je*e has followed Carmen, to cany to the 
■oldiei a mesaage from hii dying mother. Tlie innocent 
sill is frightened by the vast and lonely mountains, and 
in her aria appeals to Heaven to protect her, ingenuotisly 
confeaaing her love for Donjoat and her detestation of the 
woman who ha* led him away from his duty. 


, ud ind WdTjr 

■hot fired, run* 

„ - , '-- ~> suaiding 

tne smuESlen eUecIa, hu Ken a vtmnger and 
fito St him. It provea to be EtcamiUa, the 
toreailor, who ha* come to join Carmen. He 
appear*, examiDing bia hat with rueful gaze, 
as /ojc'i bullet had gone throush it. "Who 
are you >" laya the latter. " I am EicamiHa, 
toreador of Cratiada t " replies the bull fighter. 

Je suis Escamillo 

(I amEscamillo!) 

By Lloa Beyle and Hector Dufraime 
{In Fraich) *627S0 lO-inch. •0.85 

,vl) The two mcD compare notei; and learning 

. . le challenge* the other to a duel with knive*. which U interrupted by 
the timely arrival of Carmen herself. 

A dramatic scene between Caimtn and Jot ia interrupted by Micatia, who beg* /cm to 
return to hi* mother; and Carmen, with fine scom, echoes her request Thus to leave hi* 
rival in possession of the field is too much for the soldier, who *wears never «> be parted 
from the gypsy until death. 

that th< 


* (Id Jeit): 


Yes. thou shauldit g 
Josi (fitrttly): 

Yes, that tfaoo mayi 


And I will forct ibee to know 
And submit to the fate 
That both our llvei uniteil 

The message from his dying mother, however, 
decides him; ho will go, but vows to return. The 
Toreador theme in the accompaniment indicates 
the triumph of Examlllo in the gypsy's sttentions> 
•nd brings the powerful act to a close. 


Tliirti Intermezzo 

By La Seals Orcheitra *62101 lO-iaeh. » 

By Victor Herbcrt'i Orchutra 70066 12-uick. US 

ThU short inlermezzo ii a quick bustling one, only the plaintive oboe aolo auggeat- 
ing the tragedy wbich is soon to occur. 


(A Sqaan In StailU, lollh Hit walls iff Vie Bull Ring Aoon al Iht (acit) 
The fourth act opens with a momentary brightnen. Outside the Plaxa Jt Tom, in 
Seville, an animated crowd awaita the proceuion about to enter the ring. Thii scene, as 
the orange scllen, hawken of fana, ices and the rest, press their wares on the waiting 
crowd, ii extremely gay, and aftorda welcome relief from the intensity of the drama. 

Etcemlllo. who has returned to take part in the buU-£ght, now enters, and all join in 
the refrain of the Toreador Song in his hcoior. 

Si tu tn'atnes 

(If You Love Me) 

By Geraldine Farrar. Soprano; 

Pasquale Aniato, Baritone; with 
Metropolitan Opera Chorus 
(French) 890B6 12-incli, (2.00 

By Inei Salvador, and 

Francesco Ciffada 
{Italian) *62102 10-inch, .89 

Escamitio takes farewell of Carmen 
before entering the arena. He prom- 
ises to fight the better for her pres- 
ence, and she. half conscious of what 
is coming, avowa her readiness 10 die 
for him. Thia number ia full of lovely 
melodies and one of the most beauti- 
ful in the opera. 

As the procession passes on, the 
warning comes to Carmen that Jote ia 
here, to which she replies that she 
fean him not. 


C'cst toi ! {You Here ?) 

By Ger>ldiae P*fr«r, Soprano, and Giovanni Mattindli. Tenor 

(hFnnch) 69111 12-ineh. *2.00 
By Mile. Brohly and Leon Campafnola (/n FrencA) *95084 12-inch, 1.50 

Je t'aime encore (Let Me Implore You) 

By GeraUine Parrar. Giovanni Martinelli, with 

Metropolitan Opera Chorui (/n Frm 

By Mile. Brohly and Leon Campafnola (In Fm 

Jott now enten and make* a laat appeal, which i* dramaric in its intenaity. h take* 
the form of a iwinging melody lo on ioNitent triplet accompaniment. To each request 
of her lover. Carmen addi her disdainful negative, recUeaa of danger. 

Wilt Ibou 

This ring 
Take iC 

in I b< 

rscKh 1fa«, 
rae depart? 

, C.rni..n, 


on m>- flng, 

rr placed. 

Ccrmcn-, laat refuul. »i .he flings 
him back his ring, rauws the ■oldiers 
jealousy to madness and he stab* her to 
the heart. The last notes of the opera 
are a few pitifullones from the stricken 
;<«e addressed to the mute form of his 



I Selection _ _ By Soum*« Bandj 

Prelude, Act I-^nti' acte. Act IV— ToTeador Song faSOOO 12-iiu:h. 

I FnhdilHx—OBtrtun By Seiua'i Band] 

Gcmt from C»nncii 

Chorus, "Here They Are" — Solo end Choitu, "Habanen " (Love i> Like 
a BirdJ- Duet. " Again He See> HU Village Home "-Sextette, "Our Cho»n 
Tiade " — Solo and Chorua, " Toreador Song "—Finale. 

By Victor Opera Company (/n Engllth) 31843 12-iacb. 

roreador SooK By Werrenrath and Choru* ('n Fk)kA)1.,-. _ ,. . . 
Pasllacd-Pmlogut ^ RdnaldWerrmralh. Barilont (h Uallan)r''°*'° "-""="• 
rraeador Sons By Alan Tutoer, Baritone (/n £fig(/iA)l ,.,_, ,_ . . 

T«»alor€-Tempat of l/tt Htari Bg Jtlan Tamo {In Engllth)! ^'"'^'- '*'"'°*''* 
/Prelude (Overture) By La Scala Orcheatral-a-.. ,, . . 

\ Damnallim ,(/ Fatal— Hungarian Manh Bf Saaa'* Bandf*''^'^ I2-mcli. 

I Prelude (Overture) By La Scala Orchewral , -, , _ ,-, - ,l 

Scena delle carte (Card Sone) By de C««a> (/n /(oftanjr lO-wch. 

Canionedel Toreador (Toreador Sane) By Citfada. Huguet. 
Salvador. La Scala Cboru« (In Italian) C 

Caoalleria RutHcana — Intamtm By Piyor i Orchalra 

nntermeiio— Acto III. Aragooaiie La Scala Orchestra 

(Sctum'ami (If You Love Me) By Salvador and Citfada ( 
I (/n llallan) 

Ije tnU Etcamillo (I Am Eacamillol) By Uod Beyle. Tenor: 
i Hector Dufraone. Baritone (In French) i 

I Valitda "Rota {Mara) Bs Mile. Lacellt Koiteff, Soorane (FrencA) 
/Preludio, Acto IV By La Scala Orcheatraf.-,-, ,„ . . 

62618 10-in< 

62102 lO-inch. 

'62750 lO-ioch. 

«ndU. UnaMlUri 

Nerma — Mira a Norma — By Ida Qlai . .. 

{Carmen Selection (XylofAone) By Wm. Reitzt ,,„„_ 

Boheme—MiatUa fValtx (WkblUng) By Guldo Gldtdlnir'"^^^ 

{Carmen Selection By Ve«iclla'( Italian Band] 

Pielude— Toreador Song— Habanera ^39610 

CoronaUim March { Lt PtophUe) (Meyt^ea) Bg Vtudla't B] 

fC'e« - - - .. 

Ue t'ai 








LibTctto adapted from the book of Versa hj Targioni-TDnetti and Menaaci ; muaic by 
MaKBsni. First performed at Rome^ May 17.1890; in Germany, at Berlin, October 21. 1891; 
London. 189) ; Paris, January )9, 1892. Fint United State* pioduction in Philadelphia. 
SeptembeT9. 1891. Given in New York October I, 1891. 

Characters and Original Amcricaa Cast 

SANTUZZA. (■&,►*«('-«« a viltagegirl Soprano (Kronold) 

LO-A. {LcJJak) wife of Alfio . Mezzo-Sc^rano. . . (CampbeU) 

AURIDDU, (Tno-ftc'-Joo) a young soldier Tenor (Guille) 

lALnO.i^f-fi"-!-) a teamster Baritone ,. (Del Puento) 

n.UaA. {Lea-chti'-al,) mother of Turiddu Contralto (Teale) 

Chorus of Peasmu and Villagers Chorus behind the scenes 

The KOie h laid In a SitlUan Olllagt. Titnt. the prewnl 

Pietro Mascagni, son of a baker in Leshom, was bom December 7, 1663. DeMined by 
his father to succeed him in business, the young man rebelled, and secretly entered the 
Chenibini Conservatory. He began composing at an early age. but none of his works 
BttTBcled attention until 1890, when he entered a contest planned by Sonzogno, the Milan 
publisher. Securing a libretto baaed on a simple Sicilian tale by Giovanni Verga, he com. 
posed the whole of this opera in eight days, producing a work full of dramatic nre aitd rich 
in Italian melody, and easily won the prize. Produced in Rome in 1890, it created a sense- 
tion. and in a abort time became the most popular of one-act <)peTas. 

NOTE— The immalltmfnm Caulfcrla Anidnina am (fam Iv kind utmHtloTi c/ G Schlrma. (CoMi'f IS9r.> 


TuriJda, ■ 


young Sicilian pcBunt, retunu from 

:an*alation he paya court lo Sanluaa, who 
loveg him not wiaely but too well. Tiring of her, he turns 
again to Lola, who aeema to encouiage him. Sanluxxa, in 
deipair, conGdea all to Tatiddu's mother, and when Affio 
retunu telU him alL Ho ia (urioua, challongca Tiffiddu and 
kilU him. 


By VeafdU'a IuUm Band- 
Part I aad Part U 39493 12-iach, *1.35 
By La Sella Orcheltra— 

Part I and Part II *39680 IX-inch, 1.3S 

By La Scala Orcheatra *39104 12-iiich. I.3S 

The Prelude takea the form of a fantaiia on the 

principal them ea of the opera. During the number TuHJda'» 

voice ia heard in the charming Slcibaria, in which he tella of 

hia love for Lola : 

Siciliana (Thy Lips Like Crimson Berries) 

By Enrico Caruao, Tenor {Harp ace.) {In tiallan) 

By Giovanni Martinelli. Tenor {Harp ace.) {In Italian) 

By Franceaeo Tuminello, Tenor {In Italian) 

It ia aung behind the acenea, before the liae of the curtain, m« 

At the cloae of the number Turlddu 'i voice ia heard dying awi 

delightful aerenade is almost the only bright spot in Mascagni* 

SCENE— .4 Square in a Sleltlan Village 
After the Sldltana the chorus of villagera ia heard, also 
behind the acenea, and during thia chorus the curtain rises, 
showing a aquare in the village, with (he church at one side 
and the cottage of Turtdda't mother on the other. 

Gli aranci olezzano (Blossoms of Oranges) 

By La Seals Chorua— 

Paru I and II {In Italian) •39681 IS-inch. *1.39 
By La Scala Chorua 

{In Italian) *68218 13-inch. 1.39 
It ia EsaterlJayandcrowdiaf villageiBcniHtheaquBreand 
go into the church. Sanbuia enters, and knocking at Lacia't 
door, asks her if she has seen Taridda. 

Dite, Mamma Lucia (Tell Me.Mother Lucia) 

Taridda 't mother replies that he is at Francof onte, but the 
jealous girl refusea to believe it. and suspects that he is watch- 
ing for Lela. 

The cracking of a whip and shouts of the villagers 
e Aifio, who appeara and aings a merry lOng. 

8ror2 10-inch, *lJOa 

64944 10-inch, L.OO 

*396eO 12-inch, 1.39 

iking it peculiarly effective. 

'ay in the distance. Thia 

pBsaionate and tragic operatic 

II cavallo sealpita (The Sturdy Steed) 

By- Enrico Pema, Baritone {In Italian) 

18949 lO-inch. *O.B9 


He 18 happy and free, his wife Lola loves him and guards his 
home while he is gone — this is the burden of his air. 

The peasants disperse and Alfio is left with Lucia and Santuzza, 
When he says he has just seen Turiddu, Lacia is surprised, thinking 
him still at Francofonte, but at a gesture from Santuzza she keeps 

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

Regina Coeli (Queen of the Heavens) 

(Easter Hymn« Part I) 

By the Opera Chorus (Italian) *95686 12-mch, $1.95 
By La Seals Chorus (In Italian) *68218 12-inch, 1.95 

Inneggiamo al 5ignore(Let Us Sing for the Lord) 

(Easter Hymn, Part II) 

By Giortfina Ermolli, Soprano, and Chorus 

(In Italian) *95685 12-inch $1.35 

All go into the church except Lucia and Santuzza, and the 
agitated girl now sings her touching romanza, beginning: 


\* i\X ) •> i TiS^^ 

Val I* ■» p* i^* ■»■•■«. pH<iM rM-tfw Ml 

^ fmitmtfm, mk, tamm ' ma, tmt tr* tm war *# wh £» tHf 

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

Vol lo sapete (Well You Kno'w, Good Mother) 

By Margarete Matzenauer, Contralto (In Italian) 88490 12-ineh, $1.50 

By Emma Calv^, Soprano (In Italian) 88086 12-ineh, 1.50 

By Giortfina Ermolli, Soprano (In Italian) *35685 12-inch, 1.35 

Stung with the remembrance of her great wrong she sings of vengeance, but love over- 
powers revenge, and in spite of herself, she cries : ** I loved him I ah, i loved him 1 ** Then 
the thought of her rival, Lola, returns and she gives way to despair, throMring herself at 
the feet of the gende mother of Turiddu, who is powerless to aid her and who can only 
pray for the wretched woman. 

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 mel — 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! 

Andate, o mamma (Implore Your God to Save Me) 

By Giortfina ErmoUi, Soprano (In Italian) * 18549 lO-inch, $0.85 

Good mother, go and implore your God to 

save me, 
Pray, oh pray for my soul. 

I'll see Turiddu, 

And humbly beg him once more 

To be faithful! 

Luda tries to comfort her and passes into the church just as Turiddu appears. He asks 
Santuzza why she does not go to mass. She says she cannot, and accuses nim of treachery, 
which puts him in a rage, and he tells her brutally that she is now nothing to him. 

Tu qui, Santuzza (Thou Here, Santuzza!) 

By B.BesalCl, Soprano, and G.Ciccolini, Tenor (Italian) * 5 5022 12-inch. $1.50 
By G. Ermolii« Soprano, and F. Tuminello, Tenor 

(In Italian) *18558 lO-inch, .85 



Thii acene is now intemipted by Lola 't voice, heard behind the (ceiM*. 

Fior di giaf iftolo (My King of Roses) 

By Ermolli, TumincUo and Ravelli (,ln llallm) *3S6B7 IS-incb. *1.35 

My king of catti, Nodf lilu to him ao bright 

Radiant angels stand That land diKlosn, 

In Hear'n m thousands; My king of m»M! 

She entera, end divining the lituarion, ihows her power by taking TmldJa into the 
church with her. while Suitu^» beg> hiro not to leave her. 

Ah. No. Turiddu. rimani (No, Turiddu, Remaml) 

By G. Ermolli, and F. Tuminello {In Italian) *396ST la-inch. tUS 

By B. Beaala and G. Ciccolini (In llaltan) *59022 12-iach. UO 

Frantic with jeBlousy, Sanbiaia turns to /l(fio, who now enlecs. and lella him that hii wifa 

Turiddu mi tolse Tonore (Turiddu Forsakes Me !) 

ByB.BeaaU andE.Badini (.tnllallan) *S90ai 12-incli. tlJO 

ByG. Ermolli and E. Peroa {InhaUan) *L895e lO-ineh, .65 

Alfio thanks SantuzMa and iwean vengeance, while SanluzMa already regreta her diicloeure, 
but ia poworleaa to prevent the consequences of her revelation. 

Comare Saata. allor (Santuzza. Grateful Am I) 

By G. Ermolli. Soprano, and E. Perna. Baritone 

UnllaUm) *I0957 lO-iach. tO.eS 

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

By Solari and Janni {In llallan) *6r65r 10>inch, *0.85 

They go out, leaving the atage empty, while the beautiful Intermezzo is played. 


Pryor'a Orebettra *62616 10-Jn., 10.85 

Victor Concert Orcheatri 

*I731I lO-in., .89 
Veuella'a Italian Band *6T896 lO-in., .83 
Grande OrchMtra *IS9»7 10>in„ .89 

PJetro'f Accordion Quartet 

*17941 lO-in., .69 

Hurtado Brothers Royal 

Marimba Band 18048 10-in., .89 

The instoDtBoeoui populaiin' of this (election 

wu remarlcable, and in no mull meaaure helped 

to make Caoalltria AuiNeonathe tremendouB auc- 

ceaa (hat it waa. The beautiful melody and the 

lovely backffround of peaceful harmony make the 

Inlttmtxza ■ tone picture of esquiaite coloring. 

After the storm and pawion of the (irtt Bcene. 
thia lovely number comea aa a blewed relief. The 
curtain doea not fall during the playing of the 
htermezzo, although the audience receive* the 
impreaaion that an interval of time haa elapsed. 

A casa, a casa (Now Homeward) 

By F. Tuminelto. Tenor ; E. Ravellj. MeEio-Soprano. and Chorua 

(In Italian) *3968e ll-inch. *1.39 
The aervices beine over, the people now come from the church, and Tartdda. in a reck, 
lesa mood, invite* the crowd to drink with him, and ainga hii spirited BtfnJiil. 

Brindiai — Viva il vino apu meffgiante (Drinkln(f Song) 

By F. Tuminello. Tenor, and Chorua (/n /lallan) *39688 13-iiieh, II J9 

In striking contrast to the prevailing tragic tone of Maacagnl's 
drinking song, which Turiddu ainga aa 
gaily B> if he had not a care in the world, 
although at that moment the culminating 
tragedy of the duel is cloae at hand. 
The Brlndiil, which haa a most fascinat- 
ing swing, begins : 

■ed wine rich[y flow 
g love, with s'milH 

Hsurc it redoukci. 
forget fill ncu I 

refuses. Turlddu throws out 

the w 

A voi tutti salute (Come Here. Good Friends I) 

By Tuminello. Pema and Ravelli (In Italian) *39689 12-inch, II.3S 

The Bcriousneaa of this scene ia not lost on the peasants, who now leave the young 
men together. A challenge is quickly given and accepted after the Sicilian (a*hion, 
Turiddu viciously biting Aljio't ear, and they arrange to meet in the garden. 

Turtddu now calls his mother from the cottage, and aaka for her bleaaing, bidding her, 
if he doea not return, la be a mother to Sanlaxza, 

Addio alia madre (Turiddu's Farewell to His Mothg-} 

By Enrico Caniao. Tenor (In Italian) 88454^ 12-inch. >1.90 

By G. Ciccolini, Tenor (In llallan) *95021 12-inch. 1.90 


Mamma, quel vino c generoso (Too Much Wine. My Mother) 
(Turioau's Farewell and Finale) 

By E. Ravelli, Mezzo-Soprano. and F. TumincUo. Tenor 

{Inllallan) *3»68» 12-inch. *1.3S 
Lacla i» diitrened snd bewildereil, anil calU after him deipairingly. Confuved cries are 
now heard and a woman acreami " Turldda n murdered I " Sanluzxa and Lada link down 
■enaelsM, and the curtain ■lowly (alia, 

Every note ofMaacagni'a popular opera haabeen recorded in this new serieo. On account 
ofPaitie. 10. 11. 14, 15 and 16 being in 10-inch lize it haa not been poairible to double the 
series in regular order, and the recordi ihould be played juit the way they are numbered. 
For enmple, 35666-A ihould be followed by I8549.A. etc. 

1. Prelude and Sicilians (Thy Lips Like CrimionBcrriej)) 

By Pranceaco Tumincllo. Tenor, and La ScaU Orch.[356eo IZ-lacb. *1.S9 
No. 2. Prelude. Part II La Seals OrchJ 

No. 3. Introduction and Chorus of Villagers (Cli aranci 1 

olezzano) La Seals Chomsf3S68l 12-iiich. 1.39 

No. 4. Chorus of VilU<ers. Part II U Scats ChorusJ 

5. Dite. Mamma Lucia By C. Ermolli and E. Ravelli] 
r. Easter Hymn. Part I (Regina Coeli) [35686 12-inch. 1.39 

The Cpera ChorusJ 

8. Easter Hymn. Part II llnneKiamo al Sifnore) ] 
By Giorgina ErmoUi. Soprano and Chorus)95689 12-inch. 1.35 

9. Vol lo sapete By Giortfina Ermolli, SopranoJ 

6. Alfio's Sonf (II cavallo scalpiU) 1 
By Enrico Perna. BaritoneLl8549 10-inch, .89 

No, 10. Andate. o mamma By Ciortfina Ermolli. SopranoJ 
(No. 11. Tuqui.SantuiiaT By Ermolli and Tuminelloi, q-.q ,n ■ i. a< 

tNo. U. Turiddu mi tolse Tonore By Ermolli and Pernar"'''' lO-'n^h. 89 

(No. 12. Fior di eiiKBiolo ) 

By C. Ermolli, Tuminello and Ravellib968r 12-ineh. 
No. 1 3. Ah. No. Turiddu. rimani By Ermolli and TuminclloJ 



By Ermolli and Pemal, bust 
By L» Sola OrcheftraJ*'*"' 

fNo. 19. Cam«re Santa, allor 

\No. 16. IntermezEO _, 

{No. 1 7. A Ca«a. a ca«a By Tuminello. Ravelli and Chonial 

No. 18. Brindiii— Viva il vino apu taeggUnte |39688 

By Tuminello and ChorufJ 
fNo. 19. Avoituttiaalute F.Tumincllo. Perna and R^vellil-,,-. 

|No.20. Manuna. quel VI 

e fenerofo Tuminello and Ravclli/ 


{Gem* from "Cavalleria** By Victor Opera Co. 
Gtim/mm"Pagllaixl" "■'■-" 
furiddu, mi tolae 
lanuna. quel vino ... 

uquiSantueea (Thou.Santueea) By Bcial£l and Ciccolinil.. , 
lo. No. Toriddu By Bewlft and Ciccolini (In llalian)]^""^^ 

(Prelude By La Scala Orchestral,,,-, 

iSelection ("Alfio"i»oii(,""E«t«rChorBle."'lBteni>«»>") Pryor'aB/ * 

/Gli aranci olezzano By La Scala Choru* (In !laUan)\^^^^^^ 

10.inch, *0.89 
IZ-inch, 1.39 
12-incli. 1.35 

12-incli, *].39 

(Refina Coeli 


\ Caimen — Tonodot 


\ Tala of Hogman—Barcar^U 

Paeliaccl—VttU la giiMa {A, 
Mimtt (Boechtrinl) 
{Ad eaai io noa perdono 
Mtfnon — Lt^adn RondlntUt 

By La Scala Cliorua (In ltallan)r 

By Pryor'i Orcheatrai , ., , „ 
OgaJa. Hi^ti and Chowt (//aHon)r 

Victor Concert Orcheatral , ,,, , 
K/cfcr Concert OrcAerf™/*'*' ' 

„,.., '■'■"-•■^"■■'•'■•^£;}im. 

Veiaella*! Italian Bandl, --.. 
K««//a-. Ilclfon Band}"^^^ 
SoIaH and Janni lln /io(/on)Uj,^jy 
Martlntngo and Rublnil 



ch. 1.3 






Coinic open in three acti. Text by Clairville and Gabet; music by Robert Planquette. 
Fint produced at the FeUtt Dramallqua, Paria, April 19, 1877, where it nn (or 400 condnuou* 
per^Tmancea. Pint New York production at the Fifth Avenue Theatre, October 27, IS77. 


HENRI, the Maiquia of Valleroi Baritone 

CRENKHEUX, a youDK villager Tenor 

GASPA RD. a mi»er Baa* 

SERPCaXTTE, the good-for-nothing Soprano 

CERMAINE, the loM Marchionen Meizo-S<^rano 


Time and Place : Normandy ; lime nf LmiIi XV 

The Chimea of Nonnandy abound* in atriking numbers, 
and the muijc ii full of gayelyand French grace. It haa had 
no len than (ii thousand performancea. a testimony to ita 
enduring place in popular appreciation. 

The opera open* in an old Norman village, where a fair i* 
in progren. Henri, the Marquli of Valient, has juit returned 
to his native town after an absence of many years. The 
village gossip* are discuning with vehemence, acandal* about 
SapiJetle, the village good-for-nothing, who arrives juM in 
time to vindicate herself by turning the tables on her traducer*. Gaapatd, the miser, ho* a 
plan for marrying hia niece, Gtrmaine, to the aheriff, but the young girl objecta, telling him 
that if she must wed ihe (eels it her duty to many Grenlchaa, a young villsger, in giatitude 
for hi* saving her life. To escape the marriage, which is distasteful to both Gtimalne and 
Grenlcheai, and to fly from the vengeance of GaipuriJand the sheriff, she and Grenlclteta take 
advantage of the privileges of fair time and become servant* of the Manpila. 

In the second act the ghosts ace reported to be roaming the Gistle of Valleroi. The 
Manptit does not credit these stories and soon discovers it is only old Gatpard, the miser, 
who, when found out. goes crazy through fear of losing the trcaaure* he has concealed 
there. In the last act the castle is restored to it* former splendor and the Marquh is giving 
a fits to which he invite* all the villagei*, including the crazy Gatpard. Serp(Jelle is there as 
a fine lady with Grenlcheux as her factotum. After a love scene between the ManjuU and 
Germalne, it i* diacovered that the latter is the rightful heiress and true claimant to the title 
of Marchioness. The story come* to a fitting conclu*ion with the betrothal of the Marqali and 
~ a whom the bells of Comeville ring out sweetly and gladly to tell the happy news. 

Gems from "Chimes of Normandy*' Victor Liffht Opera Co 31788 12-inch. 11.00 
ChoTui, '■Sil™! HooM "— "Juil Loot si Tli«""— "Cold Swsst ■■ on 
Mr Braw"— 'That Nichi I'll Ne'ei Forsel"— "Bell Chotu*"— Finale 

i Selection of the Principal Air* By Souss's Band! 

•■S»nd.l Mon«r. GoHip G«ld«." Ac I--J1.- Look « Thi.'- L.,,^ ,. ,. 
■Th.tNL«)«nrNeerFor*et," Acl lU— "When I'm bj Your Side," J33134 12-mch, 1.3S 
Ael ll-"Liiend of the Belli," Ad I— "Nol ■ Chan u AU." Art 11 
Nalla Inlermtxxo—'Pai da Heart (Dellbet) Tiyor'a Band) 

/Selection of the Principsl Airs (Some at oiove) Pryor's Bandl , i«a« i n ■_ i. oa 
\ Pbtl and Peatani Oleriare (^n Suppij Aysr'. Banrff'"®' 10-inch. .89 

I Selection of the Principal Airs By Victor Orchestral 

"On Billow Roclimn"--'With W Mr He«l"-"A. He'. Lo^ns L,,„„ .... ... 
Somewhst Pile "-'Xesend of the Bdl*"-"JuM Look at ThM. JaM p9983 12-ulch, 1.35 
Look u Th»"— "Ciilei Smc"— Finale 
Ermlnle Selectlen Vieior Orcltttlrai 


Text by A. D'Ennery. Louii Gallet and Edward Blau, based upon the pUy oF the iBine 
name by Comeille. BloriFying a famoui SpanUh hero. El Od (1040.1099). Muaic by Jule* 
MaaMnet. Fint production at the Op^ia, Paiia, November 30, 1865. with a notable caat 
including Jean and Eduard de Reazke and Pol Plan^n. The first American production 
occurred at the New Orleans Opera. First New York presentation Febniaiy 12, 1907, whk 
the de Reaxkei. Plan^on, LAMoUe. de Vere and Ulvinne. 


King Ferdinand BaHtone 

Don URRAQUE. his son Baritone 

Count Gormas Bass 

CHIMCNE. his daughter Soprano 

Don RODRICUE, known as The Cid Tenor 

Don Diego, his Father Boss 

LEONORE, maid to Chimine Soprano 

Courtiers, soldiers; townspeople 

Time anJ Place : Seeitte. Spain ; Tiodflh Ctnlara 

warrior. affecrionTlely c^D' 
returned from a successful 
to be knighted by King Ferdinand. 
at the house o( Counl^ Gonna*, wl 
lo*e with the Qd. 

ict Rodrigia, a Spanish 

iqueror," and recently 

ilh the Moon, is about 

The ceremony takes place 

lae daughter, Chlmint, is in 

the approval of the King 

•' and ttie royal family, for while Ftrdlnand'i daughter 

in love with the Od, she realizes the impossibility of such a morrisse for one of hai 
exalted station. 

Csonl Gomai has been promised a governorship by his sovereign, but in order to further 
•how his esteem for the valiant warrior, the King bMows the office upon Don CHtgo, the 


Cid't father. The loa* of the appointment 
which he had been led to expect ao infuriatea 
the Count ihst he grosily iniulti Diego, who 
appeala to hia aon to avenge the honor of their 
(amity. The Qd promises, but ia diamayed to 
find (hat it ia hia betrothed'a father who ia to 
be hia adveraaiy in the duel By accident, 
rather than deaign, Rodrigue killa the Coant, 
who expires juat aa Chlminc arrivea and sweaia 
to avenge hia death. The King, however, 
refuaea all her entreatiea for juatice, and will 
not condemn Rodrigut to death; one reaaon 
being that the Moon ore again advancing on 
Spain, and the Qd ia needed to command an 
army which ii lo go (o meet them. Before hii 
departure he aeeka a meeting with Chlmint, 
who, despite her father's death, cannot alto- 
gether harden her heart againal him. 

The Cid'i encounters with the Moora at 
first result diaaatroualy. and news of hia defeat 
and death ia brought to the King, but a second 
report aaya that he is alive and has routed 
the enemy. Shortly thereafter the hero him- 
aelt appeara, and CMtnint, love (or her father 
again uppermost, demands that he be con- 
demned to death. King Ferdinand acquiesces 
without any real purpose of complying, and 
requests her lo pronounce the death sentence. 
This ahe cannot bring herself to do, and 
when Redtigat draws his dagger to kill himself 
if she will not wed him, Chtmint is forced to 
acknowledge that love conquers alL 

itwim MBMiL Pg LWBiliw* 

It 7lt/l - daamn Ittana 



O souverain, 6 juge, 6 pdret 
(Almighty Lord, Oh Judge. 
Oh Father t) 

By Enrico Caruso, Tenor 
(.In French) 68954 12-iiich. *1^0 
Mr. Caruso has given the air from Act III, 
which Rodrigut sings alone in hia camp the 
night before the great battle with the Moori, 
giving it in the original key, which is a crucial 
teat for any singer. The abort introductory 
recitative ia followed by a broad melodic pas- 
sage delivered in a truly heroic manner by this 

The Eiiglish text by Dr. Th. Baker is from 
the Schirmer "Operatic Anthology." 


To^our™"'ile, ^prVwnt lo^jours, 
It t adorsit au umpa prospire 

il vai! ofi"li''"oi m^ri^'ai'ne"" 
Libre de lous rtgic^le humatnsl 

Almighty Lord. Ob Judge, Ob Falber, 
\*eilid everraoie. /et near aWay^ 
While life was bappy I sdnred Thee: 
I bkss Th» still, tbo' dark the dayl 
1 fallDW where Thy law shall lead me, 
No vain rigril shall r>r be mine. 
Thine image only stands before me. 
My soul sfaall IruBt Tby love divine! 



Text by Louia Payen; music by Jules Massenet. First produced at Monte Carlo, 
February 23, 1914, with Marie Kousnezoff, Alfred Maguenat and M. Roussili^re. First 
American performance by the Chicago Opera Company, January 1916. 


Cleopatra, Egyptian Queen MezzO'Soprano 

Mark Anthony, Roman Elmperor Baritone 

OCTAVIA. betrothed to Mark Anthony Soprano 

CH ARMIAN. Cleopatra's maid Soprano 

SPAKOS. Egyptian Freedman, in love with Cleopatra Tenor 

SEVERUS I'^o™*" Officers Baritone 

AMNHES, tavern keeper of Alexandria Baritone 

ADAMOS, A dancer 

A Voice Baritone 

Greek and Egyptian slaves; Roman Officers; Gift-Bearers; Jugglers; Guards of Mark 

Anthony and Octavius 

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

Cleopatra is Massenet's last work, having probably been completed only a short time 
before the great composer's death. Gossip says that this opera really was written before 
** Manon," but that Massenet, not being quite satisfied with it, had laid it aside. Whether 
this is true or not the work was not given until after the composer had passed away, and 
was then acclaimed by critics to be one of Massenet's finest compositions. 


The first act opens at Mark Anihonjf's camp in Asia Minor, where the chieftain is 
receiving pledges of fidelity from his defeated enemies. Spakqa, an Egyptian freedman, 
arrives and announces the coming in person of his Queen. Mark Anthony is not pleased with 
this visit, but when Cleopatra appears he is greatly impressed by her beauty and falls in love 

with her. In spite of his orders, which call him back to 
Rome, he determines to accompany her back to Egypt. The 
couple step into a royal galley and depart for the Queen's 
home, to the chagrin of Spakqs, who is himself enamoured of 


After a lengthy stay in Egypt, Anthorty, wearying of the 
courtesan, has returned to Rome in order to ^ed his former 
betrothed, Octaoia. At the opening of Act II, in the midst 
of splendid wedding festivities, an officer, Ennius, arrives from 
Egypt, and informs Anthony that Cleopatra has quickly consoled 
herself for Anthony's desertion, and now looks with ^vor 
on her faithful freedman Spakot. Full of jealousy^ and his 
infatuation renewed, he forsakes his prospective bride and 
hurries back to Egypt. 

The next scene occurs in a tavern in the fast quarter 
of Alexandria. The Queen, disguised and attended by Spakos, 
is there observing the dissipations of her subjects. A com- 
pany of dancers appears headed by Jidamos, and Cleopatra 
is much attracted by him, at which Spakos flies into a jealous 
rage and attempts to kill the boy. Tlie crowd is about to mob 
these strangers when the Queen discloses her identity. 
MME. KousNEZOFF (clsopatra) Charmion arrives and tells the Queen that Anthony is awaiting 



her M dl« Palace. Sp^ko* atteinpti to detain ber, but ahe 
causes him to be seized by the guardi^ and hastens to welcome 
her (oimer lovet. 

hi Act 111 a tete is being held in Cleopatra' t gardens, when 


At the beginning of Act IV CItopotta is awaiting news from 
Ardhonu, intending to kill hencK if he is defeated. Spalfot in- 
forms the Queen that Anthony believes her dead, which so 
enrages Clematra that she stabs him. Anthony, his atmy van. 
quished and himself mortally wounded, appears; and expires 
in the Queen's arms, while Cleopatra, overcome with grief, 
presses B poison asp to her breast and dies. 

The following air occurs in Act II, and is sung by Anthony 
after he has received Enntai' news that Cleopatra has consoled 
herself with Spakot' love. He takes from a cabinet some tab- 
lets, and reads with emotion the love messages Cleopatra had 

Air de Lettre — Tes messages d' amour (Thy Messages of Love) 

By Mtrc«I Journet, Bass (/n FraneA) 64S87 lO-inch. «1.00 


{The Golden Ceeld 


Text hy V. BieULy, founded on a fairy tale by Puahkini music by Rinuky-Koriakoff- 

Firit perfoimance September 24, I909,al Zimin'sPriTaleCperaHoute, McMkow.BtPotrogiad 

January, )9I0. The revised version was produced at the Paris Open June 9, I9M; London, 

"* — ■ - ,( (1,^ Melropolitan Opera House, Marx:h 6, 1918. 

June 2S. I9M. FintAmerii 

The Princess 
The King 



THE Prince 
The General 
A Knight 

Maria Bariienlos 
Adomo Didur 
Sophie Brailau 
RaEaelo Diaz 
Pietio Audiaio 
Banl Ruysdael 
Vincenio Reschiglion 

e Sunddiu. 

et^ Oriental Dane 

Pan torn imists 
Rosin* Galli 
Adolph Bobm 
Queenie Smith 
Giuseppe Bonfislio 
Marshall Hall 
Ottokar Bartik 
Vincenzo loucelU 

rs, Giants and Dwarfs. 

As oriBinolly written, Le Coq d'Or was purely an opera, but after an unsuccessful 
production in Russia, it was rewritten as an "opera-pantomime" for the Serge DiashJeff 
Russian Ballet. In the new version the text is sung in French by the vocal artists and chorus, 
while the action is peiformed by the ballet. 


SCENE— Pofac* of King Dodon 
Tlie first act shows the palace of King DoJon, who is conferring with his boyards. The 
King declares he is weary of his throne^ and of the constant warfare with neighboring 
kingdoms. He asks for advice, but the boyards seem unable to help him. Tile Oown 
Prince Qn/on suggests that the troops be concentrated at the capital, but General 'PoUfan objects 
vigorously, and the whole council is soon engaged in violent quarrel. Tlie Admlogtr now 
appears and offers to present to the King a Golden Coclferel which will always give 
warning when danger !s at hand. The 
King at first U doubtful but when the 
Cacitrtl proves his worth by an actual 
test, Dodon accepts the gift, promising 
the AttnUogtT anything in return that he 
mav demand. The Cock '" putto bed 
with much ceremony, and soon proves 
his value by giving warning of an in- 
vasion, and the King '* sons leave at Mice 
to repel the attack. 

SC£NE^-,i4 Nairoie Gorge In a MaunMn 
In the second act King Dodon is 
wamed by the Cock to go to the aid of 
his sons. In a mountain pass he fiitds 
their bodies and sheds a tew tears, but 
his sorrow is soon forgotten when from 
a large tent on the hillside there comes 
a charming woman, the ^een o/ SAs- 
makhd. Tlie foolish old King becomes 
inhtuated, and, led on by the mocking 
Queen, he Is made ridiculous, singing 
with a cracked voice, and dancing in his 
clumrr fashion until he hlls exhausted. 
The Queen; however, agrees to marry 
him, and he joyfully p 


SCENE — OuUlde Dodon't Palact 
Tke final ncl ahows the people awaiting the coroins of the King and hU new bride. He 
arrives with a Klittering letinue and Bccompanied hy the Queen, who it already much bored 
by her doddering manaich. As the piocenion panes by, the King, leeinii the Attmloger, 
aalu him to name a reward for hia gift oE the Golden Coclferel. The wizard demand* the 
Queen henelf. and the King, mad with rage, itrikea him dead. A furious stotm threatens, and, 
terror stricken at what he has done, Dodon lumsto his Queen only to find that she scorns 
him. As the thunder rolls the Golden Cock suddenly crows, flies at the King, and drives his 
beak into his skull. As Dodon falU dying the sloim breaks in all its fury and darkness. A 
moment later it grows light, and it is seen that the Qfiten and the Cockf^ have disappeared, 
while over (he body of Dodon the unhappy people sing a lament for their departed monarch. 

Hytnoe au Soleil (Hymn to the Sun) Act II 

By Mabel Garrison, Soprano </n FrencA) 64r»0 IO.inch. *1.00 

the lilies bum in fiery sheavesj if the maiden comes in the evening to the founi 
songs. It is a mystical, oriental air with strange cadences and wailing passages frc 
clarinets which precede the voice in a simple melody, decorated with 


Hector Berlioz'a dramatic legend in four parU; book bated on de Nerval** veriion of 
Goethe'* poem, partly by Gandonniere, but completed by Berlioz himielf. First performed 
December 6, 1846. at tbe Op^ra Comlquc, Paris, in concert (arm. In New York under 
Dr. Leopold Damroscli, February 12, 1060. It was given at Monte Carlo as an opera 
February 18, 1693, with Jean de Reszke as Faatt. Revived there in 1902, with Melba, de 
Reszke and Renaud. First American performance of the operatic version in New York, 1906. 


MaRGUERTTE (MnAr-s»cMrf') S<rotano 

FAUST (Fomf) Tenor 

MePHISTOPHCLES (Mtf-lmJaf-Umt) Baritone or BaM 


Place : A German village. 

Berlioi, disregarding Goelhe'a poem, located the opening scene on a plain in Hungary 
nmply to esciue the interpolation of the Rakoczy March. But Raoul Gunsbourg, who 
adapted the cantata for the stage, changed the &nt scene to a room with open windows 
showing the peasants dancing and the military passing by to tbe itrBlna of the Hungarian 
March. Here Faiul soliloquizes on the vanity of all things, while the people make merry 
oulaide, and the march of the soldiers makes an inspiring Rniih to tbe scene. 

Hunifarian (Rakoczy) March 

By Sousa's Band *68052 12-iii., *l.39 

By rOrcbestrc Symphonique '35462 IZ-in^ 1.3S 

Scene II shows Faaal alone in his study, as in the Gounod version. He is about to 

take poison, when the strains of the Easter hjimn come from the adjoining church and arrest 

his purpose. Mephiatophetea then appears and suggests that they go forth and see the world 

together, to which Fautt consents. 

In the third scene Faiat and Mtphislophelet go to a beer cellar in Leipaic, where students 
and soldiers are carousing. Brander sings his song of the rat, which as in the Gounod opera, 
meets with but ironical praise from Mephlslophelei. 


o vanish from the g 

e of the utonuked (tuden 

Faial dialike* ike scene, and ike t 
amid a fiery slow. 

We next diKover Faail aaleep in a lonely foieal on tkc buika of the Elbe, where the 
demon muimuri a aoftly penelratins melody into kia cbt, lulling him to slumber, while the 
gnomes and sylphs dsjice tkrough (lis dreams, and the vision of Margutrik is seen for the 
first time. 

The next scene corresponds to the Garden Scene of Gounod. 

Mtphlalopheitt sings hia serenade: 

Serenade — Mephistopheles 
By Pol Plan^on. Bass 

ilnFnnch) 81034 1 0-inch. 1 1 .OO 

effect of the guitar by 

It wi 

While ike sprites . 
:omes from iheWse 
;kurck, but tke inBuer 
o Ike house and falls i 

■e tolly ti 

:e Margueritt appare: 

-.itly sleeps, but soon 
1 kmd ol trance. She tries to enter the 
}f Mtphtttophda prevents, and she return* 
the nrms of Faail. 
The last act contains four scenes. Scene 1 shows a moonlit 
room wherethe unhappy Afarpferffcsinffa her lament. This changes 
to a rocky pass where Mtphhhphtla informs Foiul that Margatiitt 
is about to be executed for the murder of het mother, /^ouil demands 
that she be saved, but is first required by Mtphitlopheia to sign tke 
fatal contract which pledges his soul to the Devil. Summoning tke 
infernal steeds Vorttx and Giaour, the wild Ride to Hell commences, 
shown by a striking moving panorama, while at the close the angels 
are seen hovering above tke town to rescue the soul of the pardoned 


f Hungarian March By Sousa's Bindlgag.^ ij tl 35 

\ Carmen — PrtlaJt By La Scola Otcheatta] 

(Mcnuet de« FoUct* | 

By rOrehestreSymphonique^39462 12 1,35 
Matche Hongmiit By fOrchtttre ^mpAonbiiwJ 



Words by Bsyard and St. George*. Mu*ic by Donizetti. Pint produced at the Optra 
CoiMqiK. Pari^Feb™»ry II.IS40; Milan, October 30. 1640; Berlin. 1 642. at the Royal Opera, 
and during the tieat lixty yean it had two hundred and fifty peifatmancea on that staKc. 
Produced in London, in Engliah, at the Surrey Hieatre, December 21, 1847, and during the 
■ame year, in [talian, with Jenny Lind. The hril American performance of which the author 
hu knowledge wa. that at the New Orleana Opeia, March 7. 1843. Jenny Lind, Sontag, 
Lucca, Patti, Riching*, Rccolomini, Albani and Parepa Rosa have all appeared here at 
Marit. Given by the Stralcoach Opera Co. in 1871 withCaiy,Capoul and Brignoli. Maretzek 
produced the opera just after the Civil War broke out, emphasizing the military features, 
with Clara Louise Kellogg as Marie. Sung in English by the Boston Ideal Opera Co. in 
leSB with Zelie De Luaian as Marie. Revived in 1902-03 el the MelropoUtan Opera House 
for Sembrich, the cast including Charles Gitibert as Salpitlo. Produced by Oscar Hammer- 
stein in 1909, with Tetrazzini, McCormack and Gilibert. Revived at the Metropolitan 
Opera House. 1917. 


TONIO. a peasant of Tyrol Tenor 

SULPIZK). Sergeant of the 21 « Bass 

Marie. Vivandl^re of the 21st Soprano 

Marchioness of Berkenfielo Mezzo-Sopiano 

li laid In the SuHu Tyrol. 

Up to I S40 Doni- 
zetti had written no 
less than fifty-three 
operas, and during 
that year five new 
ones were created by 
him. His DoujrAftrq/' 
Iht Regiment is a bril- 
liant little opera, with 
its rollicking songs, ita 

old Corporal. Few 

lelody or possess a 
lore enlerteiningplot. 
which tells of the Ty- 
olese peasant Tonji, 
who enters a regiment 
BOBinTTi to win the heart of its 

iHvanJlere, or daughter. 
The opera was first produced in 1840 at the 
Opira Comupte, and was the fifty-third work of 
Donizetti. At first it was not a success, and it was 
not until after its German and Italian triumphs that 
French opera-goers took to the work. 


future Kusband ft 
coDtinue* to lona 

At the beginninK of the opera Marie is a 

beButtCul girl of meventeen. who had been found 

on the battlefield a> an infant, and brought up by 

Sulpitio a* the daughter of the regimenL Maiit 

!■ loved by Tonla, a young peanut, who had 

saved her life in the Alpi and who follows the 

regiment to be near her. The young girl le- 

turns his affection, and they decide to appeal to 


In asking for Marit 'a hand in marriage Ton/a '« 

suit is brought before the regiment, which de- 

cidci that he may have the Vloandtire providing 

he joins the army, which he promptly doea 

Salplzto meets the Marchiona, of Beiktnfidd and 

gives her a letter which he had found addressed 

to her at the time the baby Marie was found on 

the battle &eld. 

The Marchlonea, who had married a French 

army captain far beneath her own rank, imme. 

diately recognizes the young girl aa her daugh- 
ter. The marriage had been a secret one and 

the child was confided to her father's care at her 

birth. Not wishing to acknowledge this marriage 

even now, the Marchhneaa declares Marit to be 

her niece, and dismisses TonJo aa a totally unfit 

person to wed a high 'born maiden. 

Marit assumes her proper position in society, ' 

her "aunt" selecting a wealthy Count as a '■"'■"*""" ** hakie 
her. However, in the midst of all her beautiful surroundings Marie 
long for her sweetheart TonJo. Her mother, still pretending to be her aunt. 
persuade her to give up Tanio and manv the Count, but Marit flatly refuses. 
in desperation the Marchhnexi reveals herself as the girl's own mother, 
and the maiden then agrees to accede to her wishes and marry the 
Count Touched by Marie's filial devotion, the MaichbmeiM consents to 
allow her to marry Tcnic, who in the meantime, through rapid promotion, 
has reached a high rank in the French army under Napoleon. 


river vicino (To Be Near Her) 
By John McCormsck. Tenor 

{In Italian) 74221 

By Frieda Hempel. Soprano (French) 88404 12-inch, 

i Overture to Daufhier of the 1 

Regiment By Pryor's Bandl, 

Dance of the SerptnU (Boccalari) (^ 

Bf, Pn/or'i Band] 

12-i(ich, *).35 

Fra Diaoolo SeUctlo\ 

By Vessells's Band 

By Vettella's Bandl 

'39191 12-inch. 

rift':: M 



Libretto by Elarbier and Can6. Music by Giacoma Meyerbeer. Finl production Paris, 
Optra Comliiut, April 4, 1859, FitM London production, under direction of Meyerbeer, 
July 26, 1859. Pint American production, November 24. 1864. with Cordier. Brignoli and 
Amodio. Suns by lima di Muralcaat Booth'i Theatre in 1867. Other productions occurred 
in 1879 with Msriman and CampaninI ; and in 1882 with Patti. Revived in 1892 for Marie 
Van Zandti by Oacai Hammerstein in 1907 for Mme. Tetrazzini ; and recently by the 
Chicago Opera Company (or Mme. GBllJ-Curci. 


%• ,-> W. HOEU a Boalherd Baritone 

CORENTINO. bag.pipei Tenor 

EMNORAH, betrothed to HoCl . . . Soprano 

Place: BrElon olUagc of Rottmd 

Although the name of Meyerbeer is uaually as- 
sociated with Robtrl Ic Diable, F^opMle and Hagaenoli, 
his opera. Pardon dt Plotnnd (afterwAda revised and 
renamed Dinorah). wasal one time a favori^ woHcwith 

The plot is utterly absurd — its demented goat-girl, 
seeking a runaway lover; the lover himself, who. con. 
tiary to operatic precedent, is a baritone and who 
spend* a year chasing an imaginary treasure: a weak- 
kneed bagpiper. These are the principal characters. 

But in the music Meyerbeer has atoned for the 
triviality of the libretto, and the audience liateni to the 
delightful melodies and pays little attention to the plot. 

The action is laid in Brittany. Dimtah, a maiden of the 
village of PloOrmel, is about to be wedded to Hail, a 


gontherci. when a Btorm deMroys the hou>e o( the bride'* (ntker. HoUt resolves to rebuild 
it, and goes off to seek treasure in a haunted region, while Dtnorah, thinlcing herself deserted, 
loses her reason, and wander* through the country with her faithful goat, seeking the 
absent HotU. 


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

Si. carina caprettina (Yes. My Beloved Ooe) 

By G>uaeppin» Huguet, Soprano (/n llallan) *351SO 12-ii)ch, 11,35 

Sleep, n 

rlinK. sweelly alumt 
Elpv'd (ine, sleep! 

Alaa! six days has Bhe iKen awav, . — „ 

Nor yet returns! Awihe her not! Softer atilH 

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

Hotl enter*, still seeking the treasure, and confide* in Connlino, telling him that the 
wizard with whom he had lived for a year had instructed him to seek for a white goat 
which would guide him to the gold. The bell of Dinorah'a goat is heard, and Hoil pursues 
it. dragging with him the terrified Cortnllno. 

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

^/p\ Ombra Uggicn (Shadow Song) 

^■^# By LuiM Tetrsizini {Italian) 88298 12-incb. *1,50 

^K^ y By Amelita Calli-Curci 

^*C^ {In Italian) 74932 12-inch. 1.50 

>S0W^'% By Olive Kline (h Italian) *55047 12-inch. 1.50 

When thou dost go far from met 

Each coming mom I thee would find. 
Ah prithee stay and dance with mel 

l^>gS >— ^ •.' ^^^K This dance ia accompanied by a waltz, which is full 

C^'^^JME^E^^^^^^H of brilliant vocal effects, including a florid cadenza for voice 
Hfc^^^ ' ^^^^f and flute, as in "Lucia." 

^^■HHH^^^H The act closes with the rescue of Dinorah by //off when 

^^^^^^^^^^^^^B the bridge, on which she wa* ciosaing a ravine, gives way. 

^^H^^^^^^r ACT III 

^^^^^j^^^C- Act 111 opens with the famous "Huntera Song," long a 

loc'.ji.- IP: " '%^ favorite concert number. Hold enters, bearing the form of 

tBTKAZZiiii u DiNoiAa Dinorah. who is still senseless. Thinking her dead, he bitterly 

reproaches himself. 
Dinorah now open* her eyes and recognize* H13&, her reason having been restored 
by the shock. The reunited lovers go to the village, are greeted hy their friends, and the 
curtain fall* oa preparations for the wedding. 


(Den Kth'-M 


Libretto by M«nr and Du LckIc ; muiic by Veidi. Fin! produced at Paiii, March 1 1. 
1667; in Lendon. at Hei MajeMy'a Tbeatie, June 4, IB67. Althougb it was revised and 
improved by Verdi in 1663, it is seldom given nowadays. Revived at La Scala, Milan, in 
1912 and Tccenily at Monte Carlo for Ruffo. 

OriKinal Paris Cast 

PHIUP [I Obin, Bau 

Don CARLOS Mor«ie, Tenor 

Marquis de posa Faure, BaHtont 

Grand inquisitor Belval, Sou 


Princess EPOU ,, ..Cueyinard.5iw.nino 

Don Carlos belongs to the intermediate stage of Verdi's career as a composer. After 
bis Trovatore. Tniviata and Masked Ball had been produced, the younger musicians, influ- 
enced by the doctrines oE Wagner which had reached Italy, began la proteH against the 
current style of Italian opera. Verdi, however, had already taken a step forward in Don 
Carloa, written for the Pari* Optra, and it was enthusiastically received. 

Schiller's magnificent drama gave Verdi great opportunities for dramatic writing, and 
some of his 'greatest arias, notably the fine Pa me glanto, may be found in this open. 

The hbrelto is based on Schiller's diama of Don Carlos, and tells of the errabc and morbid son 
of Philip II of Spain, who was engaged to Elizabeth of France, butsuhsequently became her step- 
son. The conJuct of Don Carloz finally became so scandalous that his father placed him under 
arteat and confined him in the Madrid prison, where he died in 1366, at the age of twenty- three. 

The same plot had previously been used by Bona, Milan, 1647; Costa, London, 1644: 
MoscuBB, Naples. 1062 ; and also by Ferrari. Operas with the same title but a different plot 


were thoM: of DupleoU (PaiU 1 780) and E)e>h>yei (Pari., 1800). John Tower. bI» men. 

tioD. itill others. Barthe (1828) and Nordal (1810). 

Don Carim, ton of mitp U oF Spain, i* in love with Eilzalieth of Valoa, daughter of the 

French Kihk Henry IL For ttate reaHiu, however, Htmy ha. anangcd that hi. daughter 
.hall many K-^ PhiUp, and accordingly the nnral ceremony 
take* place. The puaion which Cni^iu feela tor hit young 
etepmothei i. a* intenae a. ever, and he confides in Rodrifo, 
Marqait of Pota, who entreat, the Prince to leave the Spaniah 
Court in the hope that he will forget hi* love. Carloi begs 
the Queen to obtain Phitlp't permimion for him to join (ho 
I Fleminga in their rtrug^e agaJnat the crueltiea of the 
Spaniard*. Time aeem* to have but strengthened the mutual 
affection of the pair, and the Queen i* unable to conceal from 
Cailot the fact that her love for him is greater than ever. 

Prtnceu Soil, who is herself in love with Carlo*, learn* 
of the Q<i«n'i affection for the Prince. Her jealouey i. 
arouKd and .he tells all to PUJfp. This madden* the King. 
who is already angry with hi* son for his sympathy with 
the Fleming., and, on the advice of the Grand Inqulilior, 
Carloi is thrown into prison. Rodtlgo visit, the Princ ' 

n there, and his anger being once more arauKd, he hand* over Carlot to the ' 

the Inquintion, who bear him away to hi* death as the curtain falls. 

The Victor prewoit. three of the most famou. of the numbeia — the dramatic duet between 
Carlot and Rodrigo, which Caruso and Scotti have sung in a masterly manner; the great air 
for Rodiigo, given by Ruffo ; and the famous march, played by Sousa. 

Dio che nell' alma (God in My Soul) 

By Enrico Caruso and Antonio Sconi {In Italian) 89064 12-inch, *2.00 

Per me tfiunto £ il di supremo (The Supreme Day) 

By Tina Ruffo. Baritone (/>• llallan) 92038 

92038 12.incb. 

/GrandMarch By Sousa's Band) , -,,, in-.„-l. an an 

1 Tannhaiaa-Pllgflm,- Chomi (Wo^er) Kfctor firow Quarfef/ ' " " lO-mch. •0.85 





Libretto by Lorenzo da Ponte. Muajc by Wolfguis Aniadeus MozarL First produced 
at PniBue, Deliver 29. I7B7; a( Vienna. May 7. 1708; a( Berlin. I791i Pari*. 1811. FirM 
London production April 12. 1817; an EnglUh adaptation, called "The Libertine," waa 
given in PhiUidelphia December 26. IBI8, with Mr. and Mri. Henry Wallach and Joseph 
Jefferson (grandfather oF the Eavorile exponent of Rip Van Winkle); produced in New York 
May 29, 1826. Some notable tevivaU occurred in 1889 at Metropolitan Opera House, with 
Reichmaiui. Kalisch. Behrena and Fischer: in 1896 with Sembrich. Nordics. Eames and 
Plan^on: in 1900 with Sembrich. Nordica and de Reoke; and at the ManbatUui Opera in 
1909 with Ruu, £X>nalda. Bonci, and Renaud. 


Don Giovanni, a licentioua young nobleman Baritone 

Don OTTAVIO, (Ocf^nA'-nMA) betrothed to Donna Anna Tenor 

LEPORELLO, {Ltg-tli-rtI' -Mi) servant of Don Giovanni E^«s 

Don Pedro. (fW-J™*) the Commandant Bass 

Donna anna, his daughter Soprano 

MASETTO, (Mani^4,J,) a peasant Bass 

ZERUNA, (Zit^'jhA) betrothed to Masetto Soprano 

Donna Elvira. (ElAc'-nA) a lady of Burgo* Serrano 

Peasants. Musicians, Dancers, Demons. 

.Scene and Ptriod : StelUe, In the mldJlt of the leeentctnth cenfrnv- 

Mozart's Don Giovanni was written in 1787 and produced during the 

Prague. Da Ponte. the librettist, was a Viennese Court dramatist, who had al 

Nozzc di Figaro. The plot of the opera was probably 

founded upon a play entitled El BuriaJor de Sevllla s 

Comirada de picdra, attributed to Tirso de Molina, a 
Spanish monk and prior 
of a monastery at Ma- 
drid. This had also 

I for 

" plays and operas 

>y Fabrizzi, Gardi, Ral- 
terly Dargomyszky, the 


SCENE \-The CooTly ard 

of the CommanJanCi 

Palace al Seollte. ll 

ll Ntghl 

The wicked Don 

•BannI, ever pursuing 

gay conquest*. 

attempts to enter Donna 

>4/Tna'i apartments. She 

cries for help and he 

pursued by the angry 
girl, who endeavors to 
penetrate his disguise. 


Her EathercomeatolhereacueandUfnortally wounded 
by the Don. who makea h» eicape. Followed bjr Lef>- 
orello, kU ■ervant. Dcnna Anna a overcome with grief, 
and chargcB her betrothed, Chn Ottado, to aveiiBe her 
father'! death. 

SCENE l\—An Inn In a Datrtei Spot OuttiJt SevllU 
Den GiooannI and Lepordio enter and conceal 
tbeinaelves aa a lady approaches in a carriage. Hoping 
for a new conqueK, the Don comes forward, hat in 
hand, but is surprised to find that it is Donna Elvira, 
a young woman whom he has lately deceived and 
deserted. She denounces him for his baseness and 
he makes his escape, leaving Ltpontlo to explain as 
best he can. Ltponlto rather enjoy* the situation, 
produces hia diaiy, and adds to the lady's anger by 
reading a list of the mistresses of the Don. This list 
is recited by Lcponilo in the famous NtUa bhnJa. 

Nellabionda (The Fair One) 

By Marcel Joumet. Bass 

{In Italian) 74191 12-illch. *1.90 
full; confcsKi 

■et beguilini- 

n *«, pfruae it with me. Viscount'— ev'ry kind of 'tiiti. 

liK hundred snd tony: Womenfolk of all conditions. 

_.jnce.— (louble fifty seem plcnly; First the fair one's unlhinkinf blindneti 

While in old Spain here,— we count thouisndi He would daiile with honied speeches 
Toward the dack-ey'd sll pure kjadness, 
With the blue-er'd he beseechcBi 
he prefers the filler, 

an admirable foil to the 
polished villainies ol 
the suave and dis- 

t buffo 

ThU I 

called the Calalogat 
Song, is full of the 
broadest humor. 

Dcnna Eivira is 
horriiied and drives 

SCENE ]\\—ln the 

Suftarti of Stvltlt, 

Don Glooanni 'aPalace 

VtMt on Iht 

A rustic wedding 
party comprising 
Zallna. MaKlto and 
a company oF peas- 
ants are enjoying an 
outing. Den Gloean. 
nl and Ltpordio ap. 


pear, and the Don it chaimed a( (Ke sight of w> much youthful beauty. He bid* Lcporello 
conduct the party to hu palace and give them refreshmenti, contriving, however, to detain 
ZaUna. MaitUe pratesta, but the Den points aignificandy to hi* iword and the bridegroom 
prudently decides to fallow the peasant*. 

The Dun then proceeds to flatter the young girl and tells her she is too beautiful for 
such a clown as Mastlla. She is impressed and coquettes with him in the melodious duet. 
La d darem, with its witty phrases and delicate harmonies. 

La ci darem la mano (Thy Little Hand, Love 1) 

By Geraldine Farrar and Antonio Scotti iUallan) 69019 13-.inch. *2.00 

This celebrated number, which has been sung by many famous artists during the 
one hundred and thirty-two year* aince its first hearing, is one of the best examples of 
the many sparkling concerted numbers which Mozart has written. 

Don CiovA 

N», bid me not leiiga. love, coldly the hand 
Obi at tbou wilt be mine, love, br«sthe but 

Yet ahould tb; fi 
Don GioTAnNl: 

I would and yet I would not, I feel ] 

Shoullii^hou prove false, T could noi 

ay B 


Qooannl is about to lead ^cWfna away, when Donno £!/tifrii, who has been watching, rescne* 

S young girl and carries her off, to the chagrin of the Don. Donna Anna now enters with 

Oltaolo, who asks the help of his friend Don Glooannl in tracing 

^^ the murderer of Donna j4nna'ifather. TheDon assures them of 

^^Q his devotion, and goes to hi* palace, while Donna Anna tells her 

^^PBh lover that she recognizes by his voice that Don QlooannI is the one 

^^«y who slew her father. They depart, and Leportilo and the Don 

^y enter. The servant relates that when Donna Elotra and Zerttna 

<^B. arrived at the palace, and Eldra attempted to tell the peasants 

the truth about the Don, he led her gently outside the gate and 

then locked it. He is complimented by his master, who bid* 

him prepare for the feast of the evening. 

The scene changes to Don Gleoannl't garden. Ztrtina is 
endeavoring to make her peace with Maitlto, but he is sulky. 
She then sings her lovely BalU, hattt. 

Batti, batti (Scold Me, dearMasetto) 

By MarcelU Sembrich IUallan) 8S026 12-in., *l,50 
This gentle number is in striking contrast to the brilliant 
writing in the lifter bits of ZerUna't music. 
Chide me 
Cbide Z 
Like the 

Nisht and day. to tbte dfvoted, 

Mattlte is only half appeased, but goes in to dance with his 
bride. Donna Anna, Donna Elnlra and Don Ollavio. disguised and 
d sing a trio, in which they pledge themselves to hove revenge on the troitor. 
:hange* to the interior of the palace, where the ball is in progress. Don 
his efforts to get Zerllna away from her jealous and watchful lover, and 
ut ZaUna call* for help and Maitito and the three conspirator* rush 
T^ey denounce Don GtotwnnJ, who delies them with drawn sword, and 
from the palace. 



SCENE I— A Square In Stolllt. Donna Elelia'i RttiJatce 
on Iht Lift. It I* a Moonlight Nighl 

Den Gl&vanni, followed 
by hu (ervant, entera, 
wrapped in a mantle and 
carrying a mandolin. He 
ha* heard of a pretty ter. 
vant whom Donna Eiflra , ■ j 
poMewei. and ii plotting ^ 
to get the miatreat out c^ 
the way. A* Elvira nt* 
at her window, he ad. 
dreaaea her, pretending 
to he repentant, but when 
ahe comeaout he puahea 
Leporello forward to im- 
peminBte him. While 
they are convening, the 
Don makes a great out- 
cry and the pair run off 
in fright. 

The coaal clear, the 
Don ainga hi* famoui 
Scrtnadt to the fair wait- 
ing maid. 

Serenata. "Deh vieni alia finertra" (Open Thy Window. Love) 

By Antonio Scotti. Baritone (In Uallan) 88194 ll-inch. >],50 

By Titto Ruffo. Baritone Qn Italian) 87112 lO-inch. \StO 

By M. Hector Dufranne. Baritone (/n FrencA) *49011 10-inch. 1,00 

Don GiovAKWi: 
Ope. ope thy ca««iiient, deareat, 
^iiX^f one moment ibow; 

Thy sigh were ball 
nh. Tor one kiis 


armed with muaketa, aeeking 

Don. pretending to be Ltpoidlo, oSera to put 
them on the right track. Then follow! a aeriei 
of arouaing aituationa, ending with the capture of 
the (Uppoted Don by the three conapiratora, but 
it provea to be LtpoiAlo, who takea advantage ol 
the aituation to make hia eacape. Ottaiio then 
singa hia air, // mia laoro. 

II mio tesoro (Fly Then, My Love) 

By John McCocmack, Tenor 

{In kalian) 74484 12-ineh, *1.90 


r I'll Ycngc»nce Uk* 


fSirtaadt By M. Hector Dufnaoe. Bsfitone (In frencA)).. 

\ SiJ'HaURol—UnitgardJetayeuxr—LimBqtle,Tener (Fnoch)}*' 



Musical comedy in three ect*; libretto by Sugana: muiic by Woll-Ferrari. Produced in 
Munich November 27, 1903. aa Die Neugltrigtn Fmuen. Firit production in America at 
the Metropolitan, January 3, 1912, with Fanar, Jadlowkcr, ScoCti, and Lambert Murphy. 


OTTAVIO, a rich Venetian B*w 

BEATTOCE, hii wife Soprano 

ROSAURA. hi* daughter Soprano 

FLORINDO, betrothed to Rouura Tenor 

PANTALONE, a Venetian merchant ^uHtone 

COLOMBINA Rosaura'a maid Soprano 


Servants, BondoUera, men and women 
of the populace. 

Timt and Place ; Vaiiix; the mldJIt iff iht 
tlghleaith cenlary. 

LeDonnt Cariote (Inquisitive Women] is a gen- 
uine comedy. The plot is veiy simple, and deals 
with the scheming of Bcofrice, Rotaura. Eltanora 
and Colamilna to gain entrance to the Friend, 
■hip Clubhouse, of which their husbands and 
lovers are members. Over the door of the club 
may be seen the motto, " No Women Admitted." 
Each vroman has her o'wn theory as to the doinga 
behind closed doors, and they seek in various 
ways to gain an entrance. In reality the men 
-.010 ...i r-»HMi AMI )-Li[o"kn, ■ are enjoying themselves with simple masculine 

,^ Fi-'ir,, INI, >i>'n:Ni»< ploasurcs, and chucklingovet the intensecurioBty 

of their wives and sweelhearta. 
With the help of the servants, and by luring the keys from the pocket of one of the 
members, the ladies finally succeed in making an entrance within the sacred walls, and are 
surprised to find the men enjoying themselves harmlessly at dinner. On being discovered 
by the husbands they are forgiven, and the evening ends happily with a merry dance. 

The Victor offers sn air from Act II— the love duet of Romara and Flortndo. sung after the 
former has induced her liancfe to give her the keys. 

II cor nel contento (My Heart. How it Leaps in Rejoicing) 

By Genildinc Firrar and HennaD Jadlowker (Italian) 89 1 1 9 1 2-iach. tl.OO 


(Dan Pmlamiial^-kli} 
Comic opera in three acta ; text and muaic by Gaetano Donizetti. Libietto adapted 
from the older Italian opera Ser Marc' Anlonlo, by Cameiano. Firat pieaented at the Th^lrm 
da Ilahtm, Paris, on January A. 1543. First production in Paris, in French. ISM; London, 
June 30. 1843. Firat New York production March 9. 1846. in BnglisK aud ir. 1849 in Ital>M>. 
Revived at the New Theatre. New York, I>eceniber 23. 1909, with di Pasquali, Bonci, 
Scotti and Pinj-Coraj ; at the Metropolitan in 1913 with Sembrich. Scotti and Elossi. 

EWN PASQUALE, an old bachelor Ban 

Dr. MALATESTA, hU friend, « physician Baritone 

Ernesto, nephew of Don Pasquale Tenu' 

NORINA. beloved of Ernesto Soprano 

A NOTARY Baritone 

Chorus of Valets and Chambermaids, Majordomo : DresHnaker and Hairdresser. 

Scent and Period : Rome; the tegirmlng of tlie niaeleenllt cetOuni 

This brightest of genuine lyric comedies always appeals to those opera-gaers who 

find the preaent-day comic opera or musical comedy to be cheap, gaudy and lacking in 

genuine humor. Don Paiqaale is pure entertainment nothing else, the true spirit of comedy 

being found in the music as well as the plot. 

Overture to Don Pasauale 

By La Scala Orchestra *6S010 I2.inch. *1.3» I 

ACT I r 

SCENE—/* Room In Don Paiqaate'i Hetae 
The Den a eagerly awaiting the arrival of Dr. I 
Malalttta. who has promised to obtain for him a young I 
and lovely bride. 

Son nov'ore CTia Nine o'Clock. 1) 

By Pini-CoTsi and Badini 

[In Italian) *68273 12-inch. *1.39 I 

The Doctor enters, declares he has found the bride, I 

and proceeds to describe the charmer. The Don is I 

overjoyed, and insists on seeing the lady at once, giving ^^^v ^ it 

vent to his feelings in an amusing air. ^^^V \k 

Un foco insoltto (A Fire All Unfelt) ^" ' '' ■ 

By Pinj-Corsi and Badini 

(In Italian) *62104 10-inch. *0.8S I 
His nephew enters, and is again urged by his u 
to give up Norlna, whom the uncle calls a vain, coquet- I 
tish widow. Emeilo refuses, and Don Patquale announces I 
his intention of marrying and disinheriring his nephew. F 
The young man gives way to despair. 

S<^no soave e casto (Fond Dream of 


By Giuseppe Acerbi, Tenor (/n Italian) *62624 lO-inch. M.89 

Before leaving his uncle, Emeeto begs him to consult Dr. Matalala for advice, but Don 
Paujaak says it was the Doctor himself who proposed the plan and offered his own rister as 
the happy bride. Ernesto is astonished to hear that the Doctor had deserted him. 
SCENE 11—.^ Room In Norlna-. Houk 
Norlna is reading a romance, and at the beginning of her air quotes from the book. 

Quel guardo (Glances so Soft) 

By Giuseppina Huguet. Soprano {In Italian) '68212 12-inch. *1.33 

She then declares that she, too, knows (he value of a glance and smile. 


Cavatina— So anch^io la virtii tnaf ica (Thy Virtues Know) 

By Amelia Pollini. Soprano (In Italian) *62I03 lO-inch. $0.85 

A servant gives her a letter from Ernesto, just as the Doctor enters and informs her that 
he has conceived a scheme to force her lover's guco'dian to consent to the marriage, by pre- 
tending to find him a young and lovely wife. They decide that Norina shall play the part 
of this girl« and go through a mock marriage ivith Don Pasquale, Norina is delighted and 
begins to rehearse her new rdle. 

Pronta io son (My Part FU Play) 

By Marcella Sembrich and Antonio Scotti {In Italian) 89002 12-inch, $2.00 
By Giuseppina Hu^uet and Ernesto Badini *68272 12-inch, 1.35 

Nobina: Norina: 

My part I'll play, if not offending; I'll lessons give — ^leave that to me. 
Aeainst my lover s repose and quiet; "I'm so confused— I'm young, you know- 
Well the plot with me will fare! Thank you— Your servant,- Yes, sir,— Oh!" 

Doctor : 

Our plot but tends, you may believe. Doctor: 

Don Pasquale to deceive. Bravo, bravo, capital! 

t?/**/* '. A J T. f. * J Oh, clever creature! Just the thing! 

We re quite agreed, and I m- enlisted. 

Would you have me gay or tearful? Both: 

T :Jf.« ^^A ««..Mi .11 K- ¥^\A. Of this old fool, all sense who spurn'd; — 

Yot"mu«Vay ilmp'ioily.*"''''" This time the h..d will be quite ?ur„-d. 

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

Vado corro (Haste We !) 

By Emilia Corsi and Ernesto Badini {In Italian) *62104 10-inch, $0.85 

By Giuseppina Hutfuet and Ernesto Badini {In Italian) *62097 10-inch, .85 

SCENE— y4 Richly Fumlthed Hall in Don Paaquale't House 

Don Pasquale, in the most youthful of wedding garments, enters and struts up and 
down, admiring himself, until the Doctor arrives with Norina, who b closely veiled. She 
pretends to be shrinking and frightened, and the Doctor bids her take courage. 

Pasquale, so much in love that his judgment is clouded, is not only induced to sign 
over one-half his property to his wife, but agrees that she shall be absolute mistress of 
the house. As Norina is signing, Ernesto's voice is heard outside demanding admittance, 
having come to bid his uncle farewell. He is amazed to see Norina posing as the Docior*s 
sister and about to be wedded to his uncle, and tries to interfere, but is restrained by 

The moment Norina afHxes her signature to the contract her manner changes, and when 
Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- 
ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the 
room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a 
young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her 
choice. Don Pasquale is thunderstruck and attempts to protest, but Norina warns him that 
if her ^wMrds are not sufHcient to keep him in his place she will beat him I This is the last 
strew, and the bewildered old man stands in a daze, wondering what has happened I 

The finale to Act II then follows. Norina rings a bell, summoning the servants, and 
announces that she is now sole mistress of the house. She ordera new servants engaged, 
two carriages, new furniture, etc., planning expenditures on a lavish scale. Don Pasquale 
attempts to protest, but is silenced, and exclaims in a voice choked with rage and astonishment: 

Son tradito (I Am Betrayed I) 

By Giuseppina Hutfuet. Antonio Pini-Corsi, Gaetano 

Pini-Corsi, Agusto Scipioni {In Italian) *62097 10-inch, $0.85 


{Same as Act I — On the floor and furniture are piled up dresses, bandboxes, furs, etc. , in great 


Don Pasquale is seen amid the confusion, looking with utmost consternation at a huge 
pile of bills. He throws them down in despair, and as Norina approaches, dressed to go out, 
resolves to make one last attempt to remain master in his own house. 



Signoriua in tanta ^etta (My Lady, 
W^hy This Haste?) 

By EmiliB Corai and Antonio 

Pini-Coru (Italian) '66273 H-inch. *1.39 

However, ike tell* him to bold his tongue, and 

finally boxes his can and tuna out, iolentianally dropping 

a note wbicb Don Peiquaie teizeB and peruae*. He i* 

petrified to find tkat it reada: 

"Adorrd SophranU— 

This ia too muck, and tbe unhappy n 
•eaich of Malalala. Emalo and tbe Doctor enter, di*- 
cuaaing tbe plot, and the young man, after being in- 
■tructed to be nt the gBrden renJezvoua at nine that 
evening, goea out. 

Patqaalt retuma, and going lolemnly up to tbe Doe- 
lei, exdaimi: " Brother-in-u>w, in me, alas, you tee a dead 
man, walking upright," and tella him of the contenia of 
I tbe note. Maialeila prelenda to sympathize and prapoaea 
I that ihey lie in wait for the guilty lover* thai evening 
I and teach them a aevere lesson. PasqaaU gloata over bis 
I coming triumph. 

I Aspetta aspetta cara esposina (Wait, 
' Wait. Dear Little Wife) 

By Pini-Corsi and Polese 

Un Italian) *62103 lO-inch, lO.SS 
SCENE II— Don PatquaU't Cardai—h ii Nighl—Emato Is Ditcoctred WaUtng 
This scene begins with tbe beautiful ttrenaie, tbe moat melodioua of Donizetti aira. 

Serenata— Com* £ fentil (Soft Beams the Litfht) 

By Giovanni Martiaelli and Metropolitan ChoTu* (Italian) 64100 lO-inch. *l.00 

Oh) summer night, thy tranquil light Who love too well, yel hlush to tell 

Was made for those who ibun the bus/ day, The hopes thsl led their hesrU astray! 
Norlna joina Entato, and they are reconciled in a duet. Tell Ue Again. Panpia/e and tbe 
Doctor, with dark lanterns, enter softly and bide behind the trees, but the irate old man can 
coDbiin himself no longer and rushes out to denounce the lovers. Emtslo vanishes and 
Norlna calmly declares there was no one with her, that she had merely come out to get 
fresh air. Patquolt is so beside himself with rage and chagrin that Malalala considers it 
time to end the farce, and proposes to rid Pajquale of his bride by marrying her to Emalo, 
revealing that tbe first marriage was not a real one. and that the lady was not his sister but 
Norlna. Patquolt is so glad to be rid of such on extravagant termagant that he pardona (he 
deception, conaenta to the union, and acttles an income on the happy pair. 


(Signorina in tanta fretta By Corai and Pini-Corsi (fti /la(;an)l,_„__ ,,■■.. 

tSon nov" ore By Pini-Corsi and Badini (In llaUan)r°^" 12-uich. ) 

/Quel euardo, un sorrisetto By Giuseppina Huguet (In //a"on)1--,__ ,_ .__. 

tPronta io son By Huguet and Badini (In llallan)r^"^ I2Mnch, 

(Overture By La SoaU Orchestral ,. i5,-„„u 

\ Barhlat it Sivlgba-Manca an foglio By U Scala (hchalra]*'^'^^'^ 12-mch, 

(Un foco insolito By Pini-Corsi and Badini (In llalian)\..,„. ,„ . . 

IVadocorro (Haste We I) By Corsi and Badini (In Ilatlan)!"^^"* lO-inch, 

iCavatins By Amelia Pollini, Soprano (/n /((i/J<in)i-_,„_ ,_ . . 

Aspetta aspetta cara By Pini-Corsi and Poleae (In Italian) r^*^^ lO-inch, 

Sogno •oave e casto By Giuseppe Acerbi, Tenor (In ftoflan)!,,,- . ,_ . ■ 

Fau4l-C»o Jt ^JaJo, (Soldiers- Chorw) La Scala Choni,r^^^* lO-inch. 

IVadocorro (Haste We) By Huguet and Badini (/n Itafton)!.-.., ,„ .„^v 

tSonWidito ByHugu«t,A.Pini-Corsi,G.Pini-Cor»i.Scipionir^*' lO-ineh, 


If.qiJBC-acr' Jam-el/ Jikl 


Text by Romani. Muiic by Gaetano Donizetti. Fint produced In Milnn, May 1 2, 1632 1 
Barcelona. 1833 1 Pari*. IB39: Berlin. 1644. Rnl London production December 10. IB36. 
Firat American production at the New Orleani Opera March 30, IB42. Given in Boston in 
Engliih by the Seguina ihortly afterward. The Boaton Ideal Opera Company pieaented an 
EnEhah venionin 1667, with (he title of "Adina." Revived in 1904 at the Metropolitan with 
Semhrich.Caruio.Scottiand Rosii; at the Manhattan Opera in 1909. with Binkert. Bond. Gili- 
bertand Trentinii and in 1916 at the Metropolitan Opera, with Hempel,Caru(o andde Luca. 


ADINA. a wealthy and independent young woman Swrano 

NEMORINO, a young peasant, in love with Adina Tenor 

BELCORE. (ergeanl oF the village garriaon Baa* 

Doctor Dulcamara, a quack doctor. . Buffo 

A Landlord, a Notary. Peaaanta, Soldier*. Villager*. 
Scent and PerloJ: A lillle Italian vHlage; the nlnelanlh century. 

Thi» deli^tful example of Donizetti'* work i* a real opA-a bonffe, and while airople and 
unconventional in plot, it ha* aiway* been a favorite becauae of it* lovely muaic 

The story tella of AdIna, a lively village beauty and heires*. loved by a jroung peaa- 
ant. Nemorlno, who although handsome and manly, is afraid to press hi* suit ; but whife the 
beauty treata him rather coolly she ia by no meana indifferent to him. 


ACT 1 

SCENE— The Hcmaitad of Adlna'.Ferm 
Adina and her companion are •£&(£<] un- 
der B tree readins- Ntmortno ii near, penaively 
observing hii Innamerata, and ainga hi* firM 

Quant'e bella 1 (Ah t How- 

By Emilia Pcrea. Tenor 
Unltatlaa) *63&26 lO-inch. *O.S9 

Ah I how [oTclyl ah! how dear to me'- 
Whilc 1 gsie 1 idoce mare deepty; 
Ah< what lapiuiF (hat sofi bcBom 
With a mutual flame lo movr. 

While^I ca" ™ol£nV do'"bul' love'""*" 
Adina then read* lo her friend* a legend 
of a cruel lady who coldlj' treated a knight 
who loved her, but (miled on him when 
he gave her a love potion. Nanorlno wi*he* 
he could 6nd the receipt for thi* potent elixir- 
Martial mu*ic i> heard and Belcore, a 
dashing sergeant stationed near the village, 
appear* with a bouquet for Adlna. She has 
but few imiles for the military man. which 
cheer* Nanorino somewhat, and when Belaire 
depart* he renew* hi* *uit, but the fair one 



A commotion among the villager* is 
heard, and Dulcamara, a quack doctor, comes 
on the scene, riding in a splendid carriage. 
He announce* his wonderful medicines in a 
famous bi^ffa toag, UJllt, adile o niiHd. 

Udite. udite o rustici (Give Ear, Ye Ruatica) 

By Antonio Pini-Corsi. Baritone (In Italian) *&8192 12-inch. *1.35 

By Arcintfelo Rossi. Baa* (In liallaa) '62626 10-inch. .89 

After the Doctor has recited the wonderful effects of hb mediunes, saying: 



Tht . 
All e 

ca]. the paralytica], 
le ridrels and the jcroful'a— 

By thin new and fashionable mode! 

Nanorlno exclainu, "Heaven itself must have sent this miraculous doctor lo our villagel" 
He draws the quack aside, and asks him if he ha* an elixir that can awaken love. The 
Doctor. o( course, aay* that he is the original inventor of the liquid, and soon has ^emor/no 'i 
last coin in exchange for the coveted potion, which is in reality a bottle of strong wine. 

As aoon a* the Doctor has departed Ntmarino drinks the elixir, and at once feels a new 
courage in his vein*. He begin* to >ing and dance, and Adlna. coming in, is astonished to 
*ee her love-sick swain so merry. Feeling sure that the potion will bring the lady to hi* feel, 
he pay* no attention to her, which piques her so muck that when the sergeant arrive* and 
renews his auit, ahe consents to wed him in three dsya. Nanorlno laughs loudly at this, 
which further enrages the lady, and ahe sets the wedding for that very day. This sobers 
Nanorlno. who fears that the marriage may take place before the potion works, and t 
pleads for delay. Adlna and Be/core laugh at him, and the curtain falla a* pc 
the wedding are begun. 


* preparation* for 



SCENE I — Interior of the Farmhouse 

The ivedding feaat is in progress, but the notary has not arrived. Dulcamara is 
present, and produces the latest duet from Venice, which he asks Adina to sing with him. 
It is an amusing dialogue, supposed to occur between a rich old man and a young girl. 

The company now goes to an adjoining room to dance ; all but the Doctor, who says 
he doesn't know when another free dinner will come his way, and therefore remains at 
the feast Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken 
etf ect. " Take another bottle,'* says the Doctor, " only twenty crowns." Nemorirto says he 
has no money, but the Doctor refuses to produce the bottle and goes in to the dancers, tell- 
ing the unhappy youth to go out and raise the amount. 

Belcore, the sergeant, comes in, and learning that Nemorirto^s distress is caused 
by lack of money, suggests that he enlist as a soldier, and be richer the fee of twenty 
crowns. Nemorirto jumps at the chance, signs the articles, runs in search of the Doctor, 
and drinks the second bottle I 

The peasant girls, having heard that the death of Nemorirto* $ uncle has just made him 
rich, begin to pay him attentions. The Doctor tells Nemorino that this popularity -is the 
result of the elixir he has just sold him. Adina, woman-like, when she mteB her lover in 
such demand, promptly regrets having treated him so coldly, and runs out on the verge of 
tears. Nemorirto, noting her downcast looks, feels compassion for her, and gazing after her 
sadly, sings the lovely romanza, one of the most famous of airs for tenor voices. 

Una furtiva lagrima (Doivn Her Cheek a Pearly Tear) 

By Enrico Caruso, Tenor {In Italian) 88339 12-inch, $1.50 

By John McCormack, Tenor {In Italian) 742 19 1 2-inch, 1 .50 

By Emilio Perea, Tenor {In Italiari) *68152 12-inch, 1.35 

Neglected as the opera, as a whole, has been for many years, this lovely romanza, the 
song which Nentorino sings to the tear that stood in his Adina' $ eye, will al-ways keep 
the opera from being forgotten. 

Down her soft cheek a pearlv tear Could I but feel her beating heart 

Stole from her eyelids dark. Pressing against mine own; 

Telling their gay and festive cheer, Could I my feeling soft impart, and mingle 

It pained her soul to mark; sigh with sigh. 

Why then her dear presence fly? But feel her heart against mine own. 

When all her love she is showing? Gladly I then would die, 

All her love knowing! 

The crafty Dulcamara now suggests to Adina that she try the wonderful elixir in order 
to win back her lover, but she says she needs not such aids. 

Adina: Adina: 

With respect to your elixir. With a tender look I'll charm him — 

One more potent, sir, have I— With a modest smile invite him— 

Through wtiose virtues Nemorino, With a tear or sigh alarm him — 

Leaving all, to me will fly! With a fond caress excite him. 

_ ^ . . V Nevf-r yet was man so mulish, 

DuLCAMAKA (ojirf*) : That I could not make him yield. 

Oh! she's far too wise and cunning: Ncmorino's fate's decided! 
These girls know even more than 1. 

When Nemorirto has sung his air Adina comes on with the soldier's contract, which she 
has bought back, and tells him that he must not go away. All misunderstandings are now 
cleared away, and Belcore arrives to find his bride-to-be embracing another. However, 
he is philosophical and sajring, "There are other women!** marches off, while the villagers 
tell Adina and Nemorirto of the latter*s having fallen heir to a fortune. However, the 
Doctor claims credit for the reconciliation, and the curtain falls as he is relieving the peasants 
of their wages in return for bottles of his wonderful Elixir of Looe I 


{Una furtiva latfrima (A Furtive Tear) * 
By Emilio Perea {In Italian) 
Udite, o rustici By A. Pini-Corsi {In Italiari) 

fUdite, udite o rustic i By A. Pini-Corsi, Baritone {In Italian)\g^^. ^^ .^ . , . ^,. 
t Una furtiva Utfrima By Emilio Perea, Tenor {In Italian) r^^^^ 12-mch, 1.35 

JQuant*^ bella I By Emilio Perea, Tenor {In Italian)]^^^.^^. in ;«^u a< 

tUditc, udite o rustici— By Arcantfelo Rossi, Bass {In Italian)r^^^^ lO-tnch, .85 


68152 12-inch, $1.35 



Text by Cluuon BeUam)' and Harry Paullon; music by Edward Jakc^ovfaki. F^nt 
production at the Camedy Tlieatre, London, November 9, 1863. First American production 
at the Cuino, New York. Mardi ia 1666, where it had tKe unprecedented mn of more 
than twelve hundred performancea at that house alone. The operetta has had a number 
of successful revival* in recent years- 

Characters and Original Amerieaii C«(t 
CaDEAUX. 1,. .,.„ /Francis Wilson 

RAVANNES./'"" ""^" tW. 5. Daboll 


EBWNIE, hi* daughter Paulina Hall 

JAVOTTE Marie Janaen 

Eugene Marcel, the Marquis' secretary Harry Pepper 

CKEVAUER DE BRABAZON, Marqnis' guest Max Freeman 

CERISE MARCEL. Eugene's sister Mariou ManoU 

Princess DE CRAMPONEUR Jennie Weathersby 


Sergeant, Soldiers, Peaaants, Acixibats, Clowns. Lords, Ladies, etc. 

Time anJ Place : France ; the latl cenhiry. 

The story of Etminie is founded on an old melodra 
and the opera has been aa popular as was the play in its time, though Jakolx 
produced other operas — "Paolo." "The Three Beggars," "Dick," " Mynheer Jan" 
VenetiBn Singer" — none haa approached the great success of Enninie. 

At the opening of the opera ErmI lie Brittac, a young nobleman, is on his way to the 
home of his prospective fiancee. Ermlnle, whom he has never seen. At a turn of the road 
he is attacked by two clever thieve*. Raoanittt and Caieaux, who tie him to a tree and cany 


off hi* clothea. Later the two ropiea arrive at the betrothal festivitie*, Rovannet pauing 
hinuelf off aa Jt Brfuac, and introducing hii companion, CaJeaia, aa another nobleman. 
Ennlnle it already in love with Eagcnt, her father'* aecrelaiy, and £mif ii in love with Cerise, 
Eugene'* aister. When the proapeclive luitor eacape* from hi> predicament and appears 
at the banquet, in Bieal diioider, the imposteri cry "Seize the villianl" declaring that 
Enul ia the highwayman who attacked them that morning. 

By piomiaing to help Ermlnit aecure the man ahe lovea, Rooaimet gains the young girl'a 
confidence, and ahe unwittingly aida him in kia plan to rob the kouae. In the end, however, 
the plan ia Iruatated, and aa the curtain falb the robbera are arreated and the union of 
Eugene and Ermlnlt ia aaaured. 

Genu from "Erminie'' 

^Mning Chorua, " A Soldier'a Life " — Solo and Chorua, 
" When I-ove ia Young All the World i* Gay"— Chorua. 
"Join in the Pteaaure — Solo, "What the Dicky Bird 
Saya" — Chortia, "Lullaby" — Chorua, "Deign to Cheer 
Each Heart" — Solo and Chorua, "Marriage ia a Holy 
Union"— Finale, "Away to the Chateau" 

By the Victor Light Opera Company 
Qant from ' 'Florodeta " ^ the Victor Light Opera Company 


"Soldiera' Chorua" — "Downy Jail-Birda of a Feather" — 

"Dream Song " — " Darkeat the Hour" — "What the 

Dicky Birda Say " — " LulUhy " — Finale Victor Orchcatra 
, CfUmet of NonrvmJn SeltcHon Bn Victor Orchetira 

Lullaby By Mabel Garriaon. Soprano, and Mixed Chorua 744BI 12-inch. 1.50 

Elaie Baker. C 
By Olive Kline. 

3S383 12-Jnch. 



LibTetto adapted by Maria Piave; ([om Vicloi Hugo'* drama "Hemani"; muaic by 
Ciuaeppe Verdi. 'First performance in Venice, March 9. 1644. Firat London production at 
Her Majeaty'a Theatre, March 8. 1845. At ita Parii premlen, 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 // Protcrltto. First New Yorit production, 1846, at the Aslor Place; in 
Boston, 1856. Produced at the French Opera, New Orleans, April 13, 1858. 

Cist of Clursctecs 

Don Carlos. King of Spain BsTitcme 

Don RUY GOMEZ- DE SILVA. a Grandee of Spain kaat 

ErNANI, a bandit chief Tenor 

Don RlCCARDb. an esquire of the King Tenor 

lACO, (Ei.iA'.foA) an esquire of Don Silva Baas 

ELVIRA, (EUcBf-raH) betrothed to Don Silva ... Soprano 

GlOVANNA UtokjKlf -nah) in attenaence upon her Mezio-Soprano 

Chorus of mountaineetW and bandits, followera of Don Silva, ladies of Eloira, followers of 
the King, Spanish and German nobles and ladies, electors and pages. 

Sctnt and Period : Aragon ; about 1 5 1 9 

ACT 1 

SCENE \—Thc Moanlalm of Aragon 

Eleira. a Spanish lady of rank, is about to be married to the elderly Don Comei de Slloo. 

a Grandee of Spain. Emanl, a bandit chief (in reality John of Aragon, become a brigand 

after his estates were confiscated), lovea Elolra and resolves Co prevent this unwelcome 

marriage. The first scene ahowa a mountain pasa where Emani's men are encamped. 


Beviam, beviam (Comrades. Let'a Drink and Play) 

By La Sella Choru* (In llallan) '3516S 12-inch. 11.35 

The opera open> with thii ■pihled chorua of bandila and mountaineen, who are drinking 
anil ganiblinit in ikeir alronghold. With recklesa aatiafaction in their lot they aing : 
"What matters lo the bandit 
If hunlcd and branded 
So wine be bi> shirel" 
Emanl, their chief, appeari on b 
neighboring height with a melancholy 
brow. Hi> men remark at his eloomy 
appearance, and he telU them ihi 
oowerlew to prevent the marri 
hii betrothed lo the aged Silea 

iw. He deacribcB the peerli 


a fine i 

Come rugiada al cespite 
(The Sweetest Flow'r) 

By Ciovanoi MartinelU. T«nor 

(llaUaa) f>4il* lO-inch, *1.00 
By Luifi Coluca. Tenor 
{In hali,ln) 

'62627 lO-inch. .85 

The bandits offer their Uvea, ii need 
be, in the service of their chief, and it ii 
decided to rescue EliHra that night. 
ErnanI and hia men depart in the 
direction of Sliaa'i cattle and the scene 

Ernani involami (Ernani. Fly with Me) 

By Frieda Hempel, Soprano (In Italian) 68383 12-ioch, tl.SO 

By Maria Crisi, Soprino (In Ualtan) *63l 73 10-incb, .85 

mber she calls on her lover to lave her, singing : 

Wo I 

di-n of r 


Elelra'a ladies-in-waiting now enter, bringing her wedding gifts, and congrntulate her. 

She ibanka them, saying : " Each kindly wish awakes a response in my own heart "i then 
sings, aside, a aecond number, " Tufto i;»ru20 cAe d'Ernanf. " in which she tells of her hope 
of rescue. The chorua joins in the concluding strain. 

We come now to one oF the greatest scenes in the opera. Elolra, who has left the room 
with ike ladies, returns and la amazed to discover in her boudoir the King, who has been 
secretly in love with her. She appeals lo his honor, saying: 
"In pity. sin. leave mt!" 

Da quel di che t'ho veduta (From the Day When First 
Thy Beauty) 

By Angela de Anfelis, Soprano: Francesco Citfada. Baritone 

(In Italian) *35168 I2-iDch. *1.35 



The record begim vi 
declare* hi* lore in the 
the number. 

The Kins, maddeQed hy Eiolra't reMHance, it about to carry her away by force. She 
Biiatchei a dagser From Cariia'hcXx and criea: "Go, Or with this dagger [ will tlay ua both I" 
The King is about to •ummon his guard, when •uddenly a secret panel door opens and 
EmanI appears. 

Carfcu recognizes him and exclaims : "Thou art Emani, the BMBMin and bandit," and 
in the spirited trio which follow* the rival* declare thnr hatred, while Elolra, almoM dis- 
tracted, endeavor* to pret«ct her tover. 

Infelice e tu credevt (Unhappy One!) 

By Marcel Joumet, Ems {In Italian) 74006 12-inch, *l.SO 

By Ariatodemo Sillich. Baw (In llallan) *63421 lO-inch. ,69 

In the midst of this thrilling tableau now appears Sllca, who doea no! recognize the 
King and who is naturally astounded to lind two rival* in the apartmenli of hi* future 
bride, quarreling for her po**e**ion. He summons hi* squire* and (oldiers. then addresses 
himself to Etelra and reproaches her in this well-known and impressive Infellct, one of the 
■noM beautiful of bass aria*. 

The author regret* that he i* unable to give satisfactory Engli*h translation* for the ma- 
iority of the EmanI air*, but moct of the available translation* of EmanI arc so distorted a* 
to be almost meaningless. The few extracts which are given have been revised and 
made somewhat intelligible, "Opera in English," about which we hear so much now- 
adajrs, cannot be permanently successful without new tranilation* for some of the older 
works. For instance, here i* a *pccimeD translation of the text of this very air of InfeUct: 

Ah. I 

I bloai 

gcaling to the core. 

Winttr f^rds ft in this bosom. 
Far congealing, far congealing 
Unio the core, congealing unl 

Now anyone who can tell just what this means ia certainly a highly gifted individuall 
In this connection, however, it should be slated that several American music pub- 
lisher* are entitled to prai*e for their effort* to improve opera translations, especially C. 
Schirmer. with many beautiful new editions of the older opera* and collections of opera 
airs; and Oliver Ditson Company, whose Musicians' Library, a splendid piece of music 
lypognjphy, contain* many new translations. The Victor Company is indebted to both 
these firm* (or permiBsion to quote from their new tronslationB. 


Vedi cotne il buon vegliardo (^Vell I Knew My Truaty Vassal) 

By Maria GrUi. Soprano ; Carlo Ottoboai. Baia : Remo Sanfiorji, Tenor : 

and GiuMppi Sata. Baritone {In Italian) *3916» 12-inch, *1.35 

Having leproached hi* bride (or her luppoaed 
treacheiy, SIha thinlu of vengeance, and callinB (oi 
hia armor and a sword, demand* that the intrudeia 
(allow him to combat Before they can reply, the 
King'a aquirea enter and aalule their sovereign. The 
•atounded Siloa, though Mcrelly enraged, kneels to his 
King, aaying; "Duty to my King cancels all offences." 
The great lu»le then begin* with Carlat' solo, sung 
aside to hi« squires : 

ErnanI yields to Elofra'a pleadings and in the con- 
fusion makes his escape. The curtain falls on an 
impressive tableau. 


SCENE—^ Hall In Sllea-, CatlU 
After his escape from the castle, nothing has been 
seen o( Emanl. Ehlia believes the rumors of hi* death 
and despairingly consents to wed Dan Slloa. 

Tlie first scene of Act II occurs in a magnificent 
hall in the castle. The company of knights and pages 
of Silea, and ladies in attendance on SetTa sing the 
Opening choiu* in praiae of the noble Sllaa and his 
peerless biide. 

His aquire, /ago, announces s holy man. who craves 
pilgrim, enters, then throws oil his disguise 

^loa, attired as a Graodi--. 

the hospitality of the castle. Emarri, disguised 

. Scii 

e dead o 

. for 


Wfary of lifel" 

Slloa, however, refuses to betray one whom he has received a* a guest. 

The retainers bring news that the King and his warriors are without the castle. Siha 
hides Einanl in a secret passage and orders that the King he admitted. Don Carloi inquires, 
with irony, why Slloa't castle is so well guarded, and demanda that he surrender ErnanI or 
lose his own life. Slloa refuses. The soldiers are ordered to search the castle, but find 
no trace of Emanf. The King is about to torture S(f on into revealing the aecret, when Elolra 
rushes In and begs the mercy of his Majesty. Carloi turns to her. and sings consolingly of 
the bright future before her as hi* CJueen, and in the great trio which follovrs the conflicting 
emotions of those in the scene are expressed in Verdi's fiery music 

A te scegli, segaimi (Choose Thy Sword, and Followl) 

By Lui^ Colaiza. Tenor, and Torres de Luna, Bass 

(/n llallan) *39I69 12<inch. *1.3S 
The King, his followers, and the LaJy Elolra having retired, 5f/i)o. exclaims: "Hell 
carmot hate with the hatred I hear thee, vile KingI" He then takes down two swords 
from the armory, and releaaing Emanl from his hiding place, challenge* him to combat. 
Emanl refuse*, saying that his life belongs to Slha, who has aaved it. Silea taunts him 
with cowardice and Emanl consents to fight, hut ask* for one look at Elolra. Sllva replies 
that the King has taken her away. " Fool I " cries Emanl to the astonished Grandee, "the 
King is out rival! " and agrees to combine with Slloa against their mutual (oe. Once their 
revenge is accomplished. Emanl agrees to yield his life at Slloa'i call, and gives him a hunt- 
ing horn which shall be the signal for his [Emanl't) death. Emanl. Slha and tl 
the Don, now prepare to pursue the King to the death. 



SCENE — A VeaH la Aix-la-ChaptUe Candag 

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

By Giiueppe dc Luca. Baritone {In Italian) 74506 12-incIi. *1.S0 

TKe third ad occun in ihe Tomb of CharlemBgne st Aiz-la-Chapelle. Carloi con- 
ceal* himielf in the (omb of hie anccMor to witneu the meeting □{ the coiupiiaton who 
BTs plotting aRBiiut him. He is deprened and melancholy, and linss this Eamoua O Jc oerd, 
in which he pledgem himKlf to better deeds should the Electors, then in sessian, proclaim 
him Ejnperor. 

The conspirators, among whom are Emanl and Sllea, assemble at the tomb. Erruml is 
chosen to assassinale Carloa, and greets the decision with joy. exclaiming that his dead father 
wiU at last be avenged. The great ensemble then follows, 

O sommo Carlo (Oh. Noble Carloa) 

By Mattia Battistini. Baritone: Emilia Corsi, Soprano : Luigi Colaiza. 
Tenor: AriKodcmo Sillich. Bass; and La Seals Chorus 

{In Italian) 69135 12>inch, *2.00 
By Maria Grist. Rento Sanfiorffi. Francesco Cicada and La Scala Chorus 

(In Italian) '35170 12-inch. 1.39 
The booming of cannon having announced that Carlos is proclaimed Emperor, he cornea 
from the tomb and surpriaea the conroinitors. At the same time the Electors and the King's 
courtiers enter from a secret door. Carloi condemns the plotters to death, when Eioira rusbes 
to him and asks for meicy. The Emperor heeds her, pardons them all. and unites Ehira 
and Emanl. In this great finale all glorify the Emperor except Slha, who still secretly cries 
for vengeance. 

SCENE— rerroee <^ a Pahct In Aragon 
The lovers are now happily united, and this scene shows them at Emanl'i palace, which, 
with his estates, has been restored to him. A chorus of hdies, masks and page* greets the 
happy pair. 

Fertna, crudel estin^ere (Stay Thee, My Lord I) 

By Maria Bemacchi.Soprano: Luigi Colaiza, Tenor: and Torres de L 


Ehira and Emanl are alone on the terrace, oblivioui to all but each other, when a blaat 
from a horn ia heard. Emanl awakei Iiom hia dream of hliu and recognize* the aound of 
his own hunting horn, which he had given to Siloa u b pledge to die when the revengeful 
Don should demand hii life. The diatracted EliHra pleads with Siloa (or her husband, but 
in vain. Aher an affecting farewell Emanl fulfills his vow. stabs himself and dies, while 
Elotra falls lifeless on his body. The curtain falls as the cruel and remorseless ^laa is gloat' 
ing over his terrible revenge. 


I Perm*, erudel By Maria Bemacchi. Soprsno: Lui^i 

Colaxza. Tenor: and Torres de Luna, Bsss (In Italian) 

O sommo Carlo By Maris Grisi. Soprano : Remo Santfiortfi., 
Teaor: Francesco Cicada, Baritone; and Chorus (llaUan)\ 
fA te sceffli, sefuimi By Luigi Colazza, Tenor, and 1 

Torres de Luna. Bass (In llelian)\ 

gVedi comcil buon vcfliardo By Maria Grisi. )39169 

>3M70 12>inch, 

[Bcviam. beviam By La Scala Chorus (/n Italian)] 

JDa quel di che t*ho veduia By Angela de Angelis. pS168 

I Soprano, and Francesco Cigada. Baritone {In Italian) \ 

(Ernaoi involami By Maria Grisi, Soprano {In Italian)] 

Balle In Ma»chtra—0 Figlte J" fnghtlttira \b31 73 

ByHitgatl. Saloador. QgaJa. Stitlch, anJ Chonu (In Italian)! 

rinfelice By Aristodemo Sillich. Ban {In Italian)' 

\ Manon~Oh, Manon By Giorgio Malad, Tenor {In Italian) 

fCome rugiada al cespite By Luigi Colazza (In Italian) ] 

O tu che ra]ma adora }62627 

By Mattinez-Patti. Tenor, and Chorua {In llallari)] 

[63421 lO-inch, 



Teit by Tachaikowslcy and Shilowsky, based on Puahkin's poetic romance. Munc by 
Peter lliitch I'lchaikawsky. Fint produced at St. Peteraburg, 1879. following a performance 
by the itudents of the Mokow Coniervatory in March, 1679. Firat Bcdin perfoimsnce, 
1886: in Hamburg. 1692. Fiiat London production in 1892i revived at Covent Garden 
in 1906 vritb Emmy Destinn as Tallona. The work baa had no adequate production on the 
opera alage in America, In 1914 J. M. Medvedielf'i newly-formed opera company gave 
three acenes at the Star Caaino. New York, a pwuler East Side muaic halt. Several year* 
ago Walter Damroach gave the work in concert form with the following cast ; 


Madam LERIN. a landed proprietreaa Rose O'BricD 

Tatiana 1 . _, ,_ . , I Mary Hissem de Mom 

OLGA ^her daughter. i Mr,. Taylor.lone. 

FlUPIEVNA. a waiting-woman Mra. Taylor. Jones 

EUGEN ON&CIN, a Russian gallant Emilio de Gogorza 

UENSKl. hU friend Elliaon Van Hoose 

Prince CREMIN, a captain Tom Daniels 

TRIQUET, a Frenchman Paul Dufault 

Chorus of the New York Oratorio Society 

Scene and Period : The action lalca place upon a landed eilale and in St. Pelenturg; 

lecond decade o/lhe nineteenth cenlaiy 

Pushkin's tragic story, written in 1833. ia familiar to every Ruuian, but the poem is 

*carcely known in other countrie*. The opera, told almost entirely in Pushkin'* verie. with 

a few addition*, i* the story of a Rusiian ariatocrat, Eugen Onigln, who accompanies hi* 

friend Lteiaki to the country home of the latter'* fiancee, Olga Leiin. 


SCENE I— Mme. Lerin 'a Country Place near St. Pelenburg 
The first scene showa the garden of Mme. Lerin's house, and the i* seen seated under a 
tree with her daughtera. Taliono and Olga. Tatiana apeak* of a novel she has been reading, 
and which ha* much excited her. Her sister laughs end tell* her that she ia fooliah to be so 
aentimeiktal. The noiae of wheela ia heard, and a carriage ia aeen approaching, containing 
Llen$kl. who is betrothed to CHga, and his friend. On^ln. Uen^t introduces his chum. who. 
rather bored, takes small inlereat in these rural scenes. Olga 'i romantic sister, however, falls 


in love with the haughty On^gin at first sight, and afterward writes him an indiscreet letter, 
asking him to meet her in the garden. 

SCENE \\—A Field on Mmt. LeHns Estate 
Tatiana arrives for the meeting, but full of repentance for her rash act. The blas6 
On^gin does not feel much elated at the conquest of a simple country girl, but comes to the 
rendezvous, and coldly tells her that he has neither time nor inclination for love, and suggests 
that she control her emotions. Tatiana, overcome with shame and confusion, runs away in 
utter dejection. ACT II 

SCENE I — A Lighted Ballroom in Mme. Lerin *s House 
A ball is being given in honor of Tatiana 's birthday. Eugen, who is present, ignores 
Tatiana, and flirts with her sister. This arouses the jealousy of Olga 's fianc6, who challenges 
On€gin to a duel, and the ball, so gaily begun, ends in dismay at the approaching catastrophe. 

SCENE IV-Near the Village Mill 

The following morning near a village mill on the banks of a stream, the adversaries meet. 
It is cold and the combatants shiver as they make their preparations. Everything takes place 
in silence. As they take aim Lienski falls mortally wounded, and Onigin, for the first time in 
his life, is overwhelmed with remorse. 

SCENE I — The Palace of Gremin 

After six years of restless traveling in search of peace of mind, Onigin returns to Sl 
Petersburg, and is invited by ^Prince Gremin to a ball at his palace. Here, to his astonish- 
ment, he meets Tatiana, now the w^ife of the Prince, a man of distinction and high in favor 
with the Czar. He promptly falls in love with the beautiful woman who as a simple coun- 
try girl he spumed years before; seeks her out and declares his love. After a mighty 
struggle Tatiana determines to be true to her husband, while admitting that she still loves 
On^gin, and the curtain falls as he leaves the palace, overcome by mingled bitterness and 
passion, and the feeling that his life has been an empty \^aste. 

The opera is full of the romantic melancholy melodies with which Tschaikowsky was so 
prolific — melodies that have won all hearts. One of these has been given by Caruso. 

Air de Lienski — Echo lointain de tna jeunesse (A Distant Echo 
of My Youth) 

By Enrico Caruso, Tenor (In French) 88582 12-inch, 11.50 




Text by Boito, taken from Shakespeare's Merry Wives of Windsor. Music by Verdi. 
First production, Milan, March, 1893. Berlin production June I, 1893; Vienna, 1893; Buenos 
Aires, 1893; Paris. 1894. Firet 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 and 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 

BARDOLFO, \f 11 , r r 1-* a /Tenor Rinaldini 

PlSTOLA, f o"^^^^'^' o^ F«l»^<f i Bass Nicolini 

Mrs. AUCE Ford Soprano Eames 

N ANETTA, her daughter Soprano de Lussan 

Mrs. QUICKLEY Contralto Scalchi 

Mrs. meg Page Mezzo-Soprano de Vigne 

It was the youthful dream of the great composer, Verdi, to write a comic opera, but it 
was not until he was nearing eighty years of age that he brought out the vivacious and 
sparkling Falstt^ff, interspersed with delightful fragments of melody. 



Sli/ohn Falalqff i> a merry rogue, ■□ conceited as lo believe himielf ineaialible to all 
womankind. Hia egotiam leads him to think he has faadnated both Mhtrtts Page and 
Miitrett Alice Ford, and he wrilea each of the ladies a love letter identical in contents. The 
two women compare the notes and plan to punish the Knight for presuming toaddreu them 
in such terms of affection. 

Fe,J learns o( Faltt<if> 
advance* to hia wife and fliea 
into a jealous rage. Mittita 
Ford sends Dame QidcJfley lo 
Sir John with an invitation to 
call, which he is quick to ac- 
cept. Scarcely does he arrive 
at Ford't house than Dame 
Cialeklty reports the coming of 
MUlrea Page, and Falilaff is 
compelled to hide behind a 
screen. Then the angry Ford 
appears with his friends, detei. 
mined to capture Faittaff. but 
the latter takes refuge in a 
clothes basket. Miatea Ford 
has the basket thrown into the 
ditch, and the unlucky suitor 
receives a good shaking -up 
before the jeering crowd. 

Faittaff, undaunted by his 
basket experience, arrange! 
to meet Lad)/ Ford again, the '"°' T^■l.3^^■Tr giti iw the basket — act ii 

tiysting place this time being at Heme's Oak, in Windsor Park. Ford and his men, in- 
cluding Pitlola and Bardolfo, who have turned against Fahlaff because of his bad treatment 
of them, overhear the arrangements and plan to be there also. Now. Ford's daughter, 
NaatUa, is in love with Fenlon, but her father demands that she marry Dr. Calus. Ford 
tells the doctor that this is a good time for him to secure Nanella, and piomisei to aid him. 
Damt Qulckleu, however, leams of this, and the women plan to have Fertton spoil the designs 
of the physician. 

Fahliff'a love scane with MUlreu Ford is interrupted by Ford't friends, disguised as elves 
and fairies, who thrash the fat knight soundly. In the confusion Hr. Calua mistakes Bardotfo 
for Nanella, Ford is finally won over, and his daughter and Fenlon are happily married. 

The Quand' era fiajgle is sung by Fal$tnff to MUrsu Alice Ford in Act II. FaUlaff here 
boasts of the days when he was a dashing gallant, slender of form, handsome as a picture, 
and hints that much of this charm still remains. 

Quand' ero paggio (When I Was Page) 

By Antonio Scotti, Baritone 

(In Mian) 88194 ^-inch. tl.90 


Words by Barbier and Carre, founded upon 
Goelbe'i. trRgcdy. MusLc by Challe* Gounod. 
First produced at the Thedlrr Ljinqae. Paris. 
March 19, 1859. Firat performance in Berlin 
at the Royal Opera. January 1663: in London 
ne II. 1863; in New Vork. November 25. 
1663, at (he Academy of Music. »itt> Kellogg. 
Mazjoleni, Biachi and Yppolito. 

Some famous American productions 
were in 1663, with Nilsson, Scalchi. and 
Campanbi ; and the same year with Nor- 
dics (d£but) as M<,rg«alU: in 1692 with 
Eames, the de Reazkea and Lasaile ; 
and in 1913 with Caruso and Farrat. Re- 
vived al the Metropolitan in 1917, with 
Fairar. Martinelli, and Rothier. 


Faust {Fmaii 

MEPHISTOPHELES (Mrf-iB-mf'-d-lBi) 

Valentine (yaf^ajrcnt Baj 

Grander, or wacner Bai 

SlEBEL Sec'-UI) . . ..Meno-Soi 

Marguerite (MdAi.»«i-.«/). . . Soi 
Martha Com. 

Students. Soldier.. VillaRers. 

Fatut Dreuui of Youth uid Beauty 



Sixty yean have elapwd since the 
Grat production of thia muterpiece by 
Gounod: and it i« today aung ihrouBh- 
out the world more than any other five 
operas combined. At the Paris Opirs 
alone it has been given more than 1500 

It seetna stranee now. in view of 
the overwhelming bucccbb of Faust, to 
recall that it was received with indiffer- 
ence in Paris, and all but failed in 
Milan. The London production, how- 
ever, with Tidens. Ciuglini, Tiebelli. 
Gassier and Santley. was quite success- 
ful; and in the following June Patti sang 
Margaeritt for the first time, the opera 
receiving a tremendous ovation. 

The story is familiar to almost 
every one and will be but briefly 
sketched here. The libretto by Barbier 
and Carre does not attempt to follow 
the Goethe drama, but merely makes 
use of the Fmut-Margutrllt incident. 
This is sufficient, however, to provide an 
intensely interesting subject for Gounod's 
bvelr music 

ACT 1-The Coinp»;t 

The first act reveals the studio of 
Fault, an aged philosopher and al- 
chemist, who is seen surrounded by 
musty parchment rolls and the rude si ' 
light of an ei| 
a lifetime spent in the pursuit of les 

m imPEBlAt DE tgPEBA 

S6. AiijourtTui MERCREDI 3'"Mar3'"tBGo"" 




Through jr 




ig, he realizes that he knows but litde of true 

row paid the dawi 


La va^a pupilla (Rise, Slumbering Maiden) 

By Gennaro De Tun and Ls Seals Chorus {In Italian) 88610 13-in 

Chosus of pEAtoNt GtBU Ifaisiae Who has lime foe udnestr 

Ah! csrtlcss 
Whecefore i 

Cometh o'er 

Idle n 


n gladne 


Cboidi of RxArnii (aittuui): 

Come foHh, yt reaperi. young and 

Tbe etrth it proud vilh barveit florr 
Rejoice and pny. 

He nea to the window, and fitleci 
■isht of human happineM, he cunea , 
and call* on Satan to aid him. 

If I priy thtn !s none to har— 
To give Rie back my lo«e. 

Accurst lie all ye Ihoughls o( eartl 
Fond dreams of hope! ambilioni 
And Ifaeir fulfillment so >are! 
Accunt. Diy vaunted learning, 

Infernal king, appear.' 

Mtp/dilophela, attired in the drera 
prompdy appean in response to the ciill 

that the good Doctor shall enter into a c , _. 

him. In return for riches, ^ory, power, anything hi 
denrea, Faiul ahall merely give up hit sou'' "" 
philosopher, (puming gold and power, < 
youth, only youth T 

Mais ce Dieu, que peut-il pour tnoi ! (But this God, 
What W^m He do for Me ?) 

A moi les plaisirs 

(The Pleasures of 


By LcoQ CampafnolB. Tenor, 
and M. Cerdan. Bua 

{French) 'SSOBI 12-ia..*1.9 

From daydawn liU nighL 

Tlie bargain is soon agreed upon 
and Fauil is about to pledge hia aoul in 
return for youth and love, but as he 
alill heaitatea. Mtphltto says. "See how 
fair youth invite* you I Look!" 

O merveille (Heavenly 

By Enrico Ciruao. Tenor: Marcel 
Journet. Baaa l/n French) 

B9039 12-ia., t2.00 



Then follow* die delicate psnage for Jflfj^^, ^ " f "^^ — \ _ \ '^-g=f. -^ 
■Iringa which accompanies the vision. Faatl, P - - - —- ^^--1 ■-= - I I ' j . ' i3 

gazing upon the beautiful MargutHle, UDgi : ■■ »m -^ -^ •>■ -fr " >■ '?',^"* g ^ 

The scroll is signed in letters of fire. Fmul , t W lii ** i- f f !^ fl ^ "P^ ^C^ y^ ^^'^ 

drains the magic potion and is transformed ^ J * ~~ * 
into a youth. Tile spirited duet which follows ^, -' g/.— - — fe -— -_ a t — — ■ 

ACT II— The Fsir 
(The scene sAoiM a fair In progreu In the puUfc tqaait of a Geiman tomn) 
A motley crowd of student^ soldiers, old men, 3roune women and matrons are disport- 
ing themselves — drinking, talking, flirting, quarreling; and this animated chorus, with which 
the Kermesse Scene begins, graphically pictures the whole. 

Kermesse Scene 

By L* Scak Chonu (/n Ilaban) *6ei60 12-ineh. $1.35 

Esich group delivers its quota in distinctive fashion, the soldiers' sturdy declaration con- 
trsisling with the laughing, chattering passages alloMed to the women ; the falsetto of the 
gossiping old men always proving a favorite portion of this number. At the close the dif- 
ferent groups combine into a chorus of six parts. 


■nd while 

Whsl csa it msttei, 
Olp Men: 

Each new fesst-day brings the oil 

Danjii gone by. ho* we enjoy ! 
While to-day each hol-headed boy 
Fighta for to-day's Iillle glory! 

Only looli haw they do eye ns. 

Only H 
Willi t1 

Yonder fell 

Merer n 


Dio poaaente (Even the Bravest Heart) 

By Antonio Scotti. Baritone (/» Italian) 8B203 12-inch. 11.50 

By Emilio de Gogoria. Baritone (Inllollart) 86174 ll-inch. 1.50 

By Titt» Ruffo, Baritone (In llallan) 92043 12-inch. 1.50 

By Reinald W^errenraih. Baritone (InEngllah) *5907» ll-ineh, 1.50 

By Franccfco Cigada. Baritone (/n ItaUan) *68275 12-inch. 1.59 

In the recitative he apeaka of hia fears in leaving hia aiater MarguetUt alone, and con- 
templatea with affection the amulet she haa given him to hring good fortune. 

VALEHTiHa: However greii th< daogef, 

De»r gift of mv lister, Thtre'i naughl can do mt barm, 

Made more holy by her prayV. Protected by tbia charm! 

The fsmiliar "CavatinB" then follovra: 

Even bravest heart may awell, 
In the monient of faiewctl. 
Lovins smile of iiater kind. 
Quiet liome I leave behind: 

Oft ihall I ihink of you. 
Whene'er the wine-cup paeeea 'round. 

When alone my waich I keep 

Upon the lented batlleground 
Bui when danger la glorv shall call me, 
1 ^i1iII will be first m the fray. 
As blithe 13 a knight in hii bridal array. 
CareleBB what fate may bcfali me. 
When glory shall call me. 

Oft shall 1 sadly think of yon 
When far away, far away. 
Thi* Dio poutnit wBB not in the original production of the opera, 
hut was written by Gounod eapedally foi Santley in the Engtiah 
production at Her Majesty 'a Theatre, 1864. America heard it (or the 
iirat time in 1867, when Santley aang it in Philadelphia at a perform- 
ance by the Caroline Richings Company. 

I Le veau d'or (The Calf of Gold) 

By Pol P)>n«on, Baaa (InFrtnch) 81038 10-inch. fl.OO 
By Marcel Jouraet,Ba>B(/n/^nncA) 64036 lO-inch. 1.00 
We are now in the full buttle of the Fair Scene, where in front 
_. an inn a cn>wd of drinkers are listening to one of their number. 
Warner, singing a aomewhat coarse dilty concerning a raL Mtphitbt- 
phda bieaka in upon the revelera, and offers to aing a aong of hia 
own, "The Song of the Golden Calf." AFler the diabolically sug- 
gestive introduction by the orchealra, with ita aeml-quavera and 
deacending chromatics, we hear the bold opening pasaage of thia 
anthem in praise of Mammon, of which the calf is symbolic. 

l: Hound about the pedesUl. 

Calf of Goldl aye in all the world Salan. he conducts the ball: 

Incense at vour fane they offer Calf of Gold, strongest god below! 

To your mightiness Ihey proffer. To his temple overflowing 

From end to end of all the world. Crowds before his vile shape bowing, 

And in honor of the idol As Ihey strive in abject toil. 

MtphtilopMa now proceedt to astonish the company by hit feats of magic, firat reading 
iheir palma and then drawing wine from the barrel of Bacchus — the inn sign perched up aloft 
—each man drawing the wine he likes the beat The ecene which followa is a moat 


Faust— Sc^ne dea Ep^es 

(Scene of the S'words) 

By Pasqiule Anuto. Baritone; 
MirccI Joufoet. Baw: and 
Metropolitaa Opera Chorus 

(Giulio 9cni. Director) 
(Frtncfi) 89059 IZ-iach. 12.00 
By M. VitfDeau. Baritone, 
and Choru* </n French) 

*69227 lO-iaeh. .83 


with the 

tion to Bacchus. 



tprj f 

Bsh! w 

.hv w 



He then affront* yalaitlnt by pro- 
posing the health of MaTgutrilt and thi 
soldier draw* his sword, only t 
ihat Kinie unforeseen force has 
it poweriess in his hand. 



I piopcxe the besltb of tl 
(Uaresl ef atl duri, 

■.Qui Nfargirita: 

Valcntihi :1hd Soldiebi: 

'Gainst tbe power) of tvil ou 

Stronsest 'earthly might moit 


SOLOlEll (imitut 
Look hither! 

Wh"7t' Ihi) ble 
Thou canst no 

But know thou art poverliu t 

Wf hold, «r *" flFO'rf '" !■>"" <• 



Whilst this bl 
Thou canst no 


Mtfihiilophtlea ia diacomlited. and cowera in terror as the aoldien 
aing the choral, with its striking unison passage for male voices, alter- 
nated with bursts oF liaimony. 

The delightful waltz now begina. 

Waltz from Kermease Scene 

By Pryor's Band *t6592 lO-inch. tO.SS 

Faiul obiervea Margutrlie, and approaching Ker, greet* her renpectdllly : 


High-bgrn and lov»ly maid, forgive my bumble dntt. 
Let me. your willmg Have, attend you home la-day? 

SKe modestly decline* his attentions, saying : 


No, my lord, not a lady am I, Fauit ((ra««s affr htr): 

Nor yet a brButy; By my youtta! what a charmi 

And do not need an arm, She knows not of her heauty. 

To help mc on my way. Ob! darling child, 1 love tbeel 

The waltz now re-commences and the act ends in a wild and exciting dance, in which 
all join—students, soldiers and women. 

ACT III— The Garden Scene 
The Garden Scene o( Faust is undoubtedly Gounod's finest inn>iration: and the sensuous 
beauty of the music with which the composer hai surrounded the itoiy of Margutrlle't 
innocence and trust belrayed, has held many millions in rapt attention during the sixty 
years since it was first heard. 

Flower Sontf— Le parlate d'amor (In the Lan(;uatfe of Love) 

By Louise Homer, Contralto (In Italian) 87079 10-inch. *1.00 

By Corinne Morgan, Contralto (In Engllih) *39086 12-ineh. 1.39 

This fresh and dainty song of Sletelutiien in the act. The gentle boy enter* MargaaUt't 
garden, thinking of the dark prophecy of Mtfihiilophtlei, who had told him (in Act 11} ; 

"Each flower that you touch. 
siwl7rot°iind ^all with«l" 


B teat, and prepares to lend a manage of love to 

r tkinka to put thia cune to 
meuM of a Bower, linging 

r language of lore, ob t^atlc flow': 

But the Kappy thought occurs to him to dip hia fingera in the font oE holy water by 
the aide of the cottage. He does so. and is delighted to find the spell broken. The lirst 
atrain th«n reappears, closing the aria. 

Salut demeure (All Hail, Thou Dwelling) 

By Eorieo Caruao (In FrtncK) 88003 12-iDeh, *l.50 

By GiovBiini Martinelli {In Frendt) 74573 12~ine]i, 1.50 
By John McCormack (In Italian) 74220 12-iaeh. 1.50 
Mtphblophcia and Fatal, who have been secretly watching 
Sidiel, now appeai; the Tempter being in high spinta at the appar. 
ent lucceaa of his achemea, while Fatal gazes in rapture at the 
n where his beloved one is wont to walk, and sings hia lovely 
He thuB rhepaodizes the modest dwelling of Margaerile: 
All bail, tfaou dwelling pure and lowlrl 
Home of an sngel fair and holy. 
Wbat wealth is here, what wealth oulbidding gold. 


d flowr 

of b< 

uly a 

While Fatal ia singing his apostrophe to Marguerile's dwelling, 
MtphUlophtla, with an eye to more practical things, has replaced 
Sidicl'i humble nosegay with a splendid bouquet, a more fitting 
BCCOmpaniment to the caaket of jewels with which Margutrlle is to 
be tempted. 

Margutrile enters the garden, pensively dreaming of the hand- „ 
aome stranger she had met in the market place. Her entrance 
is announced on the clarinets and violins in a lovely strain su88<^"8 

She seats herself at the spinning wheel and murmurs dreamily: 

If I 

lean what b<> 

Le Roi de Thuli (Ballad of the King oi Thule) 

By Ceraldine Farrar. Soprano (FrencA) 88X39 12-ineh. *1.S0 

Than rebuking herself for her idle fancies, sha applies herself to her spinning and 
begins thia plaintive ehanton : 

Then her thoughts return to Fatal, and breaking off the aong, she sings ai 

ie I : 




Finding heraclf in no humor to apin, 
Margatrilt moTc* toward the house and 
■eea the Bowera. which ike ilopi to 
admire, thinking them from&eief. The 
Jewell then catche* her eye, and 

after < 

Then follow* the bright and ^rkling 

2ewcl Song," or AtT da bijoux, in which 
ildith glee and virginal coquettiahnea* 
are so happily eiprened. 

r ileep did 1 dream of 

exdaima the delighted Margutrilt. 

Air des Bjjoux (Jewel 

By Nellie Melba. Soprano 

(Fraich) 88066 12-Jach, *1.90 
By MarcelU Sembrich, Soprano 

{French) 88024 12-inch, l.SO 
By Geraldioe Parrar. Soprano 

(Fnnch) 88147 IZ-iacb. 1.90 
By Giuaeppina Huguet, Soprano 

{Italian) '68160 12-inch, 1.35 

Quartet— Seigneur Dieu ! (Saint* Above, What Lovely Gems I) 

By Getaldine Parrar. SopTBDO: Enrico Caruso. 
Tenor; Marcel Journet. BaM: and Mme. 
Gilibert. Mesio-Sopnno 

(/n Fnneh) 95204 12-iaeh. f2.90 
The lirat part of the great quartet begina with the 
entrance o( Martha, a ausceptible matron who ■• companion 
to the mothetleaa girl. The duenna it (truck with aatoniah- 
ment at the sight of the jewela, and begina I 

ningly y 


la interrupted by Mtphltlaphda, ■ 

Fauil ! and to eicuae hia entrance tella Martha that her hua 
band is dead. This announcement is received with cries ol 
grief and sympathy from the women, and the impreuive 
pause which ensues is followed by the beautiful quartet, in 
which Counod expresses the various emotion! of the char- 

Mtphlilophtla then begins to flatter the vain matron 
and pay hei mock attentiona, so that FautI may have an 
opportunity to plead his cause without interruption. This 
dialogue with the susceptible duenna furnishes the only 
touch of comedy in the opera. 



Mephistopheles : 

Happy will be the man 

Whom you choose for your next! 

I trust he may be worthy 1 


But there's naught more doleful in nature 
Than is an old, unmarried creature! 

Such a creature, old and alone, 
I confess* has often made me shiver. 


You may escape the chance forever 
And should do so ere you turn to stone! 

Faust urges the timid girl to take his arm, at which she demurs, while the crafty 
Tempter continues his flattering attentions to Martha. 

Quartet — Eh quoi toujours seule ? (But 'Why So Lonely ?) 

By Geraldine Farrar, Soprano: Enrico Caruso, Tenor; Marcel Journet, 

Bass: and Mme. Gilibert« Mezzo-Soprano (In French) 95205 12-inch, $2.50 

The second part of the scene begins with the beautiful dialogue between Marguerite and 

FauMt, She confides to him her loneliness, and in an exquisite passage speaks of her dead sister. 

My mother is gone; 
At the war is mjr brother; 
One dear little sister I had. 
But the darling, too, is dead I 
The angel! the angel! 
Loved me, and loved me only; 
I waited on her night and day. 
How I worked for her! oh, so dearly! 

But those to whom we cling most nearly 

Are the Brst lo be called away. 

Sure as ever morning came, 

Came her call, and 1 must be there! 

Since she could speak, she called me mother. 

Oh, my bird! ne'er for another 

Half so truly my heart will care! 

Faust is tender and sympathetic, and the impressionable girl's heart turns more and 
more toward the handsome stranger, who seems all that a lover should be. 

Faust : 

If a second angel, made by Heaven, 
Could so pure, could so perfect be, 
She was an angel! 
An angel, sister to thee. 

MephUtopheles has succeeded in getting rid of Martha, who vainly looks for him in the 
garden, and he now watches with satis^ction the lovers, who are wandering among the 
trees in the moonlight 

Marguerite {alarmed)'. 

I pray you i^o, the night comes on I 
Faust {protesting) : 

Dear angel! 
Marguerite {running off): 

Pray you leave me! 
Faust {following) : 

Ah! unkind one! to deny me! 

'Ere the scene becomes too moving 

Twcre best to fly! {He hides.) 

Martha {aside): 
Now be most civil! 
Methinks — why he has gonel 
My lord! my dear lord! 
{She goes in search of Marguerite.) 

Mephistopheles {reappearing): 
Yes! So let her run! OuflF! 
Yonder jolly matron loving. 
Was longing, upon my word, 
Tenderly to wed the devil! 

The Tempter now sings the famous Incantation, in which he calls upon night and 
the flowers to aid him in his diabolical plot against the soul of Marguerite. 

Invocation Mephistopheles (Oh Night, Draiv Thy Curtain!) 

By Marcel Journet, Bass (In French) 64119 10-inch, $1.00 

Stretching out his arms, the Evil One invokes the powers of Night, that its mysterious 
scents and seductive charms may aid him in his work of the lovers' undoing. In this stately 
passage he drops for a time the satirical vein of the previous quartet, and gives the invo- 
cation with befitting solemnity and grandeur. 

It was high time — 
See, *neatn 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! 

This is one of the most impressive passages in the whole part of Mephtstopheleg. 


Marguerite*! Surrender 


The Ig« 

Tardi si fa ! (The Hour is Late I) 

By Geraldine Famr. Soprsiio, 

an4 Enrico C>ru«o. Tenor 

{In FnmJt) 6»032 12-iach, *2.00 

MorguaiU, finding kenelf bIooc with FautI, look* in vain 

for Martha, tuid not (eeing her, endeavors to bid farewell to 

The i 

iright Bi 

priy thee! Mahcumitk: 

Why not enjoy Ihis lovely Oh! how stcange, like 

night a little longer? Ddc9 Ihe evening bind 

Let me gaic on the form be- And a deep languid ch 

The (econd part t>[ the duet begin* with the lovely 
Sanprt amar, in which Margatrtle and Faatl pledge their 

I Dammi ancor (Let Me Gaze on Thy 

By Alice Nielsen. Soprano, and Florencio Conatantino, Tenor 

(/n Italian] T4076 12-inch. ILSO 
(Thii record ia in put the wise ■• 89032. one aiception beina that the rwlalin. "The 
Hour ia Lua." bMween MartiU'Itt ond Faial, it omitled.) 

Eternelle (Forever Thine) 

By Geraldine Farrar. Soprano, and Enrico Cartiao, Tenor 

(InFnnch) 89031 12-inch, I2.00 
And now the lovera plight their troth in the fateful word " Eternelle," which, with the 
•oleron chorda in the woodwind, aounda lilte a true lover'a aigh. 

Fault, in an exquiaite atrain, calla on Heaven, the moon and atari to witneaa that hia 

O t 


noon. O sis 
wesr'how d 


* «nlh 

If an) : 



! 1 dare n 
falter! I fi 

-' *"" Oh. fair an. 
Angel, lo h 
I obey— but 

* Were it already mornl Now awiyt 

Elle ouvre sa fenetre (See 1 She Opens the W^indow !) 

By Geraldine Farraf. Soprano, and Marcel Journet. Bast 

(InFrtnch) 89040 12-inch. *2.00 
, when he ' 

HuiryiDB away full of thoughu of the n 

FoKSl ia confronted by the mtaing Mepkltlirpfiela, who hara hia way, 

t/i\] see his MatgutHtt again. 


Moigutrilt had entered the house, but i 

■ than Heaver 
vtiy brcilh of 

Oneof the moat orisinal and beautiFulof the Faust melodiei, 
ihia make* a fitting (erminBlion of the eiquintely beautiful 
Garden Scene. A lovely melody in 9;8 time, divided between 

thai which ihe tellcth the stars! 


clarinet, formi the bcisU of 

Mit, and in thit the Kipnno 

ihort dreamy phnu 


and the I . . 

lait ecstatic phrase, is answered by (he 
cry of hei lover, and Mtphiiiophtlta, who 
hai been holding Faatt back, now 



tht u 


Isnic tauBltfr): 
(Tht cutlain tlowly fatli.) 

Fantaaie from Garden Scene 

By Mischi Elnuo, 

Violinitt <,Ptamacc.) 

64122 10-inch, ll.OO 

For those who wish to enjoy aome 

o( the exquisite melodies of this act in 

an instrumental form only, the potpourri 

by Elman is included here. 

In this record the young artist does 
not show ui feats of execution, but 
brings out all the sensuous beauty of 
the music which Gounod composed for 
this immortal scene. It is one of the 
loveliest bitsof violin plapng imaginable. 


ACT IV—The Desertioa 
opening of the fourth scene shows the unhappy Margutriie 

!ated at her > 

wheel, brooding over the sorrows which have overtaken her y 

ful friend, enters and talks of vengeance against the absent Faail, but MargueHIt defer 

him and sadly goes into the house. 

The scene abruptly changes to the square in front of the cathedral, with the house 
Margutriie shown at one side. The victorious soldiers, just returned from the war. enl 
accompanied by delighted wives and sweethearts, and sing their famous Soldiers' Chor 
a jubilant inspiring number, and one of the finest marches ever composed. It was writ! 
for a previous opera by the composer, but was added to FausL 

Deponiam il brando (Soldiers' Chorus) 

By La Scila Chorus 

Ulallan) '62624 lO-inch, fO.SS 

The Soldiers* Chorti* — Depot) lam il braodo — D^posoof les ii 

Resdy to figbt or ready li 


lacks pity 

o spare, Khen the field li 


would fly f 

om ■ tac. if «■"".. or UmF 


The unhappy Margutrile, ahunned by her compsniom and de*erled by all save the 
faithful Sldxl, ia brooding within the cottage, fearing to meet her brother, who h(u jud 
returned from the war. Mepfilslophrla, not content with the eviL he has already wrought, 
return* to taunt the maiden with her fault, and linga this insulting and literally inferrkal 
song, each verse of which ends with a mocking laugh- 
Serenade — MephiatOphcl 69 (Catarina, While You Play at 

By Pol Plan^on. Bass (/n French) 8IO40 lO-ineh, *IJ>0 

By Tiu RuSo, Baritone (In Italian) 87222 lO-inch. l.OO 

By Marcel Jouraet. BaM (h Fnneh) 74036 12-inch. 1.50 

After the second verse occurs this famous p 


» octave Jumps to the low G, concluding with a peal 


c not thus thy hsa.t 

Too bad. I declare! 
Ila. ha. ht. faa, ha! 
Nol » single kiu, my d 
UnlcpLS the ring amKIr 
Ha, ha, ta*. lis! etc 


Que votilez-vous. mesaieurs? C^S^hat ia Your 
Wm?) (Duel Scene) 

By Enrico Ciriuo, Teaor: Antonio Scotti. 
Baritone: and Marcel Jouraet.Basa 

{fnFnncli) 95206 12-incIi, 12.90 
yalentlnt, amattinK with ahame of Kia aiater'a dUgtace, cornea 
from the houae and 



r will wilh mef 


u moat mocking v 


My hu 


my cspMin splendid 








Faust i 


thed) : 





Or pe 



Enough of iniult! Replyl 
My which of you Iwo shall I bf requited? 
For KH-w itcliled, for laurel blighted! 
Whii'h of you two shall fall beneath niy sivori 

Motte di Valentino (Death of Valentine) 

By Antonio Scotti. Baritone, and Chorus (Fiaxh) 88282 12-iach. tl.SO 

Leaving tKe wounded Valentint on the ground, the aaaaiU 
anta rapidl)' depart, and a crowd of •oldien and women 
anemble around the dying aoldier, the chorua here crying 
out in accenta of pity, in which Matgaerite joina. Valentine, aee- 
ing hia sister, utters curses upon her. ihe solemnity of the scene 
being enhanced by the sustained trumpet tones in the accom- 

n have I looked on death to be 

Thy shame hath slain me! 
(To thi iQldicrsi 
Iter fine betrayer's sword 
Haih sent her btoiher home! 

The throng endeavor to mitigate the dying man's anger, 
and Marguetlle begs loTgiveneas. but P'efenfjne dies with the 
curae upon his lips. 

Hath icm Iby bratber 


Thit dramatic •£«!& it viviilly pic- 
tured in the wonderful painting by 
KreliosiPi'caenledoDthe previoua pase- 
Tlieie Kreliog paintings, aome ten in 
number, are reproduced ia tliU work 
throuBh the couitesy of Mme. Sofia 
Romani, who has loaned the author her 
collection, perhaps the only one in 

ScSne de L'EfliM (I) 
(Church Scene. Part I) 

By Geraldinc Farrar and 
Marcel Jouroet (/n Fitnch) 

69035 12>ioch. nSM 

Ratnmenta i liett (Dost 
Thou Remember?) 

By Titu Ruffo. Baritone (In 
Italian) 87166 10-inch. *1.00 

We now come to the impreaaive 
and almoat terrible «cene outaide the 

MargutrUe, cursed by her dying 
brother, abandoned by all but the faith, 
ful Sltbtl. ia kneeling at a amall altar. 
Fearing to enter, and endeavoring to 
•eek consolation in prayer, she suppli- 
cates Heaven to accept her repentance. 

Recollect bow thou cimeii to »k for ) 
blessing f h d ' 

Wben'ihv feci did faUback, (nd thy breatt 
it did (alter 

*. .>.n„.,h. to ask for aid: 

bou want then of the rite and the 

le worm to welcome thee, the 6re to warm 


■it bill till thou ihsit come! 

Aa this terrible prophecy ia heard from the invisible Evil Spirit, Margatrilt is terrified. 

Sc^ne de L'Efflise (11) (Church Scene. Part II) 

The unhappy girl, aim 

Angela of * 


When the book shall be i 
When the future be reve. 
Wh,l frail morUl shall n 

Farewell. Ihy friends who love thee! 

And Ihy piardians above theel 

The past is done! Ifae payment now! 

1 Th)- throne, who dost 

Tormented bcyand further endur- 
ance, the unhappy girl'a reason givea 
Vf«y, and with a terrible cry ihe fall* 
llfeleaa before the church. 

Ballet Muaic 

(Valse. "Les Nubiennes") 


SCENE— rAe -Prl^n Cell ofMatgutHtt 
Margutrllt j reMon i* gone— grief and TemorM hove driven her inaane, and in a f teniy ahe 
ha» destroyed her child. Condemned to death, ahe lioa in prison, into which Mtphltlopheta 
and Faatl, de^ng bolts and bara, have entered. 

Mon coeur est p£n^r£ d'epouvantel (My Heart is Torn) 

By Gerildinc Famr, Soprano, and Earieo Caruso. Tenor 

(In Fttnch) S9033 12-iaeh. *2.00 

and, «■ the full measure of his own guilt comes to him, continues; 
''0hr*hat ai^ish! Sha U» .here a. my fet. ^"^"Vl h«r''*on« ^gain. the song o 
5'T^i'^!'^."°?^l -/5l:?^^'^'"". "'". :T«.rnVt7he ery of .he d.n,on^ 


Let wbo wi1[, now goad 
Or mock me, or upSraid, 

Earlli will Brow ■■ " 

To Heaven by thy lid! Br tby beauly mad 

Attends t voici la rue (This is the Fair) 

By Geraldine Farrar. Soprano, and Enrico Caruao. Tenor 

{In French) 89034 12-iacl>. f2.00 
Matgatrttt't mind wandering, ahe ainga dreunily of the Fair, where iirat Faatl appeared 


The day j. 

e by. 

Margaerilt now rehearaea the Grat meeting with Fautt, hia reapectful greeting, and her 
modeat and dignified reply i 

"Higb bora and loiely maid, forgive my bum- Evrry flower in incense breatbing, 

bte duty; And through Che stilL. evening lir 

to-day>" H«rl(! how the nighlin gale above 

Not s Udy. J 

e on Yi 



lly murmur 

thy l£ 

come! They shill not ham tbeet 

Fau«t (in dfifair): _ .. , _ _ ._._ 

Come avayl If tbou lov'it met Harguenle! Thou shilt not perish) 

MAacuERiTE (iJrramiJy. htr Ikauahtt i* llu Mucubitte OinleitM: 

^iu(): 'Tia all loo late! Here let me die! 

How DT garden ii freih and fairl Farewelll My memory live to cherii 

Redemption of Mar fuerite 


The impassioned duet then follows, Faust endeavoring to persuade her to escape ; but 
the poor weak mind cannot grasp the idea of safety. The duet is interrupted by the im- 
patient Mephisiophelcs, whose brutal "Alerie " begins the final trio. 

Trio — Alerte! ou vous etes perdus ! (Then Leave Her !) 

By Geraldine Farrar, Enrico Caruso and Marcel Journet 

(/n French) 95203 12-inGli. $2.50 

By Ves8ella*8 Italian Band *35449 12-inc1k, 1.35 

By Victor Opera Trio (In English) 60097 lO-inch, .75 

Mephistopheles, fearing the coming of the jailers, and uncertain of his own power, cries out : 

Then leave her, or remain to your shame; Mephistopheles (to Faust): 

If it please you to stay, mine is not the game! Let us go, ere with dawn 

Marguerite (in horror, recognising the Evil Doth justice come on; 

One, the cause of all her woes)'. Hark! the horses panting in the courtyard 

Who is there! Who is there! below, 

Dost thou see, there in the shadow: To bear us awav! 

What does he here! He who forbade me to Come, ere 'tis day! 

As he sings, the tramping and neighing of horses are suggested in the accompaniment. 

Marguerite (xoith fresh courage, defying him)'. 

Away, for I will pray! (in rapture) 

Holy Angels, in Heaven bless'd 

My spirit longs with thee to rest! 
Faust: Come, ere 'tis too late to save thee! 

The inspiring trio, perhaps the most thrilling and moving of all operatic compositions, 
then commences; Marguerite continuing her prayer, Faust urging her to follow him, while 
Mephistopheles, in desperation, repeats his warning to Faust. 

Anges purs I (Holy Angels) 

By Mme. Au^uez de Montalant, M. Rocca and M. Pierre d^Assy 

Mephistopheles: (/n French) *69227 10-inch, $0.85 

Let us leave her! Marguerite: 

Come away! the dawn is grey. Holy angels. In Heaven bless'd. 

Come, ere they claim thee! My spirit longs with thee to rest! 

Faust: Great Heaven, pardon grant, I implore thee. 

Lean on mv breast. For soon shall I appear before thee! 

O come! I m here to save thee! (She dies.) 

At the close of the trio, Mephistopheles is about to triumph over the soul of his victim, 
when a company of angels appear and announce that Marguerite is saved. The Evil One, 
dragging Faust with him, disappears in a fiery abyss. 


Even the Bravest Heart Reinald Werrenrath (/n £n^//5A)\- -^-- i*» j^^u ai </« 
Bohemian Girl— Head Bow'd Down By Werrenrath (In EngUsh)r^^^^ 12-inch, f 1.50 

55087 12-inch, 1.50 


'Mais ce Dieu, que peut-il pour moi ! 

By Campa^nola, Tenor, and Cerdan, Bass (In French) 

A moi les plaiiirs By Campagnola and Cerdan (In French), 

Flower Song By Corinne Morgan (In English)\^^^^^ .^ . ^, , «^ 

Drink To Me Only With Thine Eyes By Harry MacdonoughP^^^^ 12-inch, 1.35 

Aria dei tfioielli (Jewel Son^) Giuseppina Hu^et (^to''an)\A>ai«.rt lo :-..i, i «< 

La Kermesse (Kcrmcssc Scene) By La Scala Chorus (In Itaban)r^^^^ l2-inch, 1.35 

/Prison Scene By Vessclla's Band\«- . . - i-* :««u i «< 

1 Fa^rita-'Fantasie By Vessella's Italian Bandf^^^^^ 12-inch, 1.35 

12-inch. 1.35 

10-inch, .85 

CDio possente (Even Bravest Heart) By Cicada (^'<>''<">)\6A0 7e 

\ FarwHta—Quando le soglie By Mileri and Minolfi (In Italian) r^^ ' ^ 

reponiam il brando (Soldiers* Chorus) By La Scala ^^^'^'Ia2624 
DonPasquale — Sognosoaoeecasto By Acerbi, Tenor (In ItaUan)) 
rWaltx from Kermesse Scene Pryor's Bandl,^--^ !« ;-.^u a a 

1 In Happy Moments (from ^'Mantana*^ Jlan Tumerr^^^^ lO-mch, .85 

17284 10- inch. .85 

jAntfes purs! By dc Montalant, Rocca and d'Assy (French)\^g^^^^ i^ ;«^u a& 
\ Choral des Epies By M. Vigneau, Baritone, and Cho. {In French) r^^^^ lO-mch, .85 

Ballet Music (''Dznee of Nubian Slaves**) Vessella*s Band 
Ballet Music C^Dance of the Trojan Maidens** and 
**Mirror Dance**) By Vessella*8 Italian Band 




Texl by Alpkonte Royer and Guatave Waez, adapted from a drama of Baculard. 
Damaud, " Le Cnntt de Camminga." Mualc by Donizetti. Fiist produced at the Acadindt, 
Parin. Deumbei 2. Id40. Firit London production in EnglUh. 1043; in lulian February 16. 
1847. Fint American production at New Orleans 1843. An Engliak venion woe siven at 
the Park Theatre. New York, October 4, 1848. Some later American ptoductiona were 
in ie93-%, with Manelli. OemoniDi. Ancona and Plancon ; and in 1896^ at Wallack'a Theatre 
by the Royal Italian Opera Company, and in 1905 at the Metropolitan. 


ALPHONSO XI. Kiny of Caitile Baritone 

Ferdinand, a young novkeof iheConvemof St. Jame* Tenor 

Don Caspar, the King'a Minialer Tenor 

Balthazar. Superior of the Convent of Si. Jomei Baa* 

Leonora DI GUSMANN. the King'a favorite Soprano 

Inez, her confidante Soprano 

Cburtieta. Guards. Monks, Attendants, etc 

Scene and Period: The action li uippua/ (d lal(e place In Caallle, ahaul ihegear 1 340. 
SCENE^TAe Manaalers o/ Si. Jamei 
The rise of the curtain discloses a Spanish cloister with its secluded garden and weather- 
stained wall, while in the distance is a gUnipae of the tiled roofs of the city. Ferdinand, a 


novice in the monastery, confesses to the Prior, Balthtuar, that he has seen a beautiful 
woman and has fallen in love with her. He describes his meeting with the fair one in a 
lovely song. Una vergine. 

(Itslisn) (French) (Eatfliah) 

Una vertfine — Un ange« une femme inconnue — (Like An Angel) 

By Leon Campa^nola, Tenor (In French) *45 119 10-inch, $1.00 

The good Prior is horrified and urges him to confess and repent 

Non sai tu che d*un giusto (Knoiv^st Thou) 

By Gino Martinez-Patti and Cesare Preve {Italian) *62635 10-inch, $0.85 

Balthazar: For thee I will break ev'ry tie! 

Ah, my son, my life's latest solace, To thee all ray soul I surrender — 

May tnv innocence rescue thee still! At thy dear feet content to die! 

Thou, thou who shouldst be my successor, Forgive me! Father, I go! 

And all my solemn duties fill. Balthazar: 

Ferdinand: Hence, audacious! away in madness! 

Ah, father, I love her! I'll not curse thee! no—depart! 

Balthazar: If Heaven spare thee, soon in sadness. 

This woman, wretched one! oh, knowest thou Thou'lt hither bring a broken heart! 

Who has lur'd thee thus to shame? Ferdinand: 

Ferdinand: Ah, dear Idol! this heart so enchaining, 

I know her not; but I love her! In vain thy spell I strive to break! 

Ferdinand (in rapture) : To thee only my truth maintaining. 

Yes, ador'd one! this heart's dearest idol! My cloister I forsake! 

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

The scene changes to the Island of Leon, where Inex, an attendant of Leorwra, and a 
chorus of maidens are gathering flowers. They sing a melodious chorus, 

Bei raggi lucenti (Ye Beams of Gold) 

By Ida Roselli, Soprano, and La Scala Chorus (Italian) *62635 10-inch, $0.85 

which tells of the love which their mistress feels for a handsome youth whom she has seen 
but once, and who is now on his way to the Isle at Leonoras request. 

Ferdinand, who, shortly after his departure from the monastery, had received a note 
bidding him come to the Isle of Leon, now arrives in a boat, blindfolded, is assisted to 
land by the maidens, and the bandage removed. He gazes around him wonderingly, and 
asks Inex the name of the unknown lady who has sent for him. She smilingly refuses, and 
tells him only her mistress may reveal the secret. Leonora now appears, and the maidens 
depart A tender love scene follows, but the Favorite is anxious, fearing that Ferdinartd will 
learn that she is the King's mistress. She shows him a parchment which she says will 
insure his future, and then bids him leave her forever. 

Fia vero ! lasciarti ! (Fly From Thee!) 

By Clotilde Esposito and Si^. Martinez-Patti *68309 12-inch, $1.35 

Febdinand: Thy vows and thy love! 

Fly from thee! Oh, never! No longer regret me — 

Twere madness to try Mine image remove. 

From thee to sever; The rose tho' she fair be, 

'Twere better to die! A canker that wears. 

Leonora: Can never rcstor'd be 

Farewell! Go; forget me! By anguish or tears! 

Ferdinand indignantly refuses. The lovers are interrupted by Inez, who enters and 
whispers to Leonora that the King has arrived at the villa. Leorwra gives Ferdinand the 
parchment and bids him again to depart, then exits hastily. Ferdinand reads it and is 
delighted to find that it is a captain's commission, and declares that he will win great 
honors to lay at the feet of his love. 


SCENE — Gardens of the Alcazar Palace 

The King enters and admires the beauty of the palace, which he has just acquired from 
the Moors by the victory of his army, led by the young captain, Ferdinand, A message comes 
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 
and Alfonso is threatened with the wrath of the Church if he does not give up Leonora. In a 
fine air he declares he will not submit. 



Vien Leonora (Leonora, Thou Alone) 

By Francesco Cig^da, Baritone {In Italian) *68061 12-inch, 11.35 

Leonora enters and the King tenderly asks the cause of her melancholy. She tells him 
her position is intolerable, and asks that she be allowed to leave the Court. She begins 
the duet, Quando le soglie. 

Quando le soglie (From My Father* s Halls) 

By Lina MUeri and Renzo Minolfi (In Italian) *68275 12.inch. $1.35 

Ah ! Talto ardor (Oh, Love !) 

By Mar^arete Matzenauer and Pasquale Amato 89062 12-inch, $2.00 

Leonora recalls the circumstances connected with her departure from her hither*s home, 
and reminds the King of his promise to make her Queen. 

They are interrupted by the entrance of Balthazar, who brings the mandate from the 
Pope. The King defies him, declaring that he will wed Leonora. 

B<dthiuar then begins the finale, one of the most impressive of the concerted numbers. 
He threatens the King with the wrath of God and denounces Leortora as an abandoned woman. 

Ah ! paventa il furor (The Wrath of Heaven) 

By Amelia Codolini, Francesco Cicada, Aristodemo Sillich and La Scala Chorus 

(In Italian) *16536 10-inch, $0.85 

The curtain falls on a dramatic tableau, — Leonora weeping with shame, the King hesitat- 
ing between love and ambition, while the terrible Balthazar thunders the papal curse down 
upon the guilty pair. 


SCENE — A Room in the Palace 

Ferdinand, who has won distinction in the wars, is received by the King, who asks him 
to name his own reward. The young captain asks for the hand of a noble lady to whom 
he owes all his renown* and when the King asks her name he points to Leonora. Alfonso 
gazes at her coldly and sternly and sings his ironical air. 

A tanto amor (Thou Flow'r Beloved) 

By Mattia Battistini, Baritone {In Italian) 92045 12-inch, $1.50 

By Francesco Cigada, Baritone {In Italian) * 16536 10-inch, .85 

Alfonso: Both night and morn; 

Thou flow'r bclov'd. Fad*st from my breast. 

And in hope's garden cherish 'd, Thine ev'ry beauty perished, 

With sighs and tears refresh'd. And in thy stead alone have left a thorn! 

He consents to the marriage, however, and announcing that they must prepare to wed in 
an hour, goes out with Ferdinand. Leortora^ left alone, decides to sacrifice her own feeling 
and renounce Ferdinand. She gives expression to her mingled joy and despair in a noble air. 

Her resolution is no sooner taken, however, than she resolves to tell him all and throw 
herself on his mercy. She calls Inez, and bidding her seek out Ferdinand and reveal all, goes 
to her apartments to prepare for the wedding. Inez prepares to obey, but on her way is 
arrested by the order of the King. 

The King enters with Ferdinand, to whom he gives the title of Count of Zamora. Leonora 
appears and is overjoyed to see Ferdinand still looking at her lovingly, not knowing that Inez 
has failed in her mission, and that he is yet ignorant of her secret. 

The ceremony is performed and the pair are presented to the Court, but are met with 
cold and averted looks. Ferdinand, although not aware of the cause, resents this and is about 
to draw his sword when Balthazar enters and demands peace. When he learns of the 
wedding he is horrified, and tells Ferdinand he has married the King's mistress. Ferdinand 
is furious and denounces the King, who is seized with remorse. 

Orsu, Fernando (Stay! Hear Me, Ferdinand!) 

By Maria Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; 

Francesco Cigada, Baritone {in Italian) *62659 10-inch, $0.85 

Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves 
the Court, followed by Balthazar. Leonora faints as the curtain falls. 



(Spirit So Fair) 

{In Italian) 




{In Italian) 




(In English) 




{In French) 





SCENE — The Cloisters of the Monastery 
The scene represents the cloister at the Convent of St James of Compostella, illumined 
by the rays of the rising sun. The monks have assemblea to welcome back the prodigal 
Ferdinand f who, heartbroken at the falseness of Leonora, is returning to renew his vows. The 
ceremonies are conducted by Balthazar, who begins the impressive SplenJon piU belle, 

Splendon piu belle in ciel le stdle (In Heavenly Splendor) 

By Torres de Luna, Bass, and La Scala Chorus {Inltalian) '('68061„ $1.35 
By PerellodeSegUrola. Bass, and La5cala Chorus {Italian) *16551 10-in., .85 
Balthazar entreats him to lift his eyes from earthly things and contemplate the stars, 
which typify a forgiving Heaven. 

The monks now go into the chapel to prepare for the final rites, and Ferdirtand, left alone, 
casts a look behind him to the world he has left forever, and sings his lovely Spirto genUl. 

(luliaa) (French) 

Spirto gentil Ange si pur 

By Enrico Caruso, Tenor 
By Hippolito Lazaro, Tenor 
By Evan Williams, Tenor 
By Leon Campaf nola. Tenor 

Fekdinand: In thee delighting, all else scorning. 

Spirit so fair, brightlv descending, A father's warning, my country, my fame! 

Then like a dream all sadly endinjs, Ah. faithless dame, a passion inviting. 

Hence from my heart, vision deceiving. Fair honor blighting, branding my name. 

Phantom of love, grief only leaving. Grief alone thou leav'st, phantom of love! 

The monks now lead Fminand to the chapel. Leonora, who has come hither disguised 
as a novice to entreat forgiveness of her lover, hears him take the final vows and despair- 
ingly falls at the altar. Ferdinand comes from the chapel, and seeing a poor novice, assists 
him to rise. He is at first horrified to recognize Leonora, and bids her begone. 

Pietoso al par d*un Nume (As Merciful as God) 

By Esposito and Martinez-Pa tti {In Italian) *62659 10-inch, $0.85 

Again gendy reminding him of his vows, she falls from weakness and privation. 

Leonora: 'Tis Heaven calls thee! Leonosa (Jeebly): 

Fesdinand (recklessly): Heav'n forgive me, now I'm dying. 

Yet more power hath love; We shall hereafter meet no more to be parted. 

Come, could I possess thee Farewell, now, farewell! 

There's naught 1 would not brave! (She dies.) 


fFavorita Fantasie — Synopsis By Vessella^s Italian Bandl^^ . . . 

\ Faust^Priaon Scene {Gounod) By Vessella's Italian Bandr^*^^ 

<Un angfe, une femme inconnue 1 . ^ ... 

Ange si pur By Leon Campafnola, Tenor {In French))^ 

rQuando le sof lie By Mileri and Minolfi (In ^^^''^'*) 1^02 75 

\ Faust — Dio poasente {Gounod) By FrarKesco Qgada (In Italian)) 
Fia vero! lasciartil (Fly From Thee!) Clotilde Esposito, 
Soprano, and Sig. Martinez-Patti, Tenor {In Italian) 
Norma — in mia mono affin tu set Giacomelli and MarHnez-Patti 
Vien Leonora TLeonora, Thou Alone) F. Cigada (Italian)'^ 
Splendon piik belle in ciel (In Heavenly Splendor) By ^68061 

Torres de Luna, Bass, and La Scala Chorus (In Italian)] 
A tanto amor ( Flo w*r Beloved) By Ci^fada (In Italian)\. ^^^^ 

lAh 1 paventa U furor CodoUni, Cicada and Sillich {In Italian) f^^^^^ 
Non sai tu che d*un f iusto (Know^st Thou) By Gino | 

Martinez-Patti, Tenor, and Cesare Pr^ve, Bass (Italian) ^62635 
Bei rzggi lucenti (Beams of Gold) Roselli and Cho. (Italian) 
Orsik, Fernando By Cappiello, Acerbi and Cicada (In Italian) 
Pietoso al par d*un Nume 

By Esposito and Martinez-Patti (In Italian) , 

{Splendon piiH belle in ciel de Segurola and Chorus (In Italian)\. 
Manon — Etje sais voire nam Korsoff and Beyle (In French)} 

























Opera in two acta, adapted by Sonnleithner from Bouilly'i Lionort, so I'Amour ConjugiU. 
Muaic by Beethoven. Firit produced at Vienna, November 20. 180S. Given in London 
May 18. 1S32. In Pariaatthe TbettreLyrique. tranalated by Barbier and Can^ and in three 
acta. May 5, 1860. First American performance in New York. September 9, 1S39, with 
Giubilei, Manveia and Poole. Other notable productiona in 1SS8, with Mme. Caradori and 
Karl Fonna: in 1666, with Mme. Rotter. Habelmann and Formea; at the New Orleani 
Opera, in [talLan, December 1 1, 1877 ; theDamroacb production of 
1864. with Brandt. Belz and Koegel : the Metropolitan performancea 
in 1901, with Tetnina as Ltfonore ; and the revivals of 1913 and 1917. 


DON FERNANDO, Miniiter Baritone 

Don PIZARRO, Governor of the State Priaon . . Baritone 

FLORESTAN. a priaoner Tenor 

LEONORE, hia wife, known •• Rdelio Soprano 

ROCOJ, jailor Baaa 

MaRZELUNE. his daughter Soprano 

JAQUINO, gatekeeper Tenor 

Soldiera. Priaonera, People, etc. 

Place : A Spanlih Slalt firlion (n the oldtiUy of StviO* 

FldtUo muM ever be regarded with great intereat aa being the only opera written by one 
of the greateit compoaers. Originally given at Fidelia, it waa revrritten and condensed into 
two acta by Breuning. still a third revision being made in 1614 by Treitachke. At the time 
of the second production in 1806 the title was changed to Ltonore, Beethoven writing a new 
overture, now Vnown aa Ltonen No. 3. 

Leonore Overture No. 3 

By Victor Concert Orchestra (Partt I and II) 39268 I2>iach. H-SS 

(By Victor Concert Orchestra {PoitllD U»a*.fl ,, i„^k . <.> 

\ AiG^o from 4th Symphony (Betthoetn) fly C™<//a'i fianrf/ ' IZ-'nctk. l.3!> 


The action of the opera occuia in a (ortrem near Seville. Don Flere$lan, a Spaniah 
Doblemui, has been impriMmed here For life, and to make hia (ale eartBio hi* mortal ei 
Don Pizam, Covemor of the priaon, haa anaounced hia 
death, meanwhile putting the unfortunate man in the loweit 
dungeon, where he ia eipeotcd to die by gradual starva- 
lian. ihua rendering; unneceaaary a reiort to violent meluu. 
Don Flotalan, however, haa a devoted wife who re- 
of hia death. E)iaguiaing 
ing the name of Flieiio, 

n that he 

herself an a aervant. and aaaui 

aome jouth, and he ia aoon in auch high fai 
permitted to accompanvRoccoonhia viaita to the priaoner- 
Hearing that the Miniater of the Interior ia coming to 
the priaon to inveatigate the auppi^Bed death of Flortslan, 
the Governor decidea to murder him. and aaka Rocco'ihelp. 
FiJello overheara the conversation and geta Rocco to allow 
her to dig the grave. Juat aa Don F^ano ia about to atrike 
the fatal blow. FiJtIlo ruahea forward, prodaima heraelf 
the wife of the prisoner and shields him. The Governor 
' ia astonished (or a moment, but recovers himself and is 
about to aacrifice both, when a flourish of trumpets 
announce* the coming of the Minister. The priaoners 
throw themaelvoB on their kneea before Don Fernando and 
joyfully rejoice in their coming liberatiDn. 
j Priaonera' Chora* (Ohl What Delitfhtl) 

( By Victor Male Chorua (/n Enah,h)\3ii7b 

1 The Heaoaa Retoand {Beeihocai) Victor Omforfo Chona' 

Thia is one of the most famous of operatic choruses : 

ll-inch, «1.3S 

Mnhoped! Ju«i 
shrine of deatb 

clightl : 

ought for 7et 

I to »■ on the 

), disgraces Don f^zarro, while Ftontlan ia pardoned 



ittiiMA eidirifAti i,tmt*\ 

®Er flki^rntf J^IWnlitr. 


Teat and wean by Richard Wagner. Firit 
produced at the Royal Open in Dresden, Januaiy 2, 
1843. Produced in Berlin in 1644; Zurich. Ifl52i 
Weimar. 1853; Vienna. 1860; Munich. 1864. Firat 
London production July 23, 1870. under the title 
L'Olandtte Dannalo, the book being translated 
into Italian by Marcheii ; and in English by 
Carl Rou October 3. 1876. In llaly. at Bologna. 
IB77. Another Italian veraion was given at Co. 
vent Carden. thia time called // VaKello Fanlaime. 
June. 1877. First American production at Phila- 
delphia. November 6. 1876. by (he Pappenheim 
Opera Company, in Italian; fiirat New York pro. 
duction, in English. January 26. 1677: >d German. 
March 12. 1877. Given at New Orlean* Opera 
in 1877. 

DALAND. a Norwegian sea captain Bass 

SENTA, his daughter Smrano 

Eric a huntsman Tenor 

MARY.Senla's nurse Contralto 

Daland's Steersman Tenor 

The Dutchman Baritone 

Sailors, Maidens. Hunters, etc. 

Hace .- On the coail a/ Noroay 



jjj ^'f -J -^ 


One of the most melodious of Wagner'a operaa, and tkc moil populu today, FUtgenJe 
HotlUnJtt ia also the one which waa moat promptly condemned by the critiu after it« 
pn>duction. Ita preaent vogue is a notable example of the change in musical taale aince 1843. 

Wagner waa led to write the Flying Dutchman alter reading Heme'* legend of the 
unhappy mariner, who^ after trying long in vain lo paaa the C^pe of Good Hope, had 
awom that he would not desiat if he had to aail on the ocean lo eternity. To puniah hi> 
bluphemy he ia condemned to the fate of the Wandering Jew. hi* only hope of aalvalion 
lying in hia releaae through the devotion unto death of a woman i and to find auch a 
maiden he i* allowed every acven yeara lo go on ahore. 

The overture is a complete miniature drama, embodying the evenia of the opera to 
follow. Driven by ihe gale, the Phantom Ship approachea the shore, while amid the fury 
of the tempeat is heard the theme of The Carte : 

its height in a wonderful piece of 
writing. No compoaer ever aucceec* 

in portraying a raging storm with si 

vivid eSect Amid a lull in the tempest, we hear the melancholy complaint of the Dutch- 
man from the great air in the first act, "ff'fe o/l . . , . meln Grab, a aUou rich nlchl? " 
(My grace— 1 find II not I) A gleam of hope appears in the fledemption theme, and a joyous 
Krain ia heard from the sailors of Doland't ship, which ia safe in the harbor. 

Thus the various events of the drama are presented in miniature; and the overture is 
in fact a complete ritami of the opera, aummarizing the leading moUvea. 

ACT 1 

SCENE— rAe Coail of Nenoay 

The curtain riaes showing a rocky seacoaat in Norway, with the ship of Daland 

anchored near the ahore. As the crew furl the sails, Daland goes ashore, and climbing 

the cliff, acea that he ia only aeven miles from home, but as he must wail for a change in 

the wind, bids the crew go below and rest. 

The Sletrjman remains on watch, and to keep awake aings a sailor ballad: 

Through thunder and wars of distant sen, 
Ove/ lowermg wITvcs, wUhBoulhcrn brccxc. 

Mv maiden, were tbere no soulh wind. 

O fail south wind, to me be'kind: 
My maiden, she lungs Cor ma'. 
Ilo-xoho: Halio-ho! 
He soon falls asleep, however, and fails 
to see the Flj/lng Dutchman, which now ap- 
pears, with blood-red sails and black maats, 
for one of her periodical visits. 

The ipectral crew furl the aails and drop 
the rusty anchor. The Dutchman stands on 
the deck, and deliveis his great soliloquy. 
Gloomily gazing at the land, he sings his 

Die Frist i»t um (The Term 
18 Past) 

By Fritz Feinhals, Baritone 
(In German) >6S4S4 12-inch, *1.39 

The weary ses casts me um 
Hal hau>htyoc<anl 
A little while and thou aga 
Though Ihou art changefu 

FareweUI To-d>7 Ibou ihalt my dBughter 
{Rying Dutehnun, . 


Daiand come* on deck and ia aaloniihed to aee the atrange ahip. He wakea the Sleat- 
man and tkey kail the itranger, who aakm Daiand to give him Bhelter in hii home, offering 
him Ireaaure. and on hearing that Daiand ha< a daughter he prapoaea marriage. The 
•imple Norwegian ia dazzled by luch an honor From a man apparentl)' ao wealthy, and 
freely concents, provided hia daughter ia pleaaed with the atranger. The wind changea 
and Daiand aaila (or hi* home, the Dulehnan promiaing to follow at once. 


SCENE— ^ Room In DalanJ't Home 

My failhlul'whlcl! oh, ru*"iiifd"™rT"' 
Ah, if ihx biec» bill lul'd ihc hu. 

Hie maidena are buaily apinning, and their pretty, moving apinning aong i* a purely 
lyric number, with a droway rhythm most faacinating. Senta, Daland'i daughter, ia idly 
dreaniinB, with her eye* fixed on the fanciful portrait of the Flying Dutchman which 
hang* on the wall. 

[ the unhappy HollanJtr ha* made a atrong imprea*ion on the young 
I almost a reality to her. The maiden* ridicule her, saying that her 

■Hie le 

lover. Eric, will be jealou* of the Dalchman, Stata rouaea heraelf and 
ballad, which begin* with the motive of Tin Cune. 




With growins enthiuiaim „ 

on, deacribing ike unhappy lot of the 

man condemned to uil forever on the 

>ea unleu redeemed by the love of b w IT* ^St'.'tl'!!ljtU w 

woman. Then with emotion ahe cries: 

Thia ia the theme of RcdtmHlon iy Wtaaaa't Looe, and as Stni 
lender and melodiout phrate. ahe run* toward the portrait with out 
conaciouc of the now alarmed maidens. 

Yo-hohoe! Vo-ho-hoc! 

Saw yc Ihe ship on (he 
Blood-red Ihe unvaB. bli 

Who'll pledge h 

1 her lore 

The maideni are so alarmed at 5enfii j outburst of 

pasBion thai they run out and call Eric, who meeta tham 

■ the door with news of jhe Dutchman's arrival. They 

^mains and reproaches 

id ihe distracted lover 

^ Suddenly the door opens and the Dutchman appears. 

Saiia is transfiied with surprise as she involuntarily com. 
, ,1 -n. n . , 1 • P?''" '*"* portrait with ihe living man. A long silence 

follows. The Dutchman h« ey^ fixed on t^e glowing face of the maiden, adv. 
ward her. DaianJ. well satisfied with the apparent understanding between the 

and his daughter, leaves them logethi... 

The Hollander sees in Stnta the angel of whom he had 

dreamed and who is to banish the curse, and she sees the 
original of the portrait on 
which the sympathy of her 
girlish and romantic heart 
had been lavished. The 
Dutchman asks Senla if she 
agrees with her father's 
choice of a husband. She 
gladly consents, and a long 
love duet follows, the fin^ 
of which is "faith 



Daland re-enters and is 
delighted tofindsuch acom. 
plete understanding between 
the two. He invites the 
Dutchman to the f«te that 
evening in celebration of the 
safe arrival of the Norwegian 


ahip. Stnta repeata her 


thovfm the shipi 

the bay near Datand't homi 
gay with lanterns, in contraM to the gloom and 
silence which marks the Dutchman't ship. A 
gay Norwegian choinis is (ollawed by a spirited 
hornpipe with a roost peculiar rhythm. 

The maidens now appear with baskets 
of eatables, and are joyfully received by the 
sailors. Having supplied the wants of their 
own countrymen, they approach the Dulch- 
man'i ship and call to the Milora, but only a 
ghostly rilence rewards them. Piqued at this 
neglect, they turn their remaining baskets over 
to the Norwegian sailors and return home. 

Suddenly the sea around the Dulchman 
begins to rise, and a weird glow lights the 
ship. The crew appear and begin ■ sepulchral 
chant, which causes the gay Norwegians to 
cease singing, cross themselves in tenor, 
and finally go below. With mocking laughter, 
the crew of the Dutchman also disappear and 
the ship is in darkness. 

the strange captain, and is beside himself . He kneels and begs her to have pity on him. 

{Acie det Erik (Erik's Sang) By Karl Jorn. Tenor (/n German) | 
DtetuiUgen tVtiber—Honh. die Lenhe 45087 lO-inch. «1JX> 

(MenviVlaa of Windsor) By Karl Jam. Ttrmr (/n German)) 
Suddenly the Hollander comes upon the scene and is horror-stricken at the tableau. 
' Believing Senia to be false, he cries, "All is lost: Senia, farewell!" 

' ' ' ' ■ . .1 . 1 jjj jjj^ scene. The Dalchnait 

reveals bis identity and de- 
clares himself cursed forever. 
He springs upon his ship — 
the crimson sails expand as if 
by magic and the ship de- 
parts, with the crew chanting 
their weird refrain. 

Senia, in wild exaltation, 
rushes to the shoie calling 
toward the departing vessel i 
"I am faithful unto death," 
and throws herself into the 
sea. The Flying Dulchman 
•inks beneath the water, and 
rising from the wreck can be 
seen the forms of .Senia and 
the Dulchman clasped in each 
other's arms. The curse has 
been banished — true love has 
triumphed I 




{Lah Forf~zah del De$4e^ -noh) 



Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- 
ber 11. 1862; in London June 22. 1867; in Milan 1869; Paris, 1876; Berlin, 1878. First 
New York production February 2, 1865, with Carozzi-Zuccki, Massimilliani and Bellini. It 
was not heard again (or fifteen years, when it was produced at the Academy of Music, with 
the last act rewritten by the composer, the cast including Annie Louise Cary, Campanini, 
Galassi and Del Puente. Given in recent years in San Francisco by the Lombardi Opera Com- 
pany. Revived in 1918 at the Metropolitan with Caruso. 


Marquis of Calatrava {Kai-^Uraf/^Mh) Bass 

Donna LE0N0RA.\ , . , ., , /Soprano 

«^ . . ^ . ^. ^ f "W children in . 

Don CARLO. / IBaritone 

DON ALVARO {Ahl^W-wh) Tenor 


MELITONE, a friar Baritone 

Muleteers, Peasants, Soldiers, Friars, etc. 
Scene and Period : Spain and Italy ; about the middle of the eighteenth century. 

The story, taken from a drama of the Duke of Rivas, entitled Don Alvaro o la Fuerzer 
del 5/no (1833), was crowded with horrors, but Verdi*s beautiful music atones to some extent 
for the gloomy plot. 

The overture is a most interesting and rather elaborate one. 

Overture Pryor*s Band *35215 12-'inch, 11.35 

/Overture Part I La Scala Orchc»traV^a/*fto 1 1 :-*-k i «* 

iOvcrturc, Part II La Scala Orchcstrar®^^ 12.mch, 1.35 

It opens with a trumpet blast which sufficiently foreshadows the tragic character of the 
opera, this being followed by an air in the minor, leading up to a striking theme which steals 
in softly from the strings. 

I^T^ i n J I J J f Flf 

This is the beautiful subject of the Madre Pleiosa, afterwards heard with such mag- 
nificent effect in the opera. 

Part 11 opens with a light and pretty pastoral melody quite in the Italian vein. A 
notably brilliant passage for strings brings us again to the Madre Pietosa melody, this time 
delivered in a triumphant fortissimo, after which the overture works up to a truly animated 
and powerful finale. 


SCENE — Drawing Room in the House of the Marquis of Calatraoa 

Don Alearo, a noble youth from India, becomes enamored with Donna Leonora, the 
daughter of the Marquis of Calatrava, who is strongly opposed to the alliance. Leonora, 
knowing her father's aversion, determines to fly with Alvaro. 

She is in the act of eloping when her father appears, and is accidentally slain by her 
lover. Leonora, horror-stricken, rushes to her father, who curses her with his dying breath. 




SCENE l-An Inn at Hemacada, 

The aecoad act begins in b vil- 
lage inn. wbere Don Carlo, son o{ the 
jnurdereci Manpilt, ia diiguUed at a 
Mudent in order to better BTenge hia 
father. Leonora, who ia traveling in 
male attire, arrivei at the inn, and i* 
horror, (tricken at seeing her brother, 
who has sworn to kill her lover 
Aloaro and beraeU. Sbe fleet to the 
convent of Homacueloa. 

SCENE II— rAc Corwtnl of 

Kneeling in the moonlight the 
aakt the Virgin to protect her. in a 
beautiful prayer. The effect pro- 
luced by the tolo voice with the 

Madre. pietoaa Vergine 
(Holy Mother, Have 


By Celestina Boninacgaa. 
Soprano, and La Scala 
(In Italian) 

93031 12-ineh, tl.iO 

Send help from 
To «B« from i 
That ungrateful 
(T** friar, =« 
Tbe Fbiabs: 


BJnH hymH.'i i ^11 

Ltonora is admitted to the convent by the Ahtcl, t 
her a nun's robe and directs her to a cave, aasuring h< 
who seeks to know her name. She expresses her gral 
degli angeli. in which we again have the effect of the s 
with the prayer. 
The FiiAU: i .«»«.. 

La VirgiHt drgli Angili 

whom she confesses. He procures 
that B curse will rest upon anyone 
jde in another line air, La Versioe 
!mn chant of the priests blending 

Let u 


H04 \ 

i the ■ 


SCENE— ^ Military Camp ntar Vdltlii 
We are now transported to Itidy. where we meet Aleam, who has enlisted in the Span 
army. In a tad but beautiful air he recounts hia miifortunei. 


O tu che in seno agli* Angeli (Thou Heavenly One) 

By Enrico Canifo, Tenor {In Italian) 88207 12.inch, 11.50 

In the next scene he saves the life of Don Cado, whose wanderings in search of ven- 
geance have led him to this region. Both having assumed fictitious names, they do not know 
each other, and swear eternal friendship. Shortly afterward, during an engagement, Don 
Aloaro, wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he 
sends away the soldiers and requests that he be left alone with Don Carlo. The great duet, 
the finest number in the opera, then occurs. 

Solenne in quest^ora (Si^rear in This Hour) 

By Enrico Caruso, and Antonio Scotti {In Italian) 89001 12-inch, $2.00 

By Lambert Murphy and ReinaldWerrenrath {Italian) 70103 12-inch, 1.25 

By Carlo Barrera and Giuseppe Matftfi {In Italian) *68213 12-inch, 1.35 

By Vessella*0 Italian Band *35 5 1 2 1 2-inch, 1 .35 

The wounded man confides a case of letters to his friend Don Carlo to be destroyed, 

making him swear that he will not look at the contents. Carlo swears, and the friends bid 

each other a last farewell. 

Alva&o : 

My friend . . . swear that you will grant with me ... . when I am dead destroy 

my last wish. the letters. 

Caalo: I swear! Alvako: Look at my breast. Caklo: 

Carlo: A key! So be it. 

Alvaro: Alvaro {feebly): 

Open this case and you will find a sealed Now I die nappy .... let me embrace 

parcel. ... I trust it to your honor you .... farewell! 
. . . It contains a mystery which must die Carlo: Put thy trust in heaven! Both: Adieu! 

Aloaro, however, does not die, and in the next scene his identity becomes known to 
Don Carlo, who challenges him. This scene is a highly dramatic one. The close friends 
have now become sworn enemies. In addition, Don Ahartz learns that Leonora yet lives. 
He is filled with ecstasy, and attempts to convince Don Carlo that he is worthy of her love ; 
but Don Carlo can find no forgiveness for the man who killed his father, though it was in 
fair fight. Such a situation provided Verdi with material for a strikingly dramaric duet. 

II segreto fu dungue violato? (Is My Secret Then Betrayed?) 

By Enrico Caruso and Giuseppe de Luca {In Italian) 89087 12-inch, 12.00 

They fight, and Aloaro, thinking he has killed his enemy, resolves to end his days in a 

SCENE — Same as Act II, Scene II 

Five years have now elapsed and the last act reveals again the cloister of Homacuelos, 
where Aloaro, now Father Raphael, is discovered by Don Carlo, who revives the feud and 
tries to force him to renew the combat. 

Invano Alvaro ! (In Vain, Alvaro !) 

By Enrico Caruso and Pasquale Amato {In Italian) 89052 12-inch, $2.00 

The priest refuses, saying that vengeance is with God. Don Carlo taunts him with a 
terrible persistence, until the monk, goaded past endurance, consents to fight to the death. 

Carlo: Carlo: 

In vain, Alvaro, Yes! and for long years 

Thou hast hid from the world, I have sought and now find thee. 

And concealed thy coward heart By thy hand I fell. 

With the habit of a monk! But God restored my strcn^h 

My hate and desire for vengeance That I may avenge thy crimes I 

Have enabled me to persist Alvaro: 

Until I have discovered thy retreat! Leave me! By this holy habit 

Alvaro (recognizing him): Thou may'st see my repentance! 

Don Carlo I Thou livest! Carlo (in fury): Coward! 

Alvaro (agitated): Coward! Oh, God 
Give me strength to forgive thee! 

Le minaccie, i fieri accenti (Thy Menaces \(^ild !) 

By Enrico Caruso and Pasquale Amato (In Italian) 89053 12-inch, $2.00 

By Carlo Barrera and Giuseppe Matftfi {In Italian) *68219 12-inch. 1.95 



Altaro recover* hi* poi*e and endeavor* lo 
appen] to the reaaon of hi* enemy, •howing 
him the futility of reopening the feud, but Cario 
in«*t> on the duel. 

Be heard only by t 

Thy cowardly pleadings 
Take Ihy iword and fighi: 


Oh, God. no more! „„„ ,„ „„„„ ,„ . ,„„„, 

Defend ihyielf: """ """ """" " '" "' 


SCENE— ^ miJ Spol Near Homaaidot 

The *cene change* to the vicinity of Leonora 'a cave. Pale and worn, the unhappy woman 
came* from the cave, and implote* Heaven to let her die, a* *he i* unable to (orget her lovei. 

A ■lorm now break*, and Leonora retire* within the cave ju*t as Aloaro and Carlo ap- 
pear (or the final combat. Alport) recognizes the spot as an accur*ed one, but declare* 
that it i* a fitting place for the ending of *o deadly a feud. 

Dorx Carlo fall* mortally wounded, and deairing to repent hi* lin* B*ks Atvaro, who ia 
known aa Falhtr Raphael, to confes* him, but the monk i* under the curse of the cave and 
cannot. He goc* to call the friar ivho dwell* in the cave; Leonora ruahc* forth, aec* her 
brother wounded and embrace* him. but true to hi* vow he make* a dying effort and Mabi 
her to the heart. Thi* dramatic scene ha* been put by Verdi into the form of a trio. 

Non imprecare, umiliati (S'wear Not, Be Humble) 

By Ida Giaeomelli, Soprano : Gino Martinei-Patti. Tenor: Ceiare Prevc. 

Bas* {InllaUan) *68026 12-inch, 11.39 

Dor\ Aloaro then complete* the catalogue of horrors by throwing himself from a cliff 

just as the monk* arrive ainging the Miaerere. The curtain then fall*, evidently because, a* 

one critic ha* *aid, every member of the cast being dead, there *eem* to be no reaaonable 

excuse for keeping it up any longer t 


||^|39215 12-inch. tl.SS 
By La Scak Orchestra 6B009 12-uich, 1.39 

68213 12-ilich. 1.3S 

Overture. Part I and Part II 

ILe minaccie, i fieri icceati (Let Your Menaces) 
By Carlo Birrer* and Giuseppe Magtfi (In Italian) 

Soletioe in quest*orB (Swear in This Hour) By Carlo 

Barren, Tenor, and Giuseppe Mafgi, Baritone {In llallan)) 

(Non imprecare, umiliati By Ida Giaeomelli, Soprano: 1 

Gino Marti ncE-Patii and Ccsare Prcvc (In Italian) |68026 12-inch, 1.39 

Ballo In Matchera~Ah I qital toaee Giaeomelli and MorHna-PaOli 
{Solenne in quest'ora 
M^ilofeU Selection 


(FraA Deeaf^-ooh4oh) 

Libretto by Scribe, music by Daniel Francois Esprit Auber. First production at the Opira 
CoaUque, Paris, January 28, 1630. Presented in Vienna, 1830. London, at the Drury Lane 
Theatre, in English, November 3, 1631; in Italian, at the Lyceum Theatre, 1657. First Ameri- 
can production at the Old Park Theatre, New York, in Ejiglish, June 20, 1633. F^roduced 
in New Orleans in 1636. It was not until 1664 that it was given in Italian in New York, 
at the Academy of Music, with Kellogg. Colonel Mapleson gave three performances of the 
opera at the Academy of Music in 1865. Zelie de Lussan made her d6but here in the part 
with the Boston Ideals in 1866. Recendy revived at the Manhattan Opera and afterwards 
at the New Theatre by the Metropolitan forces. 


FRA DIAVOLO, calling himself " Marquis of San Marco'* Tenor 

LORD ROCBURG Q^rd Allcash), an English traveler Tenor 

LADY PAMELA (Lady Allcash), his wife Soprano 

Lorenzo, Chief of the Carabiniers Tenor 

MATTEO, the innkeeper Bass 

ZERUNA, his daughter Soprano 

GlACX>MO and BEPPO, companions of Fra Diavolo Bass-Tenor 

The Scene : Italy, in the ndghborhood of Terradna 

The story of Fra Diaoolo is melodramatic in the highest de- 
gree. Lorenzo, in command of the Roman Dragoons, is leaving 
Matteo's inn to capture Diaoolo and his brigands, just as Lord 
Rochurg and his wife, Pamela, who are traveling under the 
names of Lord and Lady Allcash, arrive, lamenting their mis- 
fortunes, having been robbed on the road. Another traveler, 
calling himself Marquis of San Marco, who is no other than Fra 
Diaoolo, appears soon after and is also welcomed by the inn- 
keeper, Matleo, and his daughter, Zerlina, Lorenzo is in love 
with ZerUna, but she has been promised by her father to a rich 
peasant. The Marquis openly courts Lady Allcash and at the 
same time manages to relieve her of her jewels. 

Gacomo and Beppo, two of Diaoolo's companions, appear on 
the scene, and when all are asleep, are admitted through the 
window by the bandit. All three conceal themselves in 2^rlina*s 
room, and after she has retired they proceed to again rob Lord 
and Lady Allcash, Lorenzo now returns, having killed most of ..„,..„ . 

^1 1 J r 11 I J *L C !• iT * -_ SANTLEY AS FRA DIAVOLO 

the band or robbers and recovered the cjiglishman s property. 

He expects to receive the proffered reward of ten thousand piastres, and his hopes of 

winning ZerUna seem brighter. 

The soldiers arrive at the inn in time to discover the robbery, but Diaoolo covers 
the retreat of his fellow-bandits by pretending to have a rendezvous with some lady, arous- 
ing the jealousy of both the Englishman and Lorenzo, the latter challenging him to a duel. 

The last act of the opera shows the forest where the duel is to take place. As Lorenzo 
sadly watches the marriage procession of 2^rlina and the peasant Francisco approach, he 
recognizes in the crowd Giaamio and Beppo. Both are arrested by the young captain, who 
through them hopes to capture the chief, Fra Diaoolo. The two brigands are forced to 
betray Diopolo and lure him into a trap, where he is ensnared and shot. As a fitting climax, 
the happy Lorenzo wins Matieo *s daughter for his bride. 

/Overture to Fra Diavolo By Pryor's Bandl--.-.^ -^ . * *, -- 

\ Marriage of Figaro Ooerture (Mozart) By Pryor's BandP^^^^ 12.tnch, $1.35 

Fra Diavolo Selection By Vessella*s Italian Band\«^, a, -^ . * . ^^ 

Daughter of the Regiment Selection By Vessella's Italian BandP^^^^ 12.inch, 1.35 
Atfnese, la zitella (Atfnes, Beautiful Flower) | 

By Pietro Lara« Tenor {In Italian) [63171 1 0-inch, .85 
BarUere — Guarda Don Bartolo Huguet, Corsi, Pini-Corsi, Badini] 


(GtmUB) .. (Esiliih) 



Worda by Friedrich Kinil 1 mu*icl>]rCu'IM«na von Weber; completed oa Die /iganbraul. 
May 13. 1820. Produced .t Berlin, June 18, 1821; in Pani{ai Rotin da Bol.. with new libretto 
by Blaze and SsuvBge, and many cbsnges), at tbe Odten, December 7. 1624. Another vei- 
don, with translation by Pacini, and recitatiTei by Berlioz, at tbe Acadimie Royale. June 7, 
1641. under the title of U Franc Archtr. In London aa Der Fre/scAub or TTk Stfaith BulUt, 
with many balladi inaerted. July 23. 1824i in Geiman. at King'* Theatre. May 9, 1832: in 
Italian, ai // Franco Ardero. at Covent Garden. March 16, 1850 (recitatlvea by Corta). 
I Firil New York production, in EjieUiIi, March 2, 
I 1823. Thia wa* followed by othei venionaiChatlei 
I E- Horn appearing aa Caiparm 1827. Cerman per. 
I formancea were given at (he old Broadway Theatre. 
1 1836, and by other German companiet in theaixtie*. 
I Produced at the Metropolitan under Dr. Damroach 
I. - u ^^^J'" '^^- ""*^ ■' '^^ Academy of Muiic in IB96l 
rfluJL^^^H f^vived at the Mettopolilan in 1910, with Gadaki. 
^^^^^1 Jadloivker and Goritz, 


PRINCE OTTOKAR. Duke of Bohemia . Baritone 

CUNO, head ranger Baaa 

^ MAX. \^ , . /Tenor 

im CASPAR.;'"'"""'"* ^"»«'*' i B... 

I ■ KlUAN. a rich peaaant Tenor 

^ A Hermit Baa> 

ZAMIEL, the fiend huntnnan 

ACNES. Cuno'a daughter Soprano 

Annie, her couain Soprano 

Chorus of Hunters, Peaaanta and Spirita 

ScoM and Patod: Bohemia, aboal 1750 


The word Fnitehotx, prabBblj' beltei iraiulaMd 
■u "free marluman." meoiu a SchHtx or marluman 
who u*cm charmecl bulled vrhich ilo not depend on 
the aim of the shooter. 

Overture to Freischiitz 

BySouu's Baad *3SOOO ll-ioch. *1.3» 
By La SciU Orch. '62636 lO-inch, .83 
The overture presents the ttory of the opera in 
a condeiued form. An introduction with a tender 
horn panase letidi ub into the forest. Night ia falling 
and myiterioiu aounds are heard. X^calhgto, repre- 
■enting the doubta of the good but vacillating young 
hunter, begin*, and the (ound of the magic bullets 



id happincM 

a beautiful melody, portraying love and happiness. 
appears, but this in turn ia succeeded by another 
mood of distress. At length the triumphant strain, 
indicative of the final victory, is sounded, leading up 
to a ^lendid climax. 

The story of the opera is founded on a Cerman 
tradition, told among huntsmen, that whoever will 
■ell his soul to Zantiel, the Demon Hunter, may re- 
ceive seven magic bullets, which will always hit the 
mark. For each victim whom he succeeds in secur- 
ing for the Demon, his own life is extended, and he 
receives a fresh supply of the charmed missiles. 

Cuna. head ranger to OUol^ar, a Bohemian prince, 
has two assistants. Max and Gupor. both excellent 
I, Cune J daughter, who has promised to be his bride 
M the best shot at a forthcoming contest. This con- 
' ramatic air. bewails his bad luck. 

Durcfa die 'Wsilder (Thro' the ForcBt) 

By Karl Jorn. Tenor (In Ct 

He believes he is cursed by a 

10-inch. tl-OO 


' r'S'„S 



utr'i hcsv. 

[Illy light. 

UO [( 

n I br Hcawn 

Jetzt ist wohl ihr Fenster offen 
(Now Beside Her Lattice) 

By Karl Jdro, Tenor 

llnGamm) *49078 10-inch, *I.OO 

Coipor, who has already put himself in the power 

of Zamid, sees here an opportunity to extend his 

days of grace, and advises Max to seek the 

magician and secure some of the magic bullets. 


He Gnally induce* Max to meet him in the Wolf* 

1 in order to receive the maBic bullets, which he 
will alway* hit the mark. 

In the meantinie Agnti ia aniioualy awaiting her 
lover and ia much alarmed at hia non -appearance. 
Annie, her caudn. endeavoTi to cheer her. 

Annie be« Agna to retire, but the yaung girl 
aay> she will wait (or her lover. Leh alone, ahe 
drawa t' 

them both. 

Pretfhiera (A^atha*a Prayer) 

By Enulia Corai *62636 10-inch. fO.S9 I 

By Louise Voiifi, '68473 la-inch, 1.39 | 
Max arrivea; followed by Anrde, but aeem* em- 
banaaaed and aayi ho muat go to bring in a stag he 
haa shot near the WolTi Glen. Agnes beg> him not 
to go near that haunted spot, but he diaregarda her 
warning and goea ouL 

The scene change* to the WolFa Glen, where Max meets Catpai, and the magic bullets 
are cast amid scenes of horror, vrhile the demon ZarMtl hovera near awaiting hi* prey- Max is 
returning with his prize when he meets the Prince, who aaks him to shoot a dove. The 
hunter complies, just missing Agjtei, who has come to the wood in search of her lover. 
Caipar is wounded by the very bullet which he had intended should slay Agnei at the hands 
of Max, Zamitl carries off his victim, while Max is forgiven and all ends happily. 

By Sousa'a Bind) - 
By Souia', Baniir 

^>39000 12-ineh, «1.35 

/Overture to Freischutz 

1 Catmen Stiecllon 

/Overture to Freisehiitz 

jpreghiera (Atfsths** Prayer) Emilia Corai, Soprano (Ilatlan)) 

jLeise. leise, fromme Wcise By Louise Voigt (In Gennan)\,g.-, ,_ , . , _. 

\ TannhUiaer—Dlch, talje Halle Bg L«,l,e Voigt (In German)!*"'*^' IZ-lncB, 1.33 



A Lyric Drama in a Prologue, Two Sceno anil Epilogue 

Text by Luigi lllica. Music by Alberto Frsncbetti. Fital production Bt the Teatra Dal 

me. Milan, in 1902. The opera waa given thirty perfonnancea at La Seals in two 

ono, and baa aince been beard in Spain. Portugal, Ruaaia and South America. Firal 

production. New York, January 22. 19l(t with Csruao, Deitinn and Amato. 

Caat of Cbaraeten 


FEDERICO LCEWEI -^,j_„^ I Tenor 

CARLO WORMS ^Student. ^Baritone 

RiaCE . .Soprano 

Students. Soldiera, Member* of the "Tusendbund," Forest GirU 

Germania m a picturesque and interesting opera, full of local color, describing the 
Germany of the time of Napoleon, with ila many conspiracies. The action takes place in 
1813, at the time of the battle of Leipzig. 

PROLOGUE— SCENE, An AtanAmeJ MM near Nuranbtrg 
A company of students, under the leadership of Glooannl Palm, have occupied an old 
mill, and are shippmg aBcLa of grain, which really contain political documents intended to 
rouse the people to revolt. Prominent among the studenta is IVanru, who previously had 
a love affair with Rldte, a young girl who is now betrothed to Loeiee, the poet and warm 
friend of IVorma. 

Loeiee is expected to arrive at any moment, and Rldfe dreads his coming, as she has 
made up her mind to tell him her guilty secret, (fornu, however, divines her purpose 
and bids her keep silent, as in the duel which was sure to occur Loose would likely be 
the one to die. Lotuit arrives and is joyfully greeted by the conspirators. He encourages 
them to fresh efforts in his noble nria. 

Student!, udite t (Studenta. Hear Me I) 

By Enrico Cwtuo. Tenor (In Italian) 87053 tO-inch, tl.OO 

Loiwi: Students! Hear, fHends, otd and new! 

Dry theae tears, and ceaae ihi; weeping! 

Who diea (or counlry never dies! lie is elernal. sanelified! 

The enthusiasm which follows Loeioe'i great address is rudi 

arrival of the police, who seize Palm and take him away to his dei 

itermpled by the 


SCENE— <4 CalUf I" ll» Biatk F<»»( 
Seven yean have elapsed. Hither 
4w>e ha* come after the dwaattoua cam- 
aisn o( 1606, which (idlowed the platting 
1 the old mill. He Uvea in this hut with 

■A and i> luppoaed to be dead. 
Lotiot ia about to be married to 
Rlckt, and the biideaniaida now arrive to 
deck the cottage with flower). Rlci^, think- 
ins of her past, ia melancholy, but the 
marriage ceremony ii performed and the 
bride and bridegroom are left alone. 
FeJaico claaps her in hi* arm* and aingj 
hia beaubful air to the eyea of hia bride. 

Non chiuder ffli occhi va^fai 
(Close Not Those 
Dreamy Eyes) 

By Enrico Catuao. Tenor 

(hllallan) 87094 lO-inch, flXM) 
ForgettinK the paat, Rlcl(e yield* heraelf 
to the joy oE the moment and tenderly Iriura 
him. when tuddenly from the (oreat ia 
heard a familiar voice ilnging an old 
atudent aong. " fVcmal" joyfully criea 
ho ■• waited and battle-icarred. IVonnt, 
uu literally come back from the dead. He 
delight in hia new-found liberty, and hb 

protesta, but Wormi inaiata and departs. Rlcl^e, overcome by thit reminder of her paat 
miafortune, lesoKei to leave her husband, and writes him a note and flees into the forest. 
Ftdertco returns, reads the note, and wrongfully concludes that ake baa fled with Wonrn. 


SCENE— ^ Ctllar In KontgAerg 
In this underground retreat Worm u again plotting agaiiut Napoleon. A meeting of the 
Council is in progress, when Federico appears and demands that Wonru shall tight with him 
to the death, but Worna, kneeling, asks Fcdaico to kill him. Federico replies with a violent 
blow in the face, at which Worma decides to fight him, and preparations for the duel are 
begun. They are interrupted by the entrance of Queen Louise, who auggeata that such brave 
men had better be using their swords for their country. Fired with enthusiaam, the enemies 
embrace each other and swear to die for Germany. 

SCENE— rhe BatlUfield of Leifalg 
The awful three clays' conflict is over and the field is n mass of ruina. battered wheels 
and dead and wounded men. Ricke searches For the body of Ftderico that she may look 
upon hia face once more. She finds him dying, but he recognizes her. and telling her 
that the body of Woma ia nearby, asks her to forgive him aa he himself haa done. Ri^tt 
looks on the face of the man who had ruined her life and forgives him. 

She returns to her husband and when he dies in her arms waits beside his body for 
her own deatK which ahe feels approaching. As the sun sets the defeated Napoleon with 
the shattered remains of his army ia seen retreating. 


Opem in one act ; text by Cioachino Forzano ; muaic by Giauinio Puccini. Rnt pro- 
duced mtthe Mgtpf pylitan ftiera Houie, Nga^Ynflf Cltv December N. 19I& in conjunction 
with two other Puccini one act opetaa. 11 TabuTO and Suoi Angelica. 

Characters and Original Cait 

Gianni SCUICCHI. a Tuscan peaaant Giuaeppe de Luca 

.LAURETTA, hia daughter Rorence Ewton 

^— fT-N^ZlTA. called "The OUWonian."««.u.inloBuo«>. . Kathleen Howard 

'""URlNUOCIttZila'a nephew.-—,, Ciulio Ctiml 

"*"",'**" I GHERARDO. Buoao'a nephew-'. Giordano Paltrinieri 

o,,"'! I wife Mario Tiffany 

Sr'^. SIMONE, a couiin to Buoao Adamo Didur 

"""" ILA QESCA. Marco', wife Marie SundeUua 

SPINELLOCOO, phyvician Pompilio Malaleata 

AMANTIODI NICX)LA0. notary Andrea de Segurola 

Scene and PerioJ : Florence, 1299 
Gianni SchlcchI a a shrewd, cunning, but good-hearted Tuacan peaaant of the thirteenth 
century. J^ has a daughter, Launlla, who loves RJnucdo, and thia young man's (amily is 
much worried because a relation, Suosa Donall, who has just died, left his fortune to a 
monastery. Schlcchi ia coniulted by the disappointed relatives in the hope that he is clever 
enough to ausgeat a plan for getting the property. Donati'a death not yet having been made 
public, Schlcchi suggeats that he impersonate the old man and dictate a new will, leaving 
the eatate to Rlnucclo't family. Schlcchi is placed in the dead man's bed. and a notary is 
sent for who takes down the new will ; but Schlcchi, after making a few minor bequests to 
the relatives, leavea the bulk of the property to himself I This pleases RinuccM and 
Launtia, since they will eventually benefit by the will, but the relatives are highly indig- 
nant. However, they do not dare expose Schlcchi. as they would make themselves liable 
for punishment, and are silent, while the opera ends happi^ for the lovers. 

O mio babbino. caro (Oh, My Beloved Daddy) 

By Frances Alda, Soprano {In Italian) 64802 10-inch, *1.00 

In this air Laanlla begs Gianni to help secure a part of the wealth which Buoao has 
left to a monastery, and tells hei " dear daddy " that if he will consent she will be able to 
buy a handsome wedding ring. 

(Italian) (English) 



Text by Giuseppe Adami, based on Didier Gold's ** La Houpplande'* ; music by 
Giacomo Puccini. First produced at the Metropolitan Opera House, New York, December 
14, 1918. 

Characters and Oritfinsl Cast 
MiCHELE, a skipper Luigi Montesanto 

QORGETTA, his wife Claudia Muzio 


TINCA \ Longshoremen 


FRUGOLA, Talpa's wife Alice Gentle 

Longshoremen, a Song Peddler, an Organ Grinder, Two Lovers 


Giulio Crimi 

Angelo Bada 

Adamo Didur 

The scene of U Tabarro is Michele's barge on the picturesque Seine. Michele suspects 
that his young wife, Ciorgeita, is in love with LMigi his assistant on the boat. He discovers 
that she is planning to meet her lover on the barge that night, and decides to lay in wait 
for him. When Lulgi appears he is attacked by the husband, who forces a confession of 
his love for Giorgetia, and then strangles him. Hearing his wife approaching, Michele 
conceals the dead bodv 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 cloak, and she screams in horror as the body of her dead lover rolls at her feet. 

(Italian) (Entfliah) 



Text by GioacJiino Forzano; music by Giacomo Puccini. First production at the 
Metropolitan Opera House, New York. December 14, 1918. 

Characters and Original Csst 

SISTER ANGEUCA Geraldine Farrar 

THE Princess, her Aunt Flora Perini 

THE ABBESS Rita Fomia 




SISTER OSMINA Marguerite Belleri 

SISTER DOLQNA Marie Mattfeld 

Scene and Period : An Italian Concent; Seventeenth Century 

Stater 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 one day the Ahheu 
announces a visitor, who proves to be the Princeaa, Sister Angelica's aunt. She has come 
for the signature of her niece on a legal matter necessary before the marriage 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 lifelong expiation. In despair 
the girl swallows poison, and as she is djring the Virgin appears on the threshold of the 
church, leading 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. 




Libretto by Anigo Boltoi an adaptation of Victoi Hugo's drama, "AdkcIo.** Music by 
Amilcue Poni^ieUL First presented at La Seals. Milan, April 8. 1876. Rewritten by Bollo 
and given at Genoa, December, 1876, and the {ollovring February at La Scsla. First London 
production, June 7, 1883. Given in Petrograd. January 30, I883j in Vienna. April 28, 1883; 
n France, at Nice, December 29, 1666. First New York pro. 
Juction. December 20, 1883, with NiUson, Scolchi, Furach- 
Modi, del Puente and Novara. Revived at the Metropolitan 
Opera Hoiue. New York, Decembet25. 1913. 


La GIOCONDA. a ballad singer Soprano 

La CIECA, [S~-^-kali) het blind mother Contralto 

ALVI3E, {Al.m/-Mili) one oF the heads of State Inquiwtion - . Bass 

Laura, his wife Mezio-Soprano 

ENZO GRIMALDO. a Genoe« noble Tenor 

BaRNABA. a spy of the Inquisition Baritone 

ZUANE, a boatman BasS 

ISEPO, public letter.writer Tenor 


I, 1876) 

^~;^ Tkt« 

Gendemen. Populace, Masquers, etc. 
n tiJta plao 

Gioconda is a work of great beauty, full of wonderful 
with fine choral effects, and a magnificent ballet. The book i) 
of Pndua," and tells a most dramatic story, which, however, 
the librettist has crowded into it nearly all the cnmes he could 

But the average audience does not concern 
itself much with these horrors, being engaged in 
listening to the beautiful music and admiring the 
qilendid scenes ond colorful action. 


By VesseUa's Band *3>499 I2.ia.. 11.35 
SCENE— Areef ntar Iht AdriaHe Shore, Venice 

GheonJa, a ballad singer who is in love with 
EnMO, a Genoese noble and captain of a ship now 
in the harbor, supports her blind mother. La Oeca, 
by singing in the streets of Venice. She has at- 
tracted the attention of Bamaia, an influential pohce 
spy. and he plans to gain her affections. 

This is the situation at the rise of the curtain. 
The stage is filled with people; peasants, sailors, 
masquers, all in holiday attire. Barnata who has 
been leaning against a pillar, watching the gay scene, 
now advances and announces the commencement 
of the Regatta. All hasten to the shore, while 
Barnaba remains to soliloquize on his plot to secure 
the lovely Gioconda. Gioconda enters, leading her 
mother. La Citca, by the hand, and Bam^a hastily 
hides behind a column to watch them. 


arias, duets and ensembles, 
I founded on Huso's "Tyrant 
cannot he called inviting, as 
think of I 


Ghconda leaves to (cek £nn>, but Barnata Mop* lier and boldly 
declares (hat he loves her. She shudders with an instinctive aversion, 
and bids him stand aside. He attempti to seize her, but she elude* 
him and makes her eacape, leaving the spy furious and planning 

The people now return from the Regatta, bearioB the victor on 
their shoulders. Barnaba, seeing the defeated combatant, Zuant, 
conceives a plan to deprive Gloconda of her mother, thus leaving him 
free to cany out hia plans. He takes Zuane aside and telts him that 
the blind La Qeca is a witch who has cast a spell over him, causing 
his defeat. The old woman is being roughly handled by Zaant and 
his friends when Eiao suddenly appears and protects her, holding the 
mob at bay. 

Aloiit, Chief of the Council, enters with his wife Laura, formerly 
betrothed to £nxo. Laaia pleads for Qeco, and she is protected by 
Alclae. The blind woman expresses her grabtude. 

All go into the church except Enzo, who stands gazing after Loam, 1 
having recognized his former love. Bama/ia approaches him and I 
tells him that Laura plans to vi«t the Genoese noble's ahip that j]_,, , _____^_^ 
night. Etao, whose love for Ldura has revived at the sight of her, is noun *s lauu 
delighted at thisoevrs, and forgetting GletQnda, he returns to his ship. 

Barnaba then tells titpo, the letter-wnter. to write to Ahlte that his wife plEina to 
elope with £nzo. He ■■ overheard by Gloconda, who is overcome at this evidence of her 
lover'* faithlessness: and, heartbroken, enters the church with her mother. 


SCENE — A Lagoon mar Vadct — II li nighl. Eiuo'i thip h ihoien at anchor, Mlh tallart 

grouped art decJ(, realing 
BarruAa, disguised as a (Uherman, appears in his boat, hails the sailoiSi nod sings them 
a merry ballad. Ah, pacttlorl 

Ah. pescator afiFonda Tesca (Fiaher Boy, Thy Bait Be Throwiagl) 

By Tina RuEb, Baritone 

(hhalian) 86394 12-incb. *1.S0 
By Puqusle Amato and Opera Choru* 

{In Italian) 87093 10-inch. l.OO 
After taking careful note of the strength of the crew, 
I Bamata sends his aide for the police galleys and leave* in his 
I boat. Enxo now appears, and is greeted by his men with 
I enthusiasm. He is in a gay humor, thinking of Laura'i ex- 
I peeled visit, and bids the sailors go below while he keeps the 
I watch. Left sJone, he give* expreaaion to his joy in this great 
aria, one of the most beautiful m the whole range of opera. 

Cielo e mar (Heaven and Ocean) 

By Enrico Caruso. Tenor 

(In Italian) 88246 12-iAch, I1.90 
By Giovanni M*rtine11i. Tenor 

{In Italian) 64409 10-inch. l.OO 
By FfBDco de Greforio. Tenor 

{In Italian) *49027 lO-inch. l.OO 

:ially noticeable i* thia fine passage — 


f (Sikn d 



, the Ion 

Gacondo, diaguiaed, entera and dctiounces Ijnira. Gtoconda ia 
about to itab her rival, when the sight of a roaary worn by her 
intetided victim cauaei her to repent, and she sidi Laura to escape 
just as her husband, ■ummoned by Bameba, ii approaching. Enio 
appears and is greeted with reproaches by Gloconda, who telts him 
that the war salleys, led by Bamaba, are coming to capture the ship. 
Eiuo, stuns ^y Qocanda'i scorn, and heartbroken at the loss of 
Laaia, fires his ship to prevent it (ailing into the hands of Bamaia. 


SCENE— /4 Room in the Palace of Ahbe. Nighl 
Aldie is discovered alone, in violent agitalion, planning the 
death of Laura because of her attempted elopement with Enzn. 
The guilty woman now enters at his summons and is denounced by him. He orders 
her to take poison, and leaves her. She is about to obey, when Ghcanda, who has been 
concealed in the room, appears, takes the poison from her and gives her a narcotic, which 
will produce a death-like trance. Laura drinks this and Gloconda exits just oaAhlae appears. 
Seeing the empty phial on the table he believes Laura has obeyed his will. 

The second scene show* a magnificent halt in the palace, where AleUe is giving a 
masked ball. The famoutf Dance of the Houn a given for the entertainment of the guests. 

Dance of the Hours 

By Victor Herbert's Orcb. 
By Victor Orchestra 
Enio a present among the maskers, and when Bamaba whispers in his ear that Lauta is 
dead, he unmasks and denounces AlvUe, who causes his arrest. 

To complete hia revenge, Alolte now draws aside a curtain and shows the guests the 
body of Laara, acknowledging that he took her life. Horror and indignation are expressed 
by those present, and Enzo attempts to kill AloiMe. He fails, is seized by the guards, and 

s led a 

s the c 

1 falls. 


Ined palace on an litanJ nta. 

I has managed to bring the unconscious Lauta, in an 
I are carrying the insensible form into 


To this desolate island Gioci 
endeavor (o save her. As the curtain rise 
the ruin. Ghconda asks the men to seek . . 
again. Left alone, she approaches the table, looks fixedly ai 
her terrible song, one of the most dramatic of the numbers 

Suicidio (Suicide Only Remains) 

By Emmy Destinn. Soprano (In Italian) 88478 12-inch, ll.SO 

For a moment the unhappy girl is tempted to complete Alolie't work by giving the poison 

to Laura, but banishes the temptation and throws herself down in s passion of weeping. 



Enio, whoae release has been aecured by Gloconda, now arrivet, thinking that he U only 
to viait the grave of Laare. and during a bitter scene with Gloconda. he hears (he voice of 
hii heiovcd. who has revived and now calls feebly. Enzo rushe* forward in a transport of 
)oy, while GloconJa makes further preparalians for their escape, Tlie lovers expresa their 
gratitude and depart, while Gloconda prepares for the end. She ia about to swallow the 
poison when BatTuAa appears, and in terrible accents demands why she has broken her 
word to him. GhamJa pretends to yield to him. 

GiocoBPA (a« firjt lerHfied. retovrrs Jttr co«r- 

Y(«, I kMB (D my compact; 

And ne'er will Gioconds ht fslic lo bcr oalh. 

Thou'n mine now! 'from this drsolalc heart. 
Expelled by love's rays, sbadows depart. 
GiocoHDA (Is Barnaba, who u approaching her): 

Ah, stay thee! "l 
(ll'ilfc iendisb idi 


i^,hciui;i. Ti 

^'^-'?2S..J' "" 

By Herbert's Orchestral 

roeris <.rrcDesirai.,-. . ,, . _. ^, 
H«Uri:Orch^lrai"°** >2-"'«''- »'■ 

(Dance of the Hours 

I Kamamol-Oilntui (Rublialtln} 

(Dance at the Hours 

I Suieet Longlnis (ytolIn-Rale) 

(Cieloemacl By Fnmco de Gregorio (In IiaUan)\.. ,n.j„^(. 

i ManonLttcaal-AKMononfmllndlKe BydtGngorie (/lofton)r lO-mcti. 

(Prelude By VesseUi*s lultan Band),,... ,. ■ . 

1 Oldlo-Fonla^e Bs, Vcadie'i tiallan Bandf^'^*^^ 12-inch. 




Vordi and music by Richard Wagner, wKo began composition of the music at 
Lucenie in 1870 and completed it in 1874. Fint produced at Bayreuth, Auguit 17, 
1876, with Materna and UnBei. First American prcxluetion at New York, January 
25, 1886. with Lehmann, Seidl-Krauss, Traubman, Niemann and Fischer. Given in 
Italy at La Scala in 1890. Many notable productions have been made at the Metropoli- 
tan, and the work has been presented every year at this house, twenty-four pecformances 
having been given during the admmistration of Gatti-Casazza. 



GUNTHER (Cw/Jw) Bass 

HACEN fHalt'-ttii) Bass 


GUTRUNE (Cr»(-hMo'*A) S(^>rano 

WOGUNDA, 1 I Sopiano 

WEIXGUNDA Rbine-Nymphs { Soprano 

FLOSSHILDE, I — (Contralto 


SCENE— rAs iValkurtS Rodt 

The DaA of Iht Codi, the last part of the tetralogy, coniists of three acts and a prelude. 

In the prelude we once more see BrllnnhlUe on the rock, where she had Iain during her 

magic sleep, and where Siegfried 

had found her and taken her as his 

_ ^^^ bride. The hero, after a brief 

% i.^'*4P^B^. period of domestic happiness in a 

\ . H_ ^^^^J^^^^. '^y ""^ ''^' '^'''*'"» •" leave hii 

fl / \ ^H ^1^^^^ bride for awhile and go in search 

k \ ^1 i^^BSl^ °' adventures, giving her the Ni- 

I f "WSUlw™^ belung's Ring as a pledge of faith. 

"" 's ring he hsd obtained when 

ilew the dragon Fafntr. and as 

• ^-, ..' ■ the opera progresses it will be 

*-' ^ 1 ''" —en that he is doomed to suffer 

^.-^ .^^^^^^W "■'^ '=°"*<<)"0"* of the fatal curse, 

'i^^^^^^^^B invoked on every possessor of the 

I Ring by Atberlch, from whom it 

1 was forcibly taken by Wolm. 

K4S\ '^ As the curtain rises fifflnnA(/<fc 

\™A W ■"•' Siegfritd come out of the cave, 
^\5l ■ WrieJ in full armor and the 
1 Valla/Tie leading her horse by the 
j bridle. She sings a tender address 
jf farewell, saying : 
Did 1 not •icnil thH. s-«ttua hero, to 
fresh riploit^, fnil were my love. 


SCENE-Cosffe o/ King Gunlher 

Sleg/ritd joyously seta out on 

[lis journey and soon comes to the 


(Gutrune looks up at him, blushing.) 
Ha! sweetest maid! 
Screen those bright beams! 
The heart in m^ breast 
Burns with their strength. 

Court of Xifn^ Gun/Aer on the Rhine, where dwells also Gunther's sister Guirune, and their 
half-brother Hageru who is a son of Atberieh, the dwarf. Hagen knows the history of 
the Ring and is anxious to restore it to his father, so he artfullv tries to win the help 
of Gunlher, Knowing that the hero is approaching the castle, he outlines this scheme, 
which is to give Siegfried a drink which will make him forget BrUnnhilde and fall in 
love with Gutrune, after which Guniher can win the peerless BrOnnMde for himself. 
Gunther is tempted, and when Siegfried's horn announces his approach he consents. Sieg- 
fried greets them as friends, and when offered the magic drink he accepts and imme- 
diately loses all recollection of Brttnnhilde, Seeing the lovely Gutrune, who stands with 
lowered eyes, he exclaims: 

SiEGFRiEO igazing on Gutrune with a kindling 
eye) : 
Thou fair one, whose beams 
My breast have enflamed. 
Why fall thus thine eyes before mine? 

Gutrune, trembling with emotion, leaves the Hall, and Siegfried, gazing after her, asks 

Gunther if he has a wife. The King, prompted by Hagen, replies that he knows of one he 

would wed, but that she is surrounded by a magic fire which he cannot pass. Siegfried 

seems tr3ring to remember his past, but fails, looks confused, then suddenly says: 

SiEGFSiED (with a sudden start): For thy own am I 

I — fear not the fire. And my arm is thine: 

And thy bride fain will I fetch; If Gutrune for wife I may gain! 

In order that BrOnnhilde may think that it is Gunther who has won her, it is agreed that 
Siegfried shall, by means of the Tamhelm, change himself into Gunther's form. Thinking 
only of his reward, Siegfried eagerly departs. 

Hagen, left alone, outlines his coming triumph, when he shall possess the Ring, and 
avenge its theft from his father, Alherich. 

SCENE II— rAe IV<dkurt's Rock 
The scene changes to the Valkyrie Rock again, where BrQnnhilde awaits Siegfried's 
return. She is astonished and alarmed when she sees a stranger approaching; not under- 
standing how he has penetrated the fiery barrier. It is Siegfried in the form of Gunther. He 
announces that he is Gunther come to win her for his wife. BrOnnhilde, in horror and de- 
spair, holds up the Ring, exclaiming: 


Stand back! bow to this token! 
No shame can touch me from thee 
While yet this Ring is my shield. 

Siegfried attempts to take it from her and after a struggle, 
succeeds. As he draws the helpless and despairing BrUnnMde into 
the cave the curtain falls. 


SCENE — The Rhine near Gunther's Castle 

Hagen and Alherich discuss the progress of the plot to regain 
the Ring. Hagen swears to accomplish it, and Alherich vanishes. 
Siegfried, in his own form, but wearing the Tamhelm, arrives, greets 
him cheerily and says he has gained Gunther's wife for him, but that 
they are returning home more slowly. Gutrune comes to meet 
Siegfried, and they go to the Hall. Hagen sounds his horn to 
summon the vassals and bids them prepare for a feast, as Gunther 
has taken a bride. 

Gunther now arrives in his boat, leading Brilnnhilde, who is pale 
and downcast. Siegfried and Gutrune come out to meet them and 
BrOnnhilde sees Siegfried in his rightful form. She recoils in horror 
at seeing him with another woman, and regarding her as a stranger. 
She then perceives the Ring on Siegfried's finger and demands to 
know where he obtained it. He seems confused and regards the 
Ring with a puzzled air. BrOnnhilde, beginning to comprehend what 
has occurred, denounces him, and Guniher, doubting whether Siegfried 
had kept his oath to respect BrOnnhilde as a brother's bride, looks 
threateningly at him. 

eOrV'T OttMMT 




SitgfritJ, easer to >et himielf riskl. iweari the oath of the apear. BiHnnhllJe, unable 
to contBui henelf at thia evidence a( Sitgfritd't baaeneu. denounces him. 

Slegfilei looks at her in pity, thinking her mad, and goei lo the Hall with Gutnine. 
BrOnnhltde, Hagen and Gunther remain behind, the latter in deep depreaiion. Hagtn telli 
BrUnnhlldt that he will avenge hei wronKa. She telli him that only in hia back ii SltgfrieJ 
vulnerable, and that no magic protection waa placed there because she knew that never 
would he retreat. Canther now rouses himself and the three decide that SltgfrieJ must die 
for his treachery. 

SCENE ]—A Wild Valltg near Iht RhliK 

The Rhine nymphs rise to the surface of the water and sing of the Rhinegpld. They 
spy Siegfried and ask him to give up the Ring, but he refuses, and they warn him that he 
shall die that very day. He laughs at the prophecy, and as he watchea them swim nway. 
say* lightly: 

Siegpsied: And wfaen these both Brc Korncd 

AtiliF on land and water. They bait him with bitter wordi. 

Woman's ways I've [earnl to know. And yet wer« Gutnine not my wife. 

The man who resists their smiles I must have promptly eaplured 

They Heb by threats to frighten. One of those prelty niaitlsl 

Hunting horns are heard and Siegfried gayly answers with his own. GunlAer, Hagtn and 
(he hunters descend from the hill and greet him. They camp and begin to eat and drink. 
Siegfried telts them of hia adventure with Mime and the Dragon. 

Mime hiess cin murrischer Z'wer^ (Mimi, Know Thee Then, 
"Was a Dwarf) 

By Carl Burr iao. Tenor (In German) •95073 IZ-incb. tl.SO 

Hagen givea him a magic drink, which brings back his memory, and he goes on to tell of the 
forest bird and his quest of the lovely Brlinnklldt. 


Zu den Wipfeln lauscht* ich (To the Branches Gazed I Aloft) 

By Carl Burriaa. Tenor (/n German) *95073 12-inch. *l.90 

Gunther begins lo liiten attentively, but when SlegfiieJ TFuchea ihia part of Ki> nanntive, 
Hagen plungea his ipen in Siegfritd'i back end he fdla. Gunthtr, in pity (or the dying man, 
leans over biro and Selg/Htd faintly says : 

SiEGPItlD: Kni^hanl him ItrGniihilile's charmsi 

Brunnbitdf! Heavenly bride!— Ah! now forever open her eyelids! 

Ldok up! Open thine eyelids! Ah! and what od'rous breeie is her breath! 

What hatb sunk thee once more in sleep? ■|brice blessed ending— 

Who drowns thee in slumber so drear P Tbnll that dismays not— 

The wak-ner came, his kiss awoke:- Btunnbilde beckons to me! CH* i,ti.) 
Again now Ibe bride's bonds be bas broken:- 

SCENE W—Hall In Cunlher'i Palace 

Siegfried's Funeral March 

VcHella's Italian Bind *3936» 12>inch. *1,3S 

SUgfrlcd'i Funeral March is the wonderful aymphonic piece— a (uneial oiation over (he 
last descendant of the gods, and a farewell to the slain beio — which occurs in the laat act 
of GBtltriUmmerang. The first motive is lolemnly tragic, and pictures the cold wing of 
death flying over the proceaaion. Then the heroic motive of the V<dtungi follows i and 
(ram this moment, with the rhythm of the Funeral March, all the motives, paaiionate, 
dramatic or tragic, which have already been developed separately in the course of the 
tetralogy, are heard one by one. Thua is heard the love motive, while from the deep tone 
of the double-haaaea the funeral theme of the Vohangt rises, which gradually develops 
and gains in strength, preparing (or the entrance of the heroic motive of the sword fyalkj/rie). 
Then conies the fatal motive of Slegfrled'i prophecy, increasing in force until it bursts into 
SletfrieA'i motive, an heroic paraphrase of the joyful shout of the child of the forest. 

We next hear the complaint of the Rhine maidena, the motive of BrOnnhllde'i captivity, 
and the curse-motive (IVUnegold), while in fancy we picture the funeral procession disap- 



^;r^ V 





pxarins among the mouDtuns inlo the lilence o! the night, only a pale beam oF moonlight 
tragically enlightening the imponng (ccne. 

Sitgfritd'f body m borne mournfully to ttie Hall, where the weeping Gatrunt meets them 
and daaps her fauBboncl'i lifelew form. Hagat now demandi the Rmg •■ hi* booty, but 
Qunlher lefuies to yield it and they draw their aworda, Quitiha being killed by Hagat. 

Hagai attempts to withdraw the Ring from Sleg/ritJ'a finger, but aa he approachea the 
arm of the dead hero i> raised threateningly, and all recoil in terror. 

BtUnnbltdt then approaches and gazes long and sadly at SlegfritJ's (ace. then order* a 
funeral pyre erected to bum the hero's body. The vassals obey and build a huge pyre on 
the bonk of the Rhine, on which the body is laid. BriSnnhiUe summons two raven* from 
the rocks, and begins her great Immolation Scene, 

Fliegt heim (Inunolation Scene) 

By Johanna Gadski, Soprano (/n Gtrman) 8B1 7S 12-inch, tl.ftO 

She bids the ravens fiy to Lokl. god of fire, that he may complete the downfall of the 

gods by burning Valhalla, then kindle* the pile, which bum* rapidly, and the two ravens 

disappear in the distance. Brilnnhllde't horse is brought in, and she takes oS the bridle. 

Wouldst thou know dea 
WhRl iouriHy we folio* 

By flfllP' 1i» 



holly doth bum; 

thy lord. In madd'ning emotion 
OndC more to be hi: I 
ghfBl thoup Hrisjaho! Grinit Greet we our hen 
Wriedl Siegtri.-- 

Lot how the flame . ... „ 

Doth leap and allure thee! Sweetly greets thee thf wife! 

She swings herself on the steed and rides straight into the burning pile, which flames 
up mightily, half consuming the Hall itself. The Ithine then rises and puts out the flame*, 
tmd on the surface are seen the Rhine daughters, who seize the Ring from the embers. 
Hagtn, who ha* been anxiously watching, now rushes into the waters, crying: "The Ring is 
minet" The nymphs seize him and drag him dovm in the flood. An increasing red 
glow i* seen in the sky, and yalholla appears in flames, with the gods and heroes calmly 
awaiting their doom. A* the flame* enveli^ all, the curtain (all*. 


/SiegMe4*s Funeral March 

\ Walkare-Rlde o/lfit ValiaTia 

(Mime hiess ein murcischer Zwerg 1 

By Carl Buirtin. Tenor {la German) [99073 
Ztt dm Wipfdtt tamchi ' leh—^ Carl Burrtan, Tenor (/n Gtrman)} 



Spinuh Opera in One Act and Three Scene* 

Text by Femondo Periquet ; music by Enrico Cranacloa. Tbe work wb» accepted for 
the Pari* Optra, but war prevented ita production, eo Seflor Granadoa brought it to AmcT' 
icB, and perKmally aupervised the production. The compoaer and hia wife were lo(t on 
their return trip through the Mnking of their ship by a Gennan lubmarine. The firat per- 
(ormnnce on snyatage took place at the Metropolitan. New York, January 28, 1916. 

Character! and Orifioal Cait 

ROSARIO, a lady of rank Anna Fitziu 

FtRNANDO. her lover,... Giovanni Martinelli 

PEPA, a notoriouB " maja " Flora Perini 

PAQUIRO. a toreador Giuaeppe de Luca 


Conduclof — Caetano Baragnali 

Timt and Place: Oulakliis of Madrid, Spain; about 1800 

Goyetcat ia the firat grand opera to be *ung in the United Statea in the Spaniah bmguage. 
The acenea, aa well aa the ideaa for the four principal characlera, are taken from famoua 
pointing* by Goya, a Spaniah artist. The opera is divided into three scene* or "picturea," 
the first of whicb show* a (eatival in a village near Madrid. 


Ptpa, one of the " majas," or gay young women of the village, ia there, a* i* Paqain. 
her toreador lover. Paqaha, however, prefera Rotatio, a lady of high rank, whom he had 
met at a ball in one of the low dance hail* of Madrid, where ihe had gone on a "ilumming" 
adventure. Rotarto come* to the feitival and Paqalm attempts to renew the acquaintance, 
but the lady snubs him, and appeal* to her admirer Fernanda, a military officer of her own 
station in life, asking him to protect her. He learns that ahe has danced with Pagairo at 
the dance hall, and insist* that a* a test of her love for him ihe mu*t go there again and 
dance with him. Pefia, overhearing, comment* that the young officer ia likely to place him- 
self in an awkward position by going to the dance hall. 



The •econd "picture" shows the ballrDoin. a 
cheap, boiiteious place, lighted bj gaudy lantern*. 
Ro3arlo and Ftmando amve, and are jeered at by the 
crowd that preeae* around them. Paquim ap- 
pioachca and mockingly congratulatea FanaitJo on 
hia choice of a ivreetheart, which provokes a quar- 
rel, and the two men agree to fight a duel at the 
Prado, Dear Roiario't home. 


The last scene ihowa Roiario walking in her 
garden in the moonlight. Ftmando arrives, and 
ahcT a tender conversation between the lovers, the 
striking of ten on the village clock remind* the 
young officer of his duty. He takes hia leave, and 
shortly afterward the figures of Pepa and Paqulro 
can be seen going in the same direction. SuddenI)' 
Roaario hears a cry of anguish from her lover and 
rushes in the direction of the sound. Soon after 
Ptpa and the toreador letum, and /loiarfo then stag- 
gers in. supporting the wounded figure of her lover. 
After a tender farewell he dies in Iter arm*. 

The poetic and colorful Intomaxo is based On 
some of the most delightful theme* of Cianadoa' 

By McKec** Orchestral 

Y nicn.ccs i^rcnesirai-a.-. ,, , . ,, 




Poem by Armand Sylvester and Eugene Morand. Music by Massenet First pro- 
duction. Op€ra Comlqat, Paris, November 20, 1901, with Mme. Lucierme Breval. Produced 
at Brussels, March 18, 1902, and Milan. November 3», 1902. First production in America at 
the Manhattan Opera Houae. New York, January 19, 1910. 


GRISELIDIS, wife of the Marquis Soprano 

FlAMINA. the Devil's wife Serrano 

The Marquis de Saluces Baritone 

AUUN. a shepherd Tenor 

THE DEVIL Baritone 

Scent and PedoJ : Pmotnce, Frtmct ; ihe ihrttenlh ctnlury 

Gjiitlliii is based on a modem "mystery" which was produced by Armand Sylvester 
and Eugene Morand at the Comedle Franfalt in 1891. In this play the author gave a much 
changed version of a legend, Palltnl Griitl. 

The opera opena with a Prologue, occurring in the forest of Provence. The Maripdi 
dt Solucet, lord of the region, while walking along the forest edge, meets the young and 
beautiful Griiilidtt. He rails deeply in lave with her and witu her for a wife, leaving 
Alain, her sweetheart, disconsolate. 

A year elapses, and in Act I we see the Marqah about to depart for the war against the 
Saracens. The scene shows the inside of the Chateau; in the background a triptych open. 
with an image of St. Agne* holding in her arm* a white lamb, and at her feet an image of 
the Dtoil. The Marquis expresses his great love for his wife, and says that he would be 


williiic to rwear in the preaence of the Deall himself that aha would alwaya be faithful and 
true. Suddenly the Hone image of the Dtdl comei to life, and offer* to wager the Manjtdi 
that during his abKnce at the wari GrltHi^i will break her vows of faithfulnew. At tint 
the Marqah apunu the wager, but finally accepts and givet the Deoil hi* wedding ring to 
(how hi* absolute trust in CiitdidtM. Tile latter i* left alone with her little *on, Lcf/t, «• 
her husband depart* for the war. 

Act II show* the terrace of the Caatle. The Deall induces his wife. Fiamlna. to join him 
in hi* wicked plana to tempt GriMilidlt, and thn appear at the Caitle disguised as a Lev- 
antine merchant and a Moorish slave. The merchant (Dtvll) tells GriUildIt that her husband 
bought the slave from him in the Orient, installed as mistress of the Chateau. As proof he 
■hows CrIUlldU the Marquis' wedding Hng. and she submissively declares that she will obiqr 
her husband's orders. This is contrary to the Dtoil't expectations, and in consternation he 
now has hi* EcllSplriis bring Alain to the Castle, hoping to tempt Giiiilldli to fly with the 
shepherd, who still loves her; but little Li^i appears just in time to save his mother when 
her resislance is weakening. As Alatn rushes away, in despair, the Dedl suddenly ap' 
pears, aeizes Loyt and disappears, and the act ends with a wild search for the child. 

The third act show* the interior of the Chateau with the tripnrch as io Act 1. The Dtttl 
again appears to CriUlltiU. thia time disguised as an old man. He tell* her that Looi ha* 
been kidnapped by a pirate, who demands a kiss from Crtiilldti in return for surrendering 
her child. Mother love forces ber lo yield, and she starts for the harbor. The MarqaU 
comes home from the wars and the Dt6ll tells him Gritilldli has gone to keep a rendezvotia 
with ber lover, but the Manjula refuses to believe these accusations against his wifs. 
Grtididit returns and tells the Marqula of the kidnapping of litde Loyi, and they pray that 
help may be given them to fight the power* of evil. Whereupon the cro** on the altar 
i> turned into a flaming sword, and when Grit&dtt prays to St Agnes that her aon be 
restored to her. there i* a flash of lightning, a clap of thunder and the triptych opens, 
revealing the image of St. Agnes holding in her arms, not the white lamb, but the child Li^)t. 

The best known number is the air, Omma-oom uir imm front (Open Now to My Eyest 
Portals of Paradise), which occurs at the beginning of the opera. It is the song of the 
shepherd Alain, tellmg of his love for the maiden, GrittMi. 



Text by Antonio Scalvini; music by Antonio Carlos Gomez. First produced at La 
Scala, Milan, ^4arcll 19, 1870, and shortly afterward at Genoa, Florence and Rome. Rrst 
London production, Covent Garden, July 13, 1872. In previous editions the author stated 
that the work had never been given in North America, but a letter from the late Gustavo 
Kobb^ mentions a production in New York by a Company organized to support Victor 
Drury, the tenor. 


DON ANTONIO DE MARITZ. a Portuguese Knight Bass 

CECILIA, his daughter Soprano 

PERY, chief of the tribe of Guarany Tenor 

DON ALVARO, a Portuguese adventurer Tenor 





IL CACICO, chief of the Aimor^ Tribe Bass 

Pedro, guard in the service of Antonio Bass 

Time and 'Place: Brazil, in the neighborhood of Rio Janeiro; 1560 

Antonio Carlos Gomez was born in Campiners, Brazil, July 1 1, 1839, of Portuguese 
parents. Early in his youth he was sent to Milan at the expense of the Empire of Brazil and 
studied at the Milan Conservatory, his principal teacher being Signor Rossi. His first opera, 
written when he was only twenty-eight, was brought out in Rio mneiro in 1661. Other early 
works were Seaa Minga (Milan, 1867), and Nella Luna (1868), Fosca (Milan, 1873), Saloator 
Rosa (Genoa, 1874), Maria Tudor, text by Braga (Rome, 1877), // Salulo del Bnuile, ode, per- 
formed at the Centennial Exposition in Philadelphia, 1876. His fame was made, however, 
with his powerful // Guarany. In 1895 Sefior Gomez was appointed director of the Para 
(Brazil) Conservatory. 

The opera of Guarany contains some brilliant music and many picturesque effects. • The 
plot tells of an early Brazilian setder, Don Anionio, a Portuguese noble, who is constandy 
warring with the neighboring tribes of Aimoris, who are bitter foes to all Europeans. *Pery, 
chief of dbe tribe of Guarany, falls in love with the beautiful Cecilia, Don Antonio's daughter. 
Gonzales, a Spanish adventurer, also loves the maiden, and the rivalry between the two gives 
excuse for some of the most stirring incidents of the opera. Especially effective is the great 
scene in the last act, when Don Antonio's castle is besieged by the Aimoris, and after sending 
Pery and Cecilia to a place of safety, the old Don fires the magazine of the castle, destroying 
himself and his enemies. The curtain falls on a scene of desolation, while Pery and Cecilia 
horn a neighboring height sadly gaze at the result of the father's sacrifice. 

The most famous of the numbers is a beautiful duet for Pery and Cecilia, in Act I, 
which Desrinn and Caruso have made for the Victor. It is coloratura music of the most 
elaborate type, and demands skill and much vocal finesse of the singers. The overture is 
characteristic and the melodies of the Indians of the Amazon, which Gomez introduced to 
give it local color, are piquant and effective. 


Scnto una forza indomita (An Indomitable Force) (In Italian) 

By Emmy Destinn, Soprano, and Enrico Caruso, Tenor 89078 12-inch, $2.00 

fll Guarany Overture By Arthur Pryor's Band\^-rt^^ i^j :««u i «< 

\ Aida-'Celesie Aida (Trombone Solo) Bsf Arthur T^ryorr^^^^ 12-inch, 1.35 



Book by Barbier uid CsTrf. bued on ShskopcBie'i play. Muiic by ArobroiM ThomM. 
Tint production March 9. 1866, at (he Paris Acadimit, with OiriMine Niluon and Faure. Pint 
London prcxluction June 19, 1869. in Italian. Produced al the Academy of Music New 
York. ApHI 20, 1S72, with Nllsion, Gary, Brignoli, Barre and Jsmet; in 1862, with Center 
and Ciappini;Bnd in 1892. with La Salle and Marie Van Zandt. Revived recently by the 
Chicago Opera Company for Ruflo. 


HAMLET Baritone 

CLAUDIUS, King of Denmark Ban 

Laertes. Poloniua' aon Tenor 

Ghost of the dead King Basa 

POLONiUS, Chancellor Bass 

Gertrude, hiamlet's mother. Queen of Denmark Mezzo-Soprano 

OPHEUA. daughter of Polonius. Soprano 

Lords, Ladies, Officers. Pages. Peasants, etc. 
Scene .- Elalnore, In Dtnmarl( 

The present King of Denmark. Claadlas, has seized the throne, after having murdered 
the late King. HomttCa father. At the opening of the opera Hamlet knows nothing of (he 
murder, but ii highly incensed at his mother for having married Claudius before ^e had 
been two months a widow. 

ACT 1 
SCENE I— A Rocm of Stale in the Palace 

The new Queen is being piesented to the Court at a public reception. She is annoyed 
because Hamlet shows his displeasure by absenting himself from the ceremony. After the 
presentation is over, Hamlet enters slowly, in a melancholy mood. 

His bitter musing is interrupted by the entrance of Ophelia, his betrothed. She has heard 
that Hamlet intends to leave the kingdom and asks if he has ceased to love her. In the beautiful 
love duet he reassures her, and tells her why the palace has become intolerable to him. 

^e^a se puoi la luce (Love Duet) 

By Maris Galvany, Soprano, and Titta RufFb, Baritone 

(In Italian) »2S00 12-inch. *2.00 

Hamlet; ... "Doubt thai the ilsri sre fire, 

The"ilSri™'Qf "ihy' mmd d"h speik 'through Dqubt truth lo be a lisr: ,^ 



Thou couldst not leave me to my sorrow, 
Did thy heart know such love as mine! 


It may be so, but such excess of love 

Hath no enduring power; _ 

SCENE n—EsplanaJe of the Palace. It is Night 

Horatio and Marcellus are discovered excitedly discussing 
the appearance of the spectre of the murdered King. They 
greet Hamlet and tell him of the ghostW visitor, which appeared 
just at midnight. Hamlet is much affected, and suggests that 
as it is nearly twelve the ghost may come again. 

The clock strikes, and the figure of the murdered King 

appears. Hamlet speaks to the spectre : 

Thou spirit dread, thou shade revered. 
Hear thou thy hapless son's lament 
In pity answer, — speak to me I 
Tell me why die sepulchre. 
Hath op'd his marble jaws. 
To cast thee forth again? 

The ghost motions Horatio and Marcellus to withdraw, and 
when they are gone he tells Hamlet of the murder and bids him 
become the avenger, but asks him to leave his mother's pun- 
ishment to God. Hamlet is much atfected and exclaims : 


Yes! Shade 

revered! Thy bidding shall be done. 

raora nniii 


O light. O sun, O glory, O I'oVe to me so dear. 
Farewell! Farewell! 


SCENE— Car</efi of the Palace 
Ophelia enters and is much disturbed because Handei seems 
to avoid her. The Queen finds her weeping, and after ques- 
tioning her sa3rs that Hamlet has also acted strangely toward 
his mother and fears his reason is atfected. 
Hamlet, seeking to entrap the King in some manner into betraying himself, has engaged 
a troupe of players to present a play which shall enact a similar crime. The King and 
Queen are delighted that he seems to seek amusement, and gladly accept his invitation to 
witness the play. 

When the royal pair have departed, the players come on and are instructed by Hamlet 
in the plot he has conceived. The Prince then calls for wine and bids the players be merry, 
offering to sing them a drinking song. 

O vin, discaccia la tristezza (Brindisi) (Wine, This Gloom Dispel) 

By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 9203 7 1 2-iitch, $ 1 .50 


O wine! the gloom dispel. 
That o'er my heart now weighs; 
Come grant me thine intoxicating joy; 
The careless laugh — the mocking jetft! 
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 

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.) 

SCENE II — The Palace Hall. On one side a stage has been erected 
The court assembles and the play begins, Hamlet placing himself where he can watch 
the King closely. As the action proceeds the guilty man shows unmistakable evidence of 
agitation, and finally in a rage he orders the players away. Hamlet rushes forward and 
denounces the murderer, but the Court believes his accusation to be the ravings of a mad- 
man, and all leave the room as he faints in Horatio's arms. 


SCENE — The Qjueen's Apartments 

Hamlet enters and sings his farewell soliloquy. Although the librettists took many 
liberties with Shakespeare's drama, they did not venture to alter such a well-known excerpt 
as this. 

Monolotfo (Soliloquy) 

By Titta Ruffo, Baritone (In Italian) 92042 12-inch, $1.50 



with Hamltl 


bsniih hia v 

ible only to Hamltt, bida him ipaTC hia 
X the Queen to the door, Urging her to 

The Queen and Ophelia enter uid plen 
He atemly rebukea them, adviaea Ophelia to retire 
being an accomplice. The ghoat again appears, v 
mother, and dowly diaappeara. The Prince condu 
pray and repeat. 

A rural letnt near a lake. Wllloiet line the thore 
Ophdia, driven inune by Hamlel 'i deaertioD of her, haa wandered to the lake. She 
plays with a garland of flowers, and ainga her aria, uaually known aa the MaJ Scene. 

Ballata d'Ofelia (Mad Scene) 

By Nellie Melba (In French) 88291 12-inch. ILSO 

By Giuaeppina Huffuet (In Italian) *3i ISO IX-inch, I3S 

Opheba tuma to the ahepherds and aaka them to liaten 
her aong, ■ atrange, aad melody, which is interrupted at 
I interval! by wild laughter and weeping. Preaenllyahe aeema to 
I forget, and placidly weavea wreatha of flowers, until the magical 
I airen's song ia heard luring her to the -water's edge, and she 
I plunges in and floats away, singing of Hamlel'i vow of love. 
ACT -V—The Charchfford 
Hamlel cornea hither to attend the funeral of Ophelia. He 
singa hia beautiful aong to her memory and teaolves to take hia 
own life upon her grave. 

Come il romito fior (As a Lovely Flower) 

ByTiitaRuffo (In [tallan) 92064 1 2- inch. 1 1.90 

By Enrico Pignacaro (Italian) *63424 10-inch, .85 

When the cortege haa arrived, the ghost again appeara and 

looks reproachfully on Hamlet, who atabs the King, and aa the 

curtain falls the people, now convinced of their monarch'a guilU 

acclaim Hamlel aa hia aucceaaor. 

fBalUta d*Ofeli« (Mad Scene) By Huguet. Soprano (''""""nJUsigo 12-inch tl 35 
\ Dinarah — Si, carina capreltlna By Ciioepplna Hugaet, Sopranof 

(Come il romito fior By Enrico Pignacaro (In llatlan)\.^.^, in_jneli ■« 

\ PalllJeMammale-Raman«. By Uain de Casa, (/n /(o/tan)/"*" iV-mA. .99 



{Haiml and Crai/Jell 


Text by Adelheid Wette. Music by Engelbert Humperdiack. Pint produced Decem- 
ber 23. 1893. Bt Weimar. Firet Amencan production at Daly '■ Theatre. New York, OctobeiS. 
1895. Produced at the Metropolibm, 1905, with Homer, Allen, Abarbanell and Coritz. 

~ Cart 

Peter, b broommaker Baritone 

GERTRUDE, hia wife Mezza-Soprano 

ssti*'i'-™~ is:^?"™' 

The WlTCK who eala children . ... Mezzo-Soprono 

Sandman, the Sleep Fairy Soprano 

DEWMAN, the Dawn Fairy Soprano 

Children. Ansela. Peaunta 

Thii delightful opera i> buill upon the limple 
I Grimm tale of Bahet in the WooJt. Two German 
■ant children, Haja and Crelchen, are tent to 
I the woods (or atrawbcrriei and get loat. Tie 
I Sandman &nda the babes and sings them to aleep, 
I while angeU and fairies watch over them. They are 
I awakened by the Dtuman, and go for breakfast to 
he house of the fVllch, who plans to eat them; but 
vhen she opens the oven to see if it is hot enough 
o cook //am. she herself is pushed in by Gnlclien. 
ACT l—HouM of Ihc Broommaktr 
The two children are busily working— //Jntet 
I making brooms and Greld knitting a stocking. Gitld 
I begins the old German folk-son^ "Susie, What is the 
Newa>" with its nonsenseabout the gecK going bate- 
foot because of their lack of shoes. 

Suae, liebe Sum (Little Susie !) 

By Alma Gluck and Louise Homer (In German) 89099 12-iiicb, 12.00 

Httmd, thinking more of his stomach than of the feet of the geese, asks when they 
aro likely to have something to eat. Little Gttlet reprove* him for making a fuss about some- 
thing which iiannot be helped. He says he will not work any more, and proposes that they 
dance instead. Grtid is delisted, and leaches him the steps. 

Dance of the Children 

By Sousa'* Band 

1TI03 lO-ineh, tOSi 


_ .... -._ .1 hia cottBge taid lindinK the chil<lren gone after ttraivberriea^ 

he irigkteiM kia wife by tellioK of the witch who, enticing little children into her hou«e, 
bakea them into gingerbread in her oren. 


Thi« scene shows the depths of the foreat, into which the childnn have wandered. 
Hdruct picks beiriei while Qielel weaves garlands of Bowers. Darkness soon comes, and the 
children are frightened and ding together. A little gray man, the Sandman, or SItefi Fairy, 
strews sand in their eyes as he sings his air. 

Der kleine Sandmann bin ich (I Am the Sleep Fairy) 

By Ainu Gluck and Louise Homer {In Ctrman) 89100 ll-iii.. •2.0* 

The children slumber, and angels are seen descending the golden staircase to keep guard 

"""""■ ACT III 

H^mel and Grtlel are still asleep in the wood. The Dawn Faliy shakes dewdrops on 

the children and wakes them just as the mist clears away, revealing the house of (he Wtlch. 

The children approach cautiously and begin to nibble at the gingerbread fence, when 

the Witch comes out and casts a spell over them. 

Hexenritt und Knusperwalzer (^A^itch^s Dance) 

By Alms Gluck and Louise Homer (/n Gaman) 87526 lO-inch, 11,50 

She makes a good lire in (he stove for (he purpose of roasting (he babes, and in her 
jay she rides wildly around the room on a broomstick, singing this unique HtxtnrlU, 

The duet begins with the soliloquy of the Witch as she sees Grtlel peeping into the 
oven, and prepares to push her in (o be baked into magic gingerbread. 

The second part of the duet is (he portion called the "Witch's Waltz." and is sung and 
danced by HUrutl and Grtlel after the wicked Witch has been pushed into the oven. They 
dance around the room, wild with joy, and then prepare to eat their fill of the good things 
stored in the fF/JcA 't house. 

After the death of the Witch the gin^rbread children come to life and thank the chil. 
dren for releasing them from the spell. The father and mother of Hamel and Grelet now 
' ' e the children a* the curtain falla. 




Words by Milliel and Ci^mont. baaed on Guitave FlaubeTt'a novelette. Muiic by 
Maaaenel. Firat production December 19, 1881, at the Th^ln Je la Mannalt. Bruaaela. 
Produced in Paria 1864, with Jean de Reazke (hii firat appearance in tenor rdlei), Maurel 
and Devriia. Flevived at the Th^lre de la Qatti in 1903. with Calv« and Renaud. Pint 
London production 1904, under ttie title Salomt, — 

with Calvi. Kirkby Lunn, Dalmorei and Elenaud, , '% 

and with the locale changed to Ethiopia by the jiHi ^m 

Britiih cenaor'a orders. First American production -at^^^m I 

at the New Orleans Opera in 1892. Produced by 
OacBi Hammerttein at the Manhattan Opera. New 
York. November 8, 1909, with Cavalieri, Cerville- 

R6ache, DuchCne. Dalmorei and Etenaud. Revived ^^^^^^^■■^■^IW^^KV. 
February, 1914. by the Philadelphia-Chicago Opera ^^^^^^^SSSHBK^^ 
Company. ^^^^^^^^KsK^^^^KW^^ 

John the Prophet Tenor 

HEROaKing of Galilee Baritone 

PHANUEL, ■ young Jew Baai 

VlTELLlUa, a Etoman proconaul Baritone 

THE High Priest Baritone 

Salome Soprano 

HERCMJIA3 Contralto 

Merchant*. Soldiers. Prieata, Levites, Seamen, 

Scribea, Phariseea. Galileans, Samaritans, 

Ethiopians. Nubian*. Arab*. Roman* 

The acHon laket place In Jeniialem — Tlote, lAoalSOA. D. 



SC£NE — Court nf Htmd't Palace at Jenualan 

Saliime enters anil ii greeted by Phonue/. ■ young Jew, who is astonished that she 

should be in the PbIbcc, and wonders if she C«D be ignorant of the (act that //enxAiu 

il her mother. Salome tellii him she is seeking John ihe Prophet, and in this aii she describes 

how he bad saved her from the deseit when a child, and how good and kind he is. 

II est doux, il est bon (He is Kind, He is Good) 

By Emma Calvi, Soprano {InFnnch) 8B130 12-iDcb. *1.50 

Salome goes out just as Hemd enters searching for her. Herodlat rushes in and 

demands John '3 head, saying that he had insulted her. John appears, denounces them both 

■nd drives them out. terrified. Salome enters and tells /eAn of her love (or him, but he 

bids her turn to Cod. 


SCENE— Hend'* Chmier 

HenJ He* on his luxurious couch, while attendants sing to him. He can think of no 
one but Salome, and bids the slaves dance to distract his mind. A love potion is given him 
by a slave, who says it will make him see the (ace of the one he loves. 

He then sings the famous KWon JilglUoe, considered the most beautiful of the avs 

Vision fugitive (Fleeting Vision) 

By Emilia de GoKorza, Baritone {In French) 88153 12-inch. « 1. 50 

Herod describes the vision 
of Salome which haunts him 
night and day, and declares that 
to possess her he would gladly 
suiiender hU soul. He drinka 
the love potion, and falls on the 
couch in a delirious sleep. 

SCENE n—Paillc Sqtiate al 


The scene shows Haodte- 

ceiving messages from the allies, 

id denouncingRome. Herodlaa 

and a 

inces that the 

Roman general. VttelUai. is approaching. The people are terrified, but Vittlliaa declares that 
Rome desires the favor of the Jews and will give back the Temple of Israel. 

John and Salome enter, and VUelllas is surprised at the honor paid to the Prophet. 
Herod gazes with eyes of love at Salome, while Herodlas watches her jealously, John 
denounces VitdUru as the curtain falls. 

SCENE \—{^naeft Mxue 
Phamiel is disclosed gazing at the city, which lies silent under a stany sky, and 
prophesying the fate which is to overwhelm it. 

Air de Phanuel (Oh, Shining Stars) 

By Mircel Journet. Bass (/n French) 74152 12-iiiGh. «1.50 

He calls upon the stars to tell him what manner of man is this John, who speaka 
with such authority. "Is he a man or a 8od>" be cries. Hemdiat enters, much agitated. 
Phanutl inquires what has brought the Queen to his house, and she cries. "Vengeance 
on the woman who has stolen Hetod'i love I" He reads her fate by the stars, and sees 
nothing but blood in the horoscope. She asks him about her child, lost so long ago. and he 
takes her to the window and shows her Salome, who is just entering the Temple. Horrified, 
//cnxAot cries, " My daughter > Never 1 That Is my tivall " 



SCENE II— /nne, Court of the TempU 

The lecond (cene sIiowb the entrance of the Temple. Salome enters half fainting, hav- 
ing heard that Jolm has heen cut in prison, and (alia exhauated at the prison entrance. 
HeroJ enters, and seeing Salome, breaks out into a mad declaration of his love, bul she re- 
pulses him Vfith honor, and lelU him she loves anolhei. He declares he will find this lover 
and kill him, and goes out as the people enter the Temple. 

John is brought in and denounced by ike piiests. but prays for them as they demand 
his death. Salome ruiu to John and falls at his feeL wishing to die with him. Htrod, seeing 
that it ia John whom Salome loves, orders them both put to death, and they are seized and 
borne out by guaida as the curtain falls. 

SCENE ]~Pritt,n Cell in Ihe Temple 
John and Salome are here seen in prison. 
John admits (hat he loves the young girl, and 
urges her to fly and save her life, but she re- 
fuses, declaring she will die with him. Priests 
Speai and Older John to death, and command 
lome to be taken to the Palace by Hrmd'a 
commands. She resists desperately, but is 
dragged away. 

SCENE n—GKal Hall In Ihe Temple 
The great festival in honor of the Roman 
Empire ia in progress. Salome is brought in and 
again entreats to be allowed to die with John, 
She appeals to the Queen, saying. " If thou wert 
ever a mother, pity me." Hrmdlai trembles at 
the word, and gazing on her daughter, seems 
about to yield, when the executioner appears 
at the back with a dripping sword and cries. 
"The Pmphel ia dead." Salome gives • terrible 
cw ond tries to kill the Queen, who screams : 
" Mercy T lam thy mother!" Salome recoils in 
horror, curses her mother and stabs herself. 


Opera in five •el» — Libretto by Scribe and Deachamps. Score by Meyerbeer. First 
prcMnted at the Acadimie in Poria, February 29, 1836. Fint given in Italy at Tcfre Jdla 
Ptrgela, Florence, December 26, 1841, under the title of Gil ^nglleanl. First Lon^n pro- 
duction in German in 1842; in Italian, July 20. 1546. Firat New Orleans performance April 
29, 1639 (fint in America). Some notable New York pro<lucliona were in ISS8, with La 
Cranse. Siedenbuig, Tiberini and Formes; in 1872, with P«repa.R«>, Wachtel and Sant. 
ley; in 1873, with Nilswjn, Cary, Campanini and del Puente; in 1892, with Monlariol de 
Recke, Lasalle. Albani and Scalchi; in 1901, with Melba, Nordica. de Reszke and Planfon: 
in 1905, with Sembrich. Caruso. Walker. Plan^n, Scotti and Jounieli in 1907, with Nor- 
dica. Nielsen, Constantino and de Segurola; at the Manhattan in 1906^ with Pinkert, Rusi. 
BasB and Ancona; and at the Metropolitan in 1913, with Caruso, Destinn. Hempel, Matzen- 
auer. Btaun and Scotti. Revived b y the Chicago Oper a Company 1917. 
COUNT OF ST. BRIS (S«A fl«') \r .k IV „ 1,1 „ } Baritone 

COUNT OF NEVERS («*-/«') ) C"'*"*'>= '"blemen [ Baritone 

RAOUL de NANGIS (AbA.«>/ Jar Nan-mlm'), a Protestant Bentleman Tenor 

Marcel (Mahr-cl»f), a Huguenot soldier and servant to Raoul Etsss 

MARGARET OF VALOIS (ytl-ooai'). betrothed to Henry IV Soprano 

VALENTINE, daughter of St. Bris Soprano 

URBANO {Uria/i'-nt/i), page to Queen Margaret Mezzo-S(q}rano 

Ladies and Gentlemen of the Court, Pages, Citizens, Soldiers, Students, etc. 
Scene and PtrioJ : Touralne anJ Patii ; daring the month o/ Aagial, 1572 
The story relates to one of the most dramatic periods in French history, and tells of the 
massacre <^ Huguenou in 1572, and of the efforts of Margaret of Valots, the betrothed of 
Htnry IV, to reconcile the disputes between the Proteatanta and the Catholics. 
SCENE I— //owe of tht Count of Ntetrt 
The first scene shows a magnificent salon in the house of Naien, where a gay party 
of Catholic noblemen are feasting. The Count explains that he expects another guest, a 
Huguenot, whom he hopes they will treat with courtesy. Raoul arrives and makes a 
favorable impression on the gueats. Ntoat toasts the ladies, proposing that each relate an 
adventure with some fair one; RaauL being the latest arrival, is called upon first, and 


deacribei his reacue of im nnknown beauty (who proves aftervrud to be Valtnlint, Si. Biia' 
daughter) (roin some dnioken revelers, hi this air he tells of her beauty and the deep 
impreasiao ^e made upon him. 

Piu bianca— Rotnanza (Fairer Than the Lily) 

By Enrico Caruso. Tenor {/n Italian) 8S210 Il-inch. f 1.50 

A sboit recitative brings us to the romanzo, beginning 


Fairer fir e'en than falicst lilr, 

Than ■pi'ing marn more pure and mote Io*dr 

An angel of Heaven born beautr 

miled Bi 

_ sighl. 

[ stood by het lide, 

>¥e-!ight (learned. 

Bidding me tio_ 
The applause ivhich greets this recital is 
rupted by the entrance of Marcel, who makes no 
of his displeasure at seeing his master dinini 
Romanists. Raoal apologizes, begging indulgei 
an old soldier and faithful servant who lovea hii . 
the guests (^1 on Marcel for a song. The grim soldi 
oSen to sing an old Huguenot aong. 



r battle 


paff, of bullets from cur ranks, thus out it rang:' 

Piff! Paffl (Marcel's Air) 

By Marcel Journet, Bass 

(,ln French) 74136 12-inch, ( 


■iff. ev-ty Boul! 

Hfi; paff; piff; piff, pafF. j 

All vainly far aid or for mercy they t 
No pily tor themi Ko they die— slay 



A servant of Necer, uinounces a veiled ] 
see him and he retires to an adjoining room. 
catchea sight of the lady through the window 
lifts her veil, and is astonished and grieved to 
nize the beauty he had saved from the ruffian 


A young P>se now enteri, 
f amiliuly called we Pagt Song, announces that ahe haa 
a meHBge for one of the cavaJier* preaent 

A most cfaarming noble lidv, 
Wfaom with envy kinES miEllt Tiew, 
Wiih B messigE hers his cbaigcd me. 

Do I . 


ic good knight. who*>r 


■11, may hfiven kindir 
You protect, in love or war. 
The note proves to be (or Raeul, anil bidi him 
consent to come blindfolded in a carriage, without 
question, to wherever hia guide will take him. The 
young man is puzzled but decides to obey, and shows 
the note to the others. They recognize the seal of 
Margaret of Valoit, and cast looks of envy at him as he 
follows the page. 

SCENE— Ciit/e and Cordent of CAcnonceaui 
The Queen is seated on a kind of throne sur. 
'ho, with Urbano, ate assisting in her toilet. She rises and sings 

O. vago auol delta Turenna (Fair Land of Touraine^ 

By Giuseppina Huguet, Soprano {In Italian) *39123 12-inch. *1,S5 

"h." lovely land of fair Touraine! 

Thy vine-ctad failli. thy sparkling founUins, 

Thy Rreen banks »nd thy murnTring lepbyra. 

Air 6ri my soul with peace and lovel 
The maids disperse, and yalenllne enters and 
tells the Queen that she has seen the Coanl dc 
Ntoeri, who has promised to release her from 
the engagement which had been arranged. 
Margarel informs her that she has another cava- 
lier in mind — meaning Raoal, who is now con- 
ducted to the ladiei and his mask removed. He 
is much astonished to find that it is the Queen 
who has sent for him, and pledges his honor and 
his sword to her service. He does not, however, 
perceive Valentine, who has retired at the moment 
of his entrance. 

The nobles of the Court, Protestant and 
Catholic, now enter, having been sent for by 
Margaret. She announcea that ahe ia planning m 
marriage which shall reconcile all their differ- 
ences, and asks them to swear lo live in peace 
with each other. Raoul. Ncoat, Si. Brii and the 
nobles gather around the Queen and take the oath. 
yalenllne ia now led in by her father and 

E resented to Raoul. He starts in astonishment, 
aving recognized the lady he had rescued, and 
whom he had seen meeting Ncoefi, 
Raoul (in a itifiid v, 



Why II 


A terrible acene follovn. Si. Brit challenging Raoul, who ii ordered under arreM by 
the Queen. Valaitlnt n overcame with shame, and the Calholict are furious. Marcti is 
delighted that his master has escaped marriage vrith a Catholic, and the curtain (alls a* 
the Lutheran chorale is again heard in the orchestra. 

ACT in 

SCENE— ^ Sijtiare In Parli 
Catholic students ere seated outside en inn on the left while opposite some Huguenot 
soldiers are drinking and plajring dice. The soldiers sing their famous Ral-a-plan. 

Coro di Soldati (Soldiers' Chorus) 

By Metropolitan Opera Chorus {In llaOan) *49051 10-inch, II.OO 

A wedding procession psssei on its way to the church ; it is For P'alenllnt, who has been 

persuaded to wed Neotn. ValtnHne asks that she be permitted to spend the day in the 

chapel in prayer. While there she overhears a plot to assassinate Raoul, and at once goes 

in search of Mated and tells him of the plot. 

Nella notte io sol qui veglio (Here By Night Alone I Wander) 

By Mari* Grisi. Soprano, and Perello De 
SefuroU. Bsfs 

(In llalian) *63404 lO-inch, tO-SS 
Marcti thanks her for the warning and goes with his 
friends to the rescue. A general conflict is Uireatened but 
is prevented by the Queen, who appears just in time. She 
tells Raoul that yaltnllnt is innocent of wroiw, having 
merely gone to Ntcert' house to ask him to release hef. 
Raoul is overcome with remorse, but the knowledge comes 
loo late, as Vattnlint is already the wife of Ncotn. 

A richly decorated boat approaches, occupied by t 
nuptial suite. Naien leads VaUnllne to it, and as all ssIl 
the bridal couple the boat moves away, while Raoul, art 
come by grief, is aupponed by Mated. 


SCENE— ,4 Room In Neotri' CailU 
Valentlnt, alone, broods over her sorrows, confessing t 
to herself that although wedded to another she still loves 





: Raoul, tlK)r will kill tb«; afa, in pity Mlyl (Act IV) 
Raoal. She ia BitoundeJ to aee her lover nppesr, he having hravei) death and entered 
the castle to aee her again. Valtntint hears her father's voice, and haittl^ conceals Raoul 
behind the tapestiy. The Catholic nobles enter to discuss the plot outlined by Si. Brit. 
They finally agree to his fiendish proposal, and swear to slaughter the Huguenots. Neoat 
is horrified at the blcxxly scheme to exterminate oil Proteitants, and, refusing to become aD 
assassin, he breaks his sword and is led away by the guards. 

The conference closes with the famous Bmedicllon of the Swordi. 

Beoedictioa of the Swords 

By Mircel Journct sad Opera Chorus (In Italian) 742TS 12-inoh. »1 JO 

The number begins with the passage sung by Si. Bria in his recital of the plan. 

\i mi \ r'i r-^ 


r dear count ry to isvc? 

St. Bhis: 

'Tis well! now best the King's dcciec: 
Thisi Huguenots, wbase vile detested race we 

Shall from tfals ity bf the sword dinppcstl 

Will ye th 



nds, w 

e will obey! 


n-s jus 



me. the 



natical chorus of priest 

«.d lords: 

ord the 



nd childr 

en, sil! 


ith or 



The nobles having gone, Raoal cornea out. horrilied at what he haj heard, anil wUhea to 
warn hia (rienili, when VaUnllne, thinking to aave his life, urgea him to remain, telling him 
that the lovea him. 

Dillo ancor (Speak Those Words Again !) 

By Giacoroalli and Martinez-Patci (In Ilallan) *35123 12-inch, tl3S 

The great bell of St. Germain, the aignal to prepare for the ilaughter, ia heard tolling 
and Raoul makes a (reah effort to go to the aid <^ his people. VaienHne dinga to him, 
but he ruahea to the window, and shows her thai the maaaacre haa already begun ; then 
teara himaelf from her arma and leapa from the window, while ahe (alls fainting. 

In American productions, because of the great length of Meyerbeer's work, the 
opera uiually ends with the shooting of Raoul by the mob aa he leaps from the window; 
but in the original version a bfth act occurs, in which Neaeri ia killed, and Valcnane, re- 
nouncing her faith, ia united by Marctl to Raoul. Si. BrU and hia par^ enter the street, 
and not recognizing Valtnllne, fire upon the three and kill then. The ctirtain (alls a* 
Si. Brii diacovera that he haa murdered his own daughter. 

doi;ble-faced huguenots records 

lO vafo auol della Turenni (Fair Land of Tounine) Huguetl_,,__ ,- . . ^, ,, 

IDillo ancor By Giacomelli and Martinee-Pattif'"^* 12-inch, *1,35 

/Goto di Soldati By Metreyoliton Opeta Chorua (/n //ofton)! ,..,, .^.j^^i, , «« 

\ Magic Hut^Ol^ BaM^polltanOp»aCt«m, (/n C™™)/""' lO-mch. IXK) 
fNella none io sol By Crisi and Seffurola (/n Ual^n)\^ 
\ Laaata Borgia — Vltnl ta mla vatdetla ~ ■ ■• " 

mrola (/n I/oftonll, - ._ . ,„ . . 

1, GUI. RM. bJ,I"*°* '"-""'■■ 



Text by Ltiigi Illic*; music by Pietio MaKsgni. FinI production. CoMuizi TheatTc, 
Rome. November 22, 1896. Reviied by the compoier and pioduced >l La Scala, Milan, 
January, 1899. Firil American production. Philadelphia, October 14, 1902, during the tour 
of MoacBgni'i own company. Two daya later New York heard the same organization give 
the opera, but the production by the Metropolitan Opera CoRipanv did not occur until 1906^ 
with a caM including Caruao, Eamea, Scotti and Journet. Revived April 3, 1915, with Bori, 
Scotti and Bolta. 


QECO, the blind man Baaa 

Iris, hia daughter Soprano 

OSAKA Tenor 

Kyoto, a taldomati Baritone 

Ragpickera; Shopkeeper, Ceiihal, Mousmi (laundry giria), Gtixena 
Strolling Playcri 

b Greek mythology Irft (literally " [Rainbow") waa the Goddea* of the Rainbow, and 
I auch wai the Meiaenger of Peace to all the inhabitant* of the earth. 

Illica has named his Japoneae heroine after this Greek goddeu, and the aKiry ia enacted 

Japaneae characters under the shadow of Fujiyama, the Wisteria Mountain, to which 
■paneae bow. The story is somewhat svmbolical in character, and through the rather 
simple plot rvuu a aort of weird Japanese philosophy. 





SCENE— 7~^ Home of Irit near the Qly 
Irii is a young tmd innocent countt)' 
gxi who live* with her Uind father, 
Oecs, on the outikiru of the town, 
and ipends her day* worihipping the 
Sun and playing with her dolU. Ottdffi, 
a rich and diasoluta nobleman, leea 
the lovely girl in her garden and con- 
ttivcB with Kyoto, a lailfomall or dive- 
keeper, to obtain ponexion of her. It 
is not easy to lead Irit away from her 
old blind father, to whom ahc i* de- 
voted, but by meana of a doll ahow 
they arouie her cuiioaity. and aa ahe 
BpprOBchci nearer and nearer to the 

Euppeta, three Geiaha dancera aurround 
er and quietly carry her oS, while 
Osaka leaves rooney (o pay the old 
man for her, thereby making the abduc- 
tion legal. Oeeo returns and is led to 
believe that hia daughter has gone to 
the Yoakiwara (a questionable street) of her own accord, and in a rage goes in search of 
her. aecuiing two peddlers to help him. 

SCENE— Interior ttf a houit In ihe YothlaMra 
In the second act the bewildered Irit wakes up in a luxurious mansion in the Yoshiwara. 
Otaka appears and vrooa her. but the young girl only ansivera hia entreaties by appealing to 
be sent back to her little cottage, her father and her garden. Oialta ia angry at her unre- 
sponsiveness and calls Kyoto to take her away, whereupon the taltlomell resolves to make 
money by eichibiting her with his puppet show. ^X'hi1e thus on exhibition, Omlta, repents 
his huty decision, and decide* to buv her back from K^a. Irit suddenly hears her father's 
voice in the crowd, but the old man has only come to bitterly curse her, and overwhelmed 
with shame, she jumps from the window to the sewer below and is loM. 
SCENE— ^ uKufe tpaix caMde the Qlu 
In the third act some ragpickers, who are searching the liver for debris from the sewers, 
discover Irit, who is still alive but only partly conscious. The men flee aa she ia reviving, 
and she reflects dreamily on the world and fate. Tlie rising Sun soothes her, and believing 
that she ia entering into a new life, ahe dies contentedly. The Sun shed* its warm ray* 
upon her. and floweia finally cover the body. 

The somewhat aordid story was made interesting at the recent revival by the artistic 
work of Mme. Bori, whose impersonation of /rti was • real delight. This singer haa given the 
Victor two of the most effective niios in ^4ascag^i'a work — the In pure ttllU, the joyous song 
of /rii in Act I, in which she singa to the flowers in her little garden, while the Moaimi form 
picturesque groups by the riverside with their rush baskets piled high with snowy 
garments ; and the Un di al iempio from the scene in the palace in Act II, in which Iris relate* 
ta Otalfa a viuon of pleasure and death she had one day in the Temple when she 
waa a child. 

Mr. Martinelli has contributed the serenade su 
from the safekeeping of her father. 

In pure stille (Life is Gaily Passing) 

By Liicrezia Bori, Soprano {Inllatlan) 87219 lO-inch, (LOO 

Un di al tempio (One Day at the Temple) 

By Lucresia Bori. Soprano {In Italian) 8BS24 12-iitch, 1.90 

Apr! la tua finestra (Open Thy Lattice Window) 

By Giovanni MarCioelli, Tenor {In Italian) 64692 10-inch, I.OO 

of the puppet show, to lure Iris 




Libretto by C. Zangaiini and E, ColUciani ; music by Ermanno Wolf-Ferrari. Pint per- 
formeil a> Dtr Schmuck der MaJonna at the Kurfuersten ' Opec, Berlin, December 23, 1911. 
Firet American pioducrion •( tKe Auditorium. CUcaBo, January 16, 1912. First New York 
performance March 5, 1912. Later included in the repertoire of the Century Opera Cornpany. 

CENNARO, in love with 

Maliells Tenor 

MAUELLA, in love with 

Rafaele Soprano 

RAFACLE, leader of the 

Cammoriiti Baritone 

CARMELA Soprano 



STELLA Soprano 


SERENA Soprano 

GRAZIA Dancer 


Vendor*, Monlu, People of the 

al Iht praeni time 

Wolf-Ferrari's vivid melodrama of Neapolitan life i* based on actual happenings in the 
squalid, superstitious life of the people of Naples, feverish with its reckless ga3rety, and 
mingled with sadness and gloom. The wild doings of the Cammorists, the preparations for 



by L° 

t nuLy be lummed up at follows: MalltUa, ■ wayvrard Neapolitan beauty, is 
.-.-.. .. her foster brother, Qennaro, a •imple, honest lad, but the girl ia infatuated with 
the duhing Rqfatlt, leader of the Cammorut*. Rafatlt proudly boa^ that he would Mop 
•t DOthins to prove hit love foi MalltUa, declaiing he would even Meal for her the Jewell 
which deck the linage of the Virgin. The young Bitl, annoyed by Gtnnaro'a attentions, taunti 
him with not daring to do for tiei what R<ifaele had offeivd. Almost in the hope of win- 
ning her favor the poor fellow steals to the church at night, •ecurei the jewel*, and lay* 

them at A/a/Ma'i feet At first 

*he ia fascinated by the bril- • 

liancy of the geau, but as she 

realize* the awful sacrilege 

(fennnro has committed >he flies 

to Rafatlt. whom she finds . 

in the inn of the Cammarisla. 

He, in a frenzy of jealousy, 

spurns her, declaring she has 

sold herself for the jewels. 

The unhappy girl drowns 

herself, and Gtnnaro, in an 

abandon of remorK and de. 

spair, place* the jewel* on an 

altar, pray* for mercy, and 

At the people, bent on ven- 
geance, burst into the room, 
they *ee the body of the un- 
fortunate youth lying l>e(ore 
the Madonna. 

The two JnfenneEri are de- 
lightful example* of the ( 
quisite music which Wolf. 
Ferrari has written for this ' 
work. One is the beautiful L 

»ltz ir 



second and third acts, and the 
other, an effective number ■„„,„ 
mainly for harp, flute arid ^^^^„ ^, cmkitw 

■tnngs, IS played betore Act 11. 
. xcMit in the second act of the opera. The scene i* the garden 
a 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 
tinlJing of mandolins and guitars behind the wall of Malldla'i garden. Rafaele and hia 
companions appear, and he sings his Serenade, which begins: "Aprlla bella la ftnedrtUa, " 


ilntermesto (Second Entr'acte) Victor Orcheitra] 

MenaWlMt^WindtotOtertutt {Nicolaf) p5270 l2-u)ch. 1.35 

Neu> Sspnpnmisi Orchalm of London! 


Le Jongleur de Notre Dame, miracle play in three acb, text by Maurice Lena, (rom a 
mediieval micacle play, Eial de Nacre, by Anatole France. Music by Jules Maxenet. FirU 
production at Monte Carlo, Febniaiy IS, 1902, with Renaud. First Paris praducliai) May, 
1904, and afterward given in all (he principal cities oF Europe. First American production. 
Manhattan Opera. New Yoik. November 27. 1906, with Garden, Elenaud and Dufranne. 

JEAN, a Juggler Tenor 

Boniface, cook of the Abbey Baritone 

Prior of the Monastery Bass 

Angels, Virgiit, Monks, Cavaliers, CitiieiU 

TVme and Place : Cluny, near Parii ; tMetnllt eenlaiy 

The story of Le Jongleur de Notre Dame is adapted from a " miracle tale " by Anatole 
France, and the events occur in Cluny in the Middle Ages. The legend tells of a poor juggler 
who tried to show his devotion to the Holy Virgin, and though his method appeared gro- 
tesque and even sacrilegious to the priests, the Virgin accepted his homage and glorified his 
death. Maurice Lena amplified France's story and made an admirable play of it, and for 
this beautiful legend Massenet has provided some highly effective and reverential music. 

le beginnins of the opera, Jean, i 

making ci „ , 

people want to be amused, but when poor Jean tries to earn a few sous by his womout 
tricks, they laugh and jeer at him. Suddenly the Prior of the Abbey appears and drives 
away the crowd, threatening Jean with the torments of the after-life if he does not mend his 
ways. He charges the boy to forsake his juggler's life and enter the monasteiy, and the 
poor, hungry lad. after one look at • cart of provisions which arrive* for the monks, cod- 
sent* and goe* into the monastery with the Prior. 

The second act opens in the monastery study, where the monks are arguing among 
themselves over the relative importance of the arts they represent. The Prior orders them 
off to the chapel, while Jean laments to Boniface, the cook, his inability to do anything 
that can please the Virgin. The kindly Boriface relates to the despondent lad a (able, 
"The Legend of the Sagebrush," which shows that the humblest offering is acceptable to 
the Virgin if tendered in a sincere and reverent spirit. 

Lcgende de la Sauge (Legend of the 

By Msrcel Journet. Bas* 

In French T4I23 tZ-inch, fl.50 

In Act 111, the youthful monk enters the chapel, 
lays aside his monk's dress, and in his old juggler's 
clothes take* his place in front of the altar, singing his 
old street songs and performing the old tricks. The 
Prior and monks presently appear and are shocked at 
what theyconsider acts of sacrilege. They try to seize 
Jeon and throw him out, but Boniface protects him, and. 
a* he holds the monks back, the face of the Virgin in 
the picture above the alur becomes illuminated. She 
extends her hands in benediction over the now crouch' 
ing Jean, as the monks draw back in awe. and the lad, 
radiant, falls dying in the arms of the wondering Prior, 
while a choir or angels is beard chanting "Glory to Jean." 

(Prencb) r 



Book by Coudinet and Cille. token from the story, Lt Meriagt dt hail. Music \rj L6o 
Delibes (Dth-lttl^). First production Paris, April H, 1S83. First LoDdon production ax. 
the Gaiety Theatre, June 6. 1865. Fint Ameiican performance in 1BB3,by the Emma Abbot 
Opera Company, a version that can hardly be taken seriously. First adequate production 
March I, 1886. at the Academy o( Music by the American Opera Company, under Theodore 
Thomas, with Pauline L'Allemand in die title T6le. Produced at the Metropolitan Opera 
House. April 2. 1890. wilh PatU; and again on April 22. 1892, with Marie van Zandt and 
de Reazke. Revived in 1906 for Sembrich; in 1910 by the Chicago Opera Company, fat 
Tetrazzini; in 1916 at the Metropolitan, with Barrientos, Martinelli and de Lucai and in 1917, 
by the Chicago Opera Company for Galli-Curci. 


g^-^} officers of the Briliah army in India {S^Le 

NlLAKANT>1A, a Brahman priest Bass 

HADJI, » Hindoo slave Tenor 

LAKME. daughter of NUakantha Soprano 

Hindoos. English Officer* and Ladiesk Sailora, Bayaderes, Chinamen, etc. 
Scent and Period: InAa, al Iht praenl Umt 

SCENE^^ Qatdai In InAa 
NlltJcanIha, Lalfmi't father, hates the English invaders and resists their presence in India. 
GtraU and Frederic, English officers, while sauntering with some English ladies, venture on 
•acred ground near Nllalfunlha'i temple, and when rebuked th^ all depart but Gvald, who 
remains to sketch some Oriental jewels which Lal^mi had len in the garden. He take* 
up tbe trinkets and ainga his charming air. Idle Fanda. 

Fantaisie aux divins mensonges (Idle Fancies) 

By M.Rocca, Tenor {In French) 'IftSM lO-ineh, »0.85 

He is struck with the daintiness and beauty of the gems and trie* to picture the 
unknown beauty to whom they belong. 

Chald: ITakine up a bracelil.) 

Idle [ancy. ctidled by delusion. 0[ some fair maid round her sm. folding. 

Go la drramland. luro ^ek in confugit 


ind that 



This ring of lold, mr dmm auppoBO, 
Of! has fgirowed, wind'rmg for houri, 

The smill fool. Ihat bul tepoKS 

On mossy blnki or beds of flowers. 

Hearing >ome one approocliiiiB, GeralJ hide* himielf 
ID tKe ^rubbccy. L^mi enters and lay* flowers at the 

(eet o( on iilol. She ia about to go when ahe f 

and trie* to analyze a Hrange (eelinB which haa 
over her, laying : 

And ■ fragnnce Ihat's r*ie i> filling, 
All my sen»i wUb ■ rapture so thrininfl 

She then nngi her lovely aonE. Pxirgasf. 

Pourquoi dang les ffrands bois CWhy 
Love I Thus to Stray ?) 
By Alice Verlec. Soprano 

(_In French) '49006 10-inch. *1.00 

Why love I thus to stray. 
In woodt here, day by day. 
While tears have away? 
Why dolb the dove's note udden. Yet are these tears most sweet to me. 

And nil my heart with sighing; Tho' sad they he! 

As dolh a fading flow'rel. And my heart is gladsome, 

Or a leaf eastward flying^ Tho' I'm sighing, I'm gladsome. 

She luddenly aeei Gerald amons the treea and ultera a cry of fear. Her attendanta rtin 
in, but lome intuition tella her not to reveal Cerald'i preaence, and she sends them away. 
Going to his hiding place she denounces him (or trespassing on sacred ground, and bids 
him begone. He begs her for a few moments' conveisalion, and tells her of the impremon 
^e has made on his heart. 

Lahni looks on the handsome youth vrilh interest, but tells him she fears the return of 
her father, who would surely seek vengeance for the Englishman's desecration of holy 
ground. Gerald departs just lu Nllal^antha, summoned by Lal(mi'i attendants, enters, and 
seeing traces of a trespasaer. declares that he must die. They go in pursuit of Gerald, 
leaving Lalpni oppressed with fear. 

SCENE— /4 Slrtel in on Indian Cty 
Act II shows a public square, lined with Chinese and Indian shops and bazaars. 
English visitors are strolling about, viewing the scenes with interest. Nllakanlha, disguised 
as a beggar, is seeking traces of the intruder, whom he has awom to kill. Z.iii^m^is 
with him, wearing the dress of a dancing girl, and he orders her to sing, hoping that the 
Englishman will te<»>snize her voice and betray himself. She sings the famous Bell 5ong. 

Oil va la jeune Hindoue (Bell Song) 

By Luisa Tetrazzini. Soprano (In Italian) B829T ll-ioch, tl.SO 

By Amelita Gslli-Curci, Soprano lln Italian) 74S10 12-iach. 1.90 

By Msbd Garrison, Soprsno (In French) U491 12-inch. 1.90 

Delibes haa ingeniously used bells to give character to this number. whitJi is a 

most intricate one, especially in the refrain, where voice, woodwind and bells blend with 

many charming touches. 

Down there, where ifaadei are glooming, As if for Iheir pcey ihey were prowling: 

What irav'ler's that, alone, asttay? The young girl forward tuns, and dolh their 

A ring in her grasp she holds lightly. 
Whence tinkles s bell, sharply, lightly, 
A betl that tinkles lightly, thsl cbarmen * 



flush'd > 

I glowini 

Tbe Irav'Icr bet 
The sound of it 

The I 


A( Ntlaltantha had planned. GeniM recognizes Lakm^ and betrays himielf. TheBiahman 
goes to collect hi* Hindoos, intending to kill the Englishman, while Lakm£ finds GtralJ, 
warns him of the plot, and tells him of s hut in tKe forest where he may be free from pursuit. 

Gerald at first refuses thus to hide, declaring it unworthy of a British ofiicer, but 
LiJt,m£ pleads with him and he consents: but as he attempts to follow her he is stabbed 
by Ntlaltanlha, who then escapes. La)(in£ runs to CtraU, and overjoyed to find his 
wound is not serious, she prepares, with the help of her faithful attendant Hadji, to bear 
him to the forcM retreat. 

S ACT in 

1 SCENE— .4n Indian FanM 

Act III shows the hut in the tropical foreal. Caald is lying on a ted of leaves while 
Lalpni watches over him. singing soothing melodies. He opens his eyes oad greets her 
with rapture, singing his beautiful In Font! Dtpl/u. 

Vieni al contento profondo (In Forest Depths) 

By John MeCoraisck. Tenor (In llallan) 64171 lO-meh. *1JM> 


'. inn 


My aoul upo 

These flow' ring vines, with h 

Bcir o'er our pslhway Ken._ _ 

Which ?ofl hearts, wilh raptures beset. 

While all else we forget! 

As the daya pass and Gerald re- 
covers his strength, he seems to forget 
all else but his love for the Brahman 
maiden, but one day, while she >s ab- 
sent, his friend Frtdtric linds him and 
urges him to return to his du^. telling 
him his regiment is ordered oS at once 
to suppress an outbreak among the 
Hindoos. Gerald promises to be at his 
post in time, but luks for a few mo- 
ments in which to say good-bye to 
Lalpni Frederic leaves with his promise, 
and when Lalpni comes back she finds 
Gerald changed. She asks the reason, 
but before he can answer the distant 
sound of bugles calling the regiment 
together is heard. She sees by his face 
that he means to go back to his friends, and in despair she eats some flowers of the deadly 
stramonium tree and dies in his arms, juat as her father and friends arrive upon the scene. 

rPourquoi dans les inadt bots By Alice Verier {In Frtnch)\..-,^. ,_ . „. ., __ 
\ Mlgr»n-Pclcr,al,e Bf, Mile. Kar^ff. Soprano (In French)r'°°*' 10-"«=1'- 'I-W 

(F»auiiie aux divioa — ■-. — ~, .. _ 

R igolello—CbrtlglanI, ell n 

re froin ibc Ditsoa libretto, br jn 



Text by Oxenf ord and Boucicault, founded on the latter's romantic drama, *' The Colleen 
Bawn." Music by Sir Julius Benedict First production at Covent Garden, London, Febru- 
ary 8. 1862. 


EILY O'CONNOR, the Colleen Bavm Soprano 

ANNE CHUTE, an heiress Soprano 

Mrs. CREGAN, a widow Contralto 

HARDRESS CREGAN. her son Tenor 



Father Tom .^ ^ Bass 

Danny Mann, Cregan's boatman ^. Baritone 

Time and Place : Killamey, Ireland ; nineteenth century 

Sir Julius Benedict, one of the most accomplished musicians of his time, and an intimate 
friend of the great Webster, is now chiefly remembered by his Lily of Killamey, popular thirty 
years ago, but now almost forgotten. 

The rise of the curtain reveals a party of Hardress Cregan s friends enj<mng the hospitality 
of the hall at Tore Cregan. The Cregan estates are heavily encumbered, Corrigan, a "middle- 
man," holding the mortgage. Corrigan calls upon Mrs, Cregan while her son and his friends 
are absent, and suggests, with an eye to the settlement of his own account, that the family 
fortunes might be improved by marrying young Cregan to the heiress, Anne Chute, As an 
alternative, he hints that hei^ould be willing to accept Mrs, Cregan's hand, but his proposal ib 
scornfully refused by the still attractive widow. Corrigan then informs Mrs, Cregan that her 
son has an affair with Eily, the Colleen Bawn, The widow is much distressed to hear that her 
son is associating with a peasant girl, and promises to turn his affections toward the heiress. 

The next scene shows the cottage of Eily O'Connor, who lives there under the protection 
of the good old priest. Father Tom, Hardress, who has been convinced by his mother that it 
would be to his advantage to marry Anne, enters and tries to persuade Eily to surrender her 
marriage certificate — for the couple are already married — ^but the girl refuses, having 
promised Father Tom never to part with her " marriage lines.** Hardress leaves in a fury, 
swearing never to see her again. 

, in Act 11 Cregan, though filled with remorse because of his cruel desertion of the Colleen 
Bawn, is nevertheless paying suit to Anne, Corrigan is meanwhile pressing his unwelcome 
attentions upon Mrs, Cregan, Danny Mann, devoted to Hardress, and hoping to help him in 
his troubles, persuades Mrs. Cregan to give him one of her son*s gloves. Dannif gives tne glove 
to Eily and tells her that Hardress has sent it as a sign that he needs her. Dann^ then takes 
her to a water cave and demands the certificate of her marriage. When she refuses to give 
it up, he throws her into the vrater. Myles, however, happens to be in the cave, and, 
mistaking Danny for an otter in the twilight, shoots him, then perceiving thtf Colleen Bawn in 
the water, dives in and rescues her. 

In the last act Hardress is about to marry the heiress, when Corrigan, angry because of 
the slights he has received from Cregan and his mother, causes the young man's arrest on a 
charge of murdering Eily. Myles, however, appears with the living Eily, and a deathbed 
confession from Danny that he had attempted the murder. When Hardress sees Eily he 
realizes that he loves his wife, and the young couple are reconciled, while the heiress good- 
naturedly steps aside and even bestows a fortune on the happy pair I At least so the libretto 
says, and who should doubt it ? 

The best known number is the famous duet, " The Moon Has Raised Her Lamp Above,** 
sung by Dannjf and Hardress in Act I as they are about to cross the lake to the Colleen Bawn, 

The Moon Has Raised Her Lamp Above 

By John McCormack and Reinald Werrenrath (Ei^Z/jA) 64440 10-inch, $1.00 





Words by Rossi; music by Donizetti. First production in Vienna, May 19, 1642; in 
Paris, November 17, 1642; in London, June, 1643; in New York, at Palmo*8 Theatre, Janu- 
ary 4, 1647, with Clotilda Barili. Given at the Academy of Music, March 9, 1661, vrith 
Oara Louise Kellogg. Revived April 23, 1890, at the Metropolitan, with Patti, Fabbri, 
Bauermeister, Marescalchi and Carboni. A gala performance was given recently in Milan 
before the King and Queen and a distinguished audience, including Adelina Patti. Mr. 
de Luca was specially engaged for the rdle of Boisfleuiy. 


Marquis of Boisfleury Baritone 

CHARLES DE SlRVAL, his son Tenor 



Madeline, his wife Mezzo-Soprano 

Linda, their daughter Soprano 

Time and Place : Chamounlx and Paris, 1760, during the reign of Louis XV 

The story tells of an aged couple, Lousiolot and Madeline, and their only daughter Linda, 
who dwell in the valley of the Chamounix (in the French Alps). Linda loves a young 
painter, Charles, who has come to the valley to paint the mountains. The Marquis de Siroal, 
who holds a mortgage on LousUdoVs farm, visits the old couple and assures them that he 
will not press the mortgage ; but at the same time he is secretly plotting to etf ect the ruin 
of Linda, 

Linda enters and speaks of her love for Charles. She then sings the gem of the first 
act, always a favorite with colorature sopranos. 

O luce di quest* anima (Guiding Star of Love I) 

By Giuseppina Hu^et, Soprano {In Italian) *62090 10-inch, $0.85 

Linda: Oh! star that guidest my fervent love. 

Poor are we both in worldly state; Thou'rt life and light to me; 

On love we live, — on hoi>e we dream! On earth, in Heav^ above, 

A painter yet unknown, is he, Entwin'd our hearts will be. 

Yet by his genius he will rise, Oh, come, then, come, my best belov'd! 

And I his happy wife shall be I My every pulse is thine! 

This air, while primarily intended as a vehicle for vocal display, is so spontaneous in 
its gaiety, and so genial in melody, as to possess exceptional captivating charm for a song of 
this type. 

Charles enters, and the lovers sing their charming duet 

A consolarmi affrettati (Oh, That the Blessed Day ^Were Come) 

By Emma Trentini, Soprano, and Alberto Caffo, Tenor *62090 1 0-inch, $0.85 

The worthy parish priest having warned Urtda's parents of the dishonorable intention 
of the Marquis, they decide to remove Linda from the danger, and send her to Paris. 
The Marquis pursues her to the city and renews his attentions, while Charles (who is in 
reality the son of the Marquis) is compelled by his father to transfer his attentions to another. 
Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to be 
an abandoned woman, he curses her, and she becomes insane through grief. 

The last act again shows the little farm at Chamounix. The demented Linda has made 
her way back to her parents, and is found by Charles, who has escaped the unwelcome 
marriage and now brings the release of the farm from debt. The sight of her lover causes 
Unda to fall in a death-like swoon, but when she recovers her reason has returned, and the 
lovers are united. 





Word* and mtuic by Richard Wagner. First produced at Weimar. Germany, AuguM 
26. 1650, under the direction of Liszt. Produced at Weitbaden, 16331 Munich and Vienna. 
1056: Berlin. I659i Bologna. 1671. First London production in German. 1875. and aUo, in 
Italian. atCoTcnt Garden, the same year. First production in Ejigliih at Her Majesty's, in 
laaO. Given at St. Petenhurg, 1875; Paris, 1S67. First American production in German 
atStadt Theatre, in New York. April 3, 167 1: in Italian. March 23. 1874. with Nilsson, Caiy. 
Campanini and Del Puente; in German, in 1665. with Brandt, Krauss, Fischer and Stritt— 
' nton Seidl'i American d^but as a conductor. First New Orleans production, in 
mber 3, 1877: in French, March 4, 1869. 





R g H fl. 


" fe 




-..-.- -^ 

Telramand is vanquished 
grin, who wins EUa a* his bride. i-;ne condition he 
exacts from her— that she shall never ask who he is or 
whence he came. By the influence of Orirud, how- 
ever, she rashly questions him, and in fulfillment of his 
vow, but in deep grief, he leaves her and departs in 
hi* boat drawn by b dove. The ethereal Grail hat- 
monies, (he lovely Sinan Malice, the noble Pnyer of (Ae 
King and the Bridal Chows make this one of the most 
melodious oE all the master's operas. 

SCENE— Banit) of Ihe Scheldt, ntar Aniieerp 
King Hairy of Germany arrives at Antwerp and 
finds Brabant in almost a state of anarchy. He sum- 
mons the counts and nobles of Saxony and Brabant to 
meet under the Oak of Justice, and calU on Frtdtrick of 
Ttlramund for an explanation, saying ; 

I csll. Frederick o£ Telra 

HENRI THE FOWLEB. King of Germany Bass 

Lohengrin Tenor 

Elsa of Brabant Soprano 

Duke Godfrey, her brother Mute Personage 

FREDERICK OF TELRAMUND, Count of Br^iant . . Baritone 

ORTRUD. his wife Meizo.Soprana 

The kings herald Bass 

Saxon, Tliuringian and Brabantian Counts and 
Nobles. Ladies of Honor, Pages, Attendant* 

Scent and Period : Aniatrp, first half of iht tenth cenlury 

Most of us are familiar with the story of the Knight 
Lohengrin, who come* in hi* boat, drawn by a swan, to 
defend Eba from the charge (preferred by Tetramund and 
Ortrad. who covet 
Elaa'i estates) of hav- 
ing murdered her 
young brother, God- 
id disgraced by Lohea- 


FnJeitck now advances and hepat hi* namtiTe. boldly accudng film of the murder 

rulh I'll tcLI thee, EalKhoo 


The claim upon h 
had conferVd 

r hand be 

My sov 'reign. 

An'^^™ > wife 

ull plei»n 


Ortrud. daughter , 

' Radbod. 

. ^."•''- ...__ ... 

Withoul Ihe boy, trembling, she re- Biabsnl; 

turned. Of fr»iri<:ide be she charged! 

The King is much disturbed, and aaks that Elae be lent for. When ihe enters timidly, 
with downcast eyes, he says kindly ; " Speak. Elsa, in thy King thou may'st confide 1" 

The young girl seems bewildered and dreamily sings the lovely Traum, telling of her 
vision of a splendid Knight who 
came to be her defender. 

Elsa's Traum 
(Elsa's Dream) 

By Johaniu Gadski. 

(In C™<,„) 
86038 la-inch. »1.90 

Els>: Oft when the bours were 
1 unto Heav'n have prsj'd, 
One boon I ask'd for qnly, 

Ais"''my wo?iir were'wafted. 

liul o"e on hig'h'*vouclisk'fd'il. 
While I in steep did lie. 

{a<lk grou-ina e«lhusiatm) 
I saw in tptendot shining. 
A knight of glorious mien, 
On me his eyei inclining. 
With tranquil gate Krene. 
A horn of gold beside him. 
He leant upon fait sword. 
His word* 60 low and lender, 

M^ guardia'n, my defender. 
Thou Shalt my champion be. 

The King ii much moved, 
and calls for a judgment of God 
after the fashion of the time. 
The trumpeters blow the sum- 
mons to the four points of the 
ind the Herald calU: 
will dn bailie here for Elsa 


■hining annor i* aeen 

Nun sei bedankt, mem lieber Schwan I 
(My Trusty S^van I) 

By Leo Slezak. Tenor 

[InGennan) 61203 lO-inch. *l.00 
Lohengrin sleps out. then turning and carening the awan. 

ilcd task is done! 

Well Ihy appointed 
Farewell! a>e»rell! 
Uolht Kino) 

\iclor?"Jn'd"h™n'o™f^'lh/ valor's 

The King bida the noblu pre- 
pare to fight, and in thia noble 
Gdicl calU upon Heaven to judge 
between the combatants. 

Mein Herr und Gott— 
Koenitf'a Gebet (King's 

By Marcel Journet, Baai 

(In Ctrman) 

64013 lO-inch. *1.00 

KiHC IIenby: 

O Kill)! or king5. on Tlicc I 

Look down on us in this dread 

I.el hirn <n Ihis ordeal (all 
Whom Tbou know'sl guilly, 

Lord of pow'r! 
To suinless h n i n h I give 

strength and might. 
Will> craven heart the false 

Do Thou, d Lord, to hear iis 


Elsa and LuiiBNGms: 
Now. Lord, make kn 

That no defeat nor fil 

St in Thee! 
ir'ha'h loi'own 

t 1 hei 


I lTm, 


: decree! 
my bon 

FrtJtM i> 
pronounced ion 

toon itricken 1 

;o the eaith by Lohtngrin. who U 
her troth to her brave defender 

, and 

aimed ■ 
the cur 

hero. El«.« 
tun falb amid 

general reioicing. 

SCENE— Qiur/ of the Palace 

Thi* scene ahovra the inner court of the palace at Antwerp. It is night. Fndalcit 
and Oiinid, diigraced and dreucd in tombre garmenla, are leated on the church ateps. 
They upbraid each other. Frcderid^ accuaing Orlrud of inventing the ilory of Eiia'i crime. 
A long duet foUowa, ending in a terrible plot for vengeance. 

Eiaa appears on the balcony of the palace, all unconacious of the wretched and dis- 
graced Ttlramuni and Ortnid, who are hidden in the ihadow. In a blissful reverie, the 
young girl tings to the soft breezes of the knightly Lohatgrin, to whom she it now betrothed. 

Ye ward-ring breeifs heard Ye wafted him lo me; 

me. 'Mid atofmy wsvei watched 

When grief was all I knew: o'er him. 

Now thai delight hath siitred My Eutde, mv love to be! 

me. Where'er Ihy pinion rusheth. 

My joy I'll breathe to youl The mourner's tears are 

TaLaAMlPKD *HD 0«T«UD: Mv Xi that burn, and 

Thro' heaven-a aiiirc ye hore 

EUa, who has finished her rapturous aoliloquy to the wandering breeze, sbll lingers 
on the balcony, enjoying the balmy night and dreaming of her betrothal on the morrow. 
Oiinid, pursuing the plot agreed upon with FnJcrick. appears and calls to EUa, who bearing 
her name, cries : 

Who call,? How «ransely 

My name resoundelh thro' the nighll 


Ortnid (eigiu repentance, and EUa, 

Unhappy one, thai thy hcari could know 

1 her new-found hap 

■, forgive* her, sayinB ; 


it th«e 

ailfa d 

Orlrad warn* £ba BKajnat fruiting 
her husband too blindly, hinting of the 
mytiusrf in hii life, and thus pUnta ■ 
seed of iuapicion in the young girl'* 
heart. The duet then followi: 

Oh, lei me leach thee 

How trust doth hallow jov and lore. 

Oh™iurn ii'nlo Duf failb' divine. 
For God ii lord 


I <flri<i«- 

pht pride of.hea 

' joy) : 
et will li 


Ella enter* the palace and Tclra- 
mund renewg hit vow of imprecation. 

Day breaks, and the Herald ap- 
pears and announces the banishment of 
TclmmanJ, Ella, attended by her ladies. 
pasaes on her way to the miiuter but 
is suddenly confronted by Ortnid. who 
has arrayed herself again in splendid 
garments. She taunts Elia with the fact 
that her knight has no name. 


of halrei 


SCENE \-Tht Bridal ChanAa In ihc Paiact 
The act opetu with the IVtddIng March, played by the orchestra. 

Prelude to Act III— The W^eddin^ March 

By Boston Symphony Orchestra 64144 10-inch. I1.00 

By Herbert'* Orchestra *9»048 12-inch, 1.90 

By La Scali Orche*tra *626»3 10-inch. .85 


This is followed by the beautiful Bridal Chona, one of the loveliest number* ir 

As the cuTIain riiea. showinB the bridal chamber, the ilTBini of the mi ... _ 

a (ofter mood. The great doors at the back open, and the bridal party eoterm, — 
leading Eita aad the King and nobles conducting Lohaigrin, — they come to the 
the chorua begini : 

Faithful a 

d thK 


BI«t be ye both fir from all life'i 

Champion victorious, go tho" h<-fi>i 
Maid ^bright and glorious, a 


Bridal Chorus 

By Victor Opera CItorua 

UnEnflUh) '3S4»4 12-iiich, *1 
By La Scala Clu>rui 

(Inllallaa) "leSSI 10-inch. 
1 his lovely bride and ling* 

Athmest du nicht mit mir die siisseii 
Diifte? (Dost Thou Breathe the 
Ittcenae Sweet ?) 

By Charlea Dalmorea, Tenor 

(/n German) eiOBS 10-inch. tlJK) 
Elia bardly hear* him because of the poiaon in- 
Milled in hermindbyOrfnii^andthiacauaeiher, in vio- 
lalioD of her promise, to queMion Lohtngrin am to hia 
name and origin. He remonatratea with her. at first 
gently and then with authority, reminding her that she 
lias promiaed not to ask hia name. She becomes more 
and more agitated, saying : 


>m|»l n 

.1 by 



TT, . . 




: '-^ 








■ .Pi ■ 









'.> ■: 



, * 


1 ' 


u ■■ 




~-:, I 







What falal spell is Ihine? 

In vain wouldi;! Ihou atiure mt— 

Deilitc Ihy race and name I 

They are interrupted by the entranceof Freifcrfelt ' 
and four Bsaociates, who break in with drawn swords. '- bbidal 

Eha shrieks and hands Lohtngrin his sword, with wacmu's own handwiitihg 

which he strikes Fitder1cl( dead. The nobles sur- 
render, and EUa falls senseless in Lohengrin 'i arms. After a long silence, Lohengrin orders the 
body into the Judgment Hall, and gives Elta in charge of her ladies. 

SCENE II— Some a, Ad I 
A quick change of scene shows again the banks of the Scheldt at Antwerp, as in Act I. 
The King and his nobles await the coming of Lohengrin, who is to accompany them to 


battle. They are Martled by the entrance of the nobles bearing 
the body of TelramunJ. Lohengrin enlera andim peDted by the King 
with warmth. All are lurpiiaed when the knight announce* that 
he i« forced to decline the command of the expedition, and tells 
of the BttempI on his life. 

The King declare* Tdramund to be justly slain, and Lohengrin 
now reveals with reluctance thai Eita has broken her promise. 


Thai *fr 


dec Li 


Face of Heav'n. 




.t^'tiy. b«n 


Tht wif 


■■■a on 

xie beslow'd 


: her word in tol 

Tha! sh. 

Id s 


Thai pi 




Vainly : 


! she 

Now ml 


■ 'h*" 

1 no mofe wiihi. 



Ix>lieagriii's Narrative — (In Distant Lands) 

By Evsn Williams. Tenor (/» Engtiih) 74130 

Once every ytar s 
Heav'n Jes^endelh 


e fror 

vy (o 


1. th< 


Th" fakMu" tnTjIitl 

. »b. 


be il 

Is armed henceforth 

by 1 

ligh ir 

vincible might: 

All, evil craft its p 

The'^spirili' of darl 


he cfwella lake flight. 

I^or will he lose Ihe 

1 charr 

Al'though he 'should 

he ci 

illed t 

"SHSi ""' 

« of 


, lis 1 

spell h 


Now mark, craft or disguise my soul disdaineth. 
The Grail sent me to right yon lady's name; 
M^ father, Percival, gtoriousl]^ reigneth. 
His knight am I, and Xohengrin my name! 

After this amazing narrative, which causes a great stir among the people, the swan 
appears to conduct Lohengrin away. 

Ladies and Men: 

While I hear him the wondrous tale revealing. 
The holy tears adown my cheek are stealing I 


*Tis dark around me! Give me air! 
Oh, help, help! oh, me, most wretched! 

Ladies and Men (in great excitement): 

The swan! the swan! the swan! 
The stream he floateth down. 
The swan! ah, he comes! 

Elsa {tutlf-fainting) : 

Oh, horror! ah, the swan! 


Too long I stay — I must obey the Grail! 

Mv trusty swan! O that this summons ne'er 

nad been! 
Oh, that this day I ne'er had seen! 
I thought the year would soon be o'er 
When thy probation would have passed; 
Then by the Grail's transcendent pow'r. 
In thy true shape we'd meet at last! 
Oh, Elsa, think what joys thy doubts have 

ended ! 
Couldst thou not trust in me for one short 

Then thy dear brother, whom the Grail 

In life and honor thou had'st welcomed here! 

Ortrud, in triumph, now reveals the fact that the swan is really E&a 'j brother, whom 
she had transformed by magic. 


Go forth! go forth! thou knight audacious! 
Thy bride shall hear a tale veracious! 
All now upon my mind doth dawn; 
'Twas I that wound the golden band 
Around the neck of yonder swan; 
He is the true heir of Brabant! 
Oh joy! my magic was the stronger! 
Now thou afar from here must roam! 
But if thy knight had tarried longer. 
His spells had call'd thy brother home! 

Lohengrin kneels in prayer, and as the dove of the Grail is seen descending, the swan 
sinks, and Gottfried, the young Duke, arises, restored to human form. Lohengrin's boat is 

drawn away by the dove as E^sa faints in her brother's arms. 


[Bridal Chorus By Victor Opera 

Chorus {In English) 
Flying Dutchman — Spinning Chorus 
By Victor Women s Chorus (In English) 

I Introduction to Act III (Bridal March) 1 
By Herbert's Orchestral t^KCkAa 
Wedding March (Mendelssohn) [ ^^^^^ 

By Herbert's Orchestra) 

35494 12-inch, $1.35 

12-inch« 1.50 

fBridal March La Scala Orchestra 

I Wal^Ure — Cavalcaia La Scala Orchestra 


62693 10-inch, .85 

CO^'T HlSNRia 


Core delle nozze (Bridal Chorus) 1 

By La Scala Chorus > i^itoy 
Tannhauser— Pilgrims' Chorus Pryor's Bj ^^^^'^ 

[Lohenffrin Fantasie Bourdon. 'Cellist] 

Souvenir (Drdla) >35399 

By Maximilian Pilzer, Violinist] 

f Selection, No, 1 By Sousa's Band 

Flower Song (Blumenlied) (Lange) 

By Rosario Bourdon, 'Cellist 

lO-inch, .85 

1 2-inch, 1 .35 

35114 12-inch, 1.35 



(£e Lohm^bai^ -dee) 

Opera in four acts; words by Solera. Music by Verdi. First produced at La Scala, 
Milan, February II, 1643. Produced in London, at Her Majesty's Theatre, March 3, 1846; 
Paris, Thidire ItaUen, January 10, 1663. First New York production March 3, 1647, by an 
Italian Opera Company, under the management of Signor Sanguinico Patti (father of 
Adelina Patti), and Signor Pogliani. 


PAGANO, a bandit, brother to Arvino Bass 

ARVINO, a nobleman of Lombardy Tenor 

RRRO, an accomplice of Pagano Bass 

ACCIANUS* King of Antioch Tenor 

ORONTES, son of Accianus Tenor 

VlCUNDA wife of Arvino Soprano 

GiSELDA her daughter Soprano 

Sophia, mother of Orontes Contralto 

Time and Place : Lombardy and Antioch, in the Holy Land, in the eleventh century 

Much of the music of Lombaidi was afterward used by Verdi in his Jerusalem, brought 
out at the Acadimie, Paris, November 26, 1647. 

The action of the opera takes place at the time of the first crusade against the Saracens. 
Previous to the events of Act 1, Pagano and Ardno, sons of Folco the Lombard, both fall in 
love with Vidinda, who prefers Ar»im and marries him. Pagano, filled with jealousy, at- 
temps his brother's life, and flees his country, becoming a brigand. 

The opera opens in the square in front of the Cathedral Church of St. Ambrose at 
Antioch. Pagano has returned, repentant and forgiven, but when he sees the happiness of 
his brother and the woman he still loves, the old feeling of revenge returns. With the 
assistance of Pirro, armor-bearer to Arvino, he again makes an attempt upon his brother's 
life, but by mistake stabs his father, Folco. In despair at his crime he flies to the deserts of 
Palestine and, becoming a hermit, repents and lives a holy life. 

The scenes of the second act are laid in and about Antioch. Giselda, daughter of 
Aroino, grown to womanhood, has been taken prisoner by the Saracens, and during her 
captivity falls in love with Orontes, a Saracen prince, in whose harem she is a prisoner, and 
whose mother, Sophia, befriends her. Aroino, meanwhile, at the call of Peter the Hermit — 
who is, unknown to him, his brother Pagano — ^has crossed the water with knights and war- 
riors to the first crusade ; he seeks the hermit to inquire about his daughter, who promises 
that he shall soon meet her. Plrro, his old accomplice, having also repented of his crime, 
has promised to open the gates of Antioch to the Christian soldiers. 

The next scene is in the harem of Orontes in Antioch, where Giselda is prisoner. On the 
entrance of her father and Peter the Hermit, she, believing them to have slain her lover, 
gives them but a cold welcome, which greatly incenses her father. Orontes, meanwhile, 
having escaped, persuades Giselda to fly with him, but being pursued, he is mortally 
wounded and dies in the hermitage of Peter, having first become a convert to Christianity. 

The last act opens with Giselda having a vision of her lover in heaven. Pagano, or Peter 
the Hermit, leads the Crusaders to the siege of Jerusalem, and, in protecting his brother, is 
mortally wounded. He then reveals his identity and dies embracing Arvino. 

Qual volutta (With Sacred Joy) 

By Frances Alda, Soprano : Enrico Caruso. Tenor, and 
Marcel Journet, Bass (in Italian) 95211 12-inch $2.50 

This great trio occurs in Act III, and begins at the moment when Orontes renounces 
his Saracen faith and becomes a Christian for Giselda * s aake. Orontes begins the trio with 
his sympathetic melody, and this is followed by duet passages between Giselda and the 
priest, and later between the tenor and soprano. Tlie terzetto grows more intense and 
moving as it proceeds, and the three voices, which combine in dramatic fashion, conclude 
the trio with a splendid triumphant note. 




Word* and music by GuHave Charpentier. Fint presented at the Opita Carrdtiut, 
Paris. Febniary 2, 1900, First American production at the Manhattan Opera, 1906. 


LOUISE Soprano 

Her Mother Contralto 

HER Father Baritone 

JUUEN. an artist Tenor 

Girls at the Dressmaking Establishment, Street Peddlers, People, etc. 

Sctnt and Palod .- Paiia ; iht preaeni lime 

Charpentiei's first opera. Loalte, is a lamance of Bohemian Paris. The story tells of 
Loirfae, a beautiful young girl engaged in a dieumaking eatabliakment. Jollen, a romantic 
artist, (alls in love with the maiden, and soon finds his love returned. The mother end 
fcther of Loaltt diupprove of the gay young artist, but /u/len will not give up his sweetheart, 
and implores her to leave her hard woilc and go with him to a little home. Loalie at first 
steadily refuses, knowing how her parents would grieve, hut Jallen persists, tempts her with 
visions of a bright future with him, and at last, unable to renat. the young girl consents. 

Here she falls in with a meriy company of true Parisian Bohemians, who crown her aa 
the Queen of Revels. In the midst of a gay party her mother appears, begging the young 
girl to return to her father, who is ill. Loulat is filled with remorse and returns to her home, 
trying all the while to forget the gay, happy life she has left at Montmartre. Her father 
reproaches her for her conduct, and Loalte. remembering only the kindness and tenderness 
oljalltn, rushes out into the night and hastens back to the protection of her lover. 

The Victor presents three records of the lovely Depula U Jour, sung by Lotdte in the 
garden at Montmartre in Act III. The young girl tells /uAcn how happy Mie has been since 
they came to the cottage, comparing her life with him to the dreary one she had left. 

Depuis le jour (Ever Since the Day) 

By Nellie Melba. Soprano [In French) 884TI 12-inch, *1.90 

By Alma Cluck, Soprano (/n FrtoKh) I42S2 12-inch. 1.90 

By Floreace Hinkle. Soprano {in Frtnch) 10085 12-inch, 1 .29 



iLao^M^ ite Lali-malrinaar-) 



Text by SslvBtoT Cammeiano, derived from Scott's novel, " The Bride of LammermooT.'* 
Munc by GaeUuio Donizetti. Firmt production ■( Nuplen, September 26, I83S. Performed 
in Loudon, at Her Majeityii. April 3. I83S; Pari.. tB39; New Oilcan., E)ecember 2S. 1841: 
New York, in En^iih. at the Park Theatre. November 1 7. 1 643 ; and in Italian, November 14. 
1849. Notable revivaU occurred April 7, 1890. at the Metropolitan, with Patii; April 26. [894, 

at the Metropolitan, with Melba ; November 20. 1900. 

American Theatre, with Yvonne de Trevilie. 


Henry ASHTON, of Lammermoor Baritone 

Lucy. hi» sister Soprano 

Sir Edgar, of Ravenawood Tenoi 

Lord Arthur Bucklaw Tenor 

Raymond, chaplain to Lord Aahton 

AUCE, companion to Lucy Mezzo.Sopra: 

Norman. Captain of the Guard at Raveniwood . . Tenor 

Ladies and Knialita related to the Aahtons ; Pagea. 

Soldiery, and Domealica in the Ashton family 

The piolihc Donizetti (1797-1848) wrote no fewer 
than sixty-three operas, the moat popular of these 
being, of course, Lucia di L.ammermoar. It kaa long 
been the custom with a certain ctau of critics to run 
down the old Italian school of opera represented by 
Lucia, and talk about the artificiality of the muaic. thinness of the orchestratioiv, etc. But 
the public in general pays very little attention to theae opiniona, because they love the 
music of Lucia, as their grandfatkeri did. and realize that throughout the whole work there 
runa a current of tenderness and passion, expressed In simple melody that will ever appeal 
to the heart. 

Let us now forget the critics and tell the simple and sorrowful story, and listen to the 
melodious airs which have given pleasure to many millions in the past eighty years. 

The plot of Lucia is founded on Sir Walter Scott's novel, "The Bride of Lammermoor." 
Lord Henn/ Aihlan, Lua/ 'a brother, knowing nothing of her attachment to his enemy. Edgar 
of RaeauUMod, has arranged a marriage between Ljlcy and the wealthy LorJ Arthur, in order 
to retrieve his fallen fortunes. Learning that Lucy is in love with Edgar, he intercepts her 
lover's letters and executes a forged paper, which convinces Lu^y that Edgar is false to her. 
Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwillingly 
consents to wed Sir Arthar, 

The guests are asaembled for the ceremony, and Lmcs has just signed the contract, 
when Edgar appears and denounces Lacy lor her fickleness. Edgar is driven from the caatle. 

and the shock being too much for the gentle mind of Lucu, she becomes insane, kills her 
huaband and dies. Edgar, overcome by thes 
Ravmswood and stabs niniself amon 

huaband and dies. Edgar, overcome by these tragic happenings, visits the churchyard of 


they prami 

sir He, 

ment for •■ 

mad dedar. 

SCENE I— A Foral r,ta 
irtain riiea, ditcloainE Norman, and followers of SJr Htmy. Norman telk the re- 
'atch carefully and atcertain who ia aecretly meeting Lucy. In the openins chorus 
■e to watch vrith diligence. 

iry enters and talks with Norman of hi* suspicion that Lucjr has formed an altack- 
ime unknown knight. Norman suggests that it may be Edgar, Henry a furious 
s he vrill have a deadly vengeance. 

SCENE U—A Park "tar iht CailU 

Prelude for Harp 

By Francis Lapitii 

'17929 lO-inch. lO-SS 

Laqi enters, accompaaied by her faithful attendant, Alice. She has came from the castle 
r, Edgar; and while waiting 

Ref nava nel silenzio (Silence O'er All) 

(In Italian) S8303 12-iach. *1.S0 

(In Italian) *16S3» 10-inch, .83 

I the spectre of the murdered girl, and fears 

By Luisi Tetraiiiai, Soprano 
By Ciuscppina Hutfuet. Soprano 
Luof shudderingly relates how she once si 

The spectre did appear! 

But efow on hiab Iia skclelon 

Threal'ning it did uprear, 

Then vanish'd from my view! 


Oh. what horrid omtn is this? 
I ought to banish from my heai 
But I cannot; it Is my life, 

Quando rapita in estasi (S'wift as 

By GiuseppitM Hutfuet. Soprano 

{In llatlan) *b3l 72 10-inch. *0.85 { 

Edgar appears and tells Lucy that he has been , 
summoned to France, and proposes that he seek out muhamco *s hi bi 

Htnrg and endeavor to end the mortal feud which 

exists between the families. Lucy, knowing her brother only too well, entreats hi 
their love secret or they will be forever parted. Edgar, roused to fury by this r 
Htmy'i mortal hate, renews his vow of vengeance, beginning a dramatic duct. 

6v the lone lomh. o'er the cold grav< 
With thy kindred eternal warfare 
To the death I swore to waR*^: 
Ah! when I saw thee my htart rrlenti 

go, and in a tender duet, which clos 

Verranno a te auir aura (Borne on the Sighing Breeze) 

By Perein and Silvati (/n Italian) *68494 IZ-iach. »1,33 

How I Ihy ahwnw do maurn. lovf ! I'm »wr conslan 

Ah! ttaink of n,t when far away, Ah: itaou wiU n< 

With nought my heart to cheer: Many a lonely b 

I shaH bedew each thought of thee 
With many a bitter tear! 
EJgai tcBT* himself from ker ar 
(oled by ker fnitkhil Alltt. 

SCENE ]—j4n Anie-room In the Cottle 
Sir Henry and ki* retainer Norman are tJUcuming ike ap- 
proackinE mBiriage of Lucu to Arihar. Tke events whick have 
occurred (ince Act I are indicated by this extract froin tke text: 

In opposing me— 
Have no feai! The Ions absence 
Of bim >he niDurneth, the letters 
We've intercepled. and tbe false nt 

Ihou'll tell hei. 
Will quench all hope that yet may linger. 
Believing. Edgar faithless, from her bos. 

Lifqi eaten, pale and liadea^ and appeals to her brotker. Ske anawer* wilk a last 
appeal to kim to release ker from this hated tnairiaKe. . 

S«ic these cheeks so pale and haggard. Cease to urge met 

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

l>o not Ihey betray loo plainly HsHty; 

All my anguish, ail my despair? By this letter thou may'sl we 

How he keeps his faith with thee! 

IIenrt: IHattdi her a lelltr.) 

Cease this wild recrimination. I.trcv: 

Se tradirmi, tu potrai (I'm Thy Guardian) 

By Huguet, Soprano: Cifada. Baritone {In Italian) *620e9 10-incb, tO.SS 

llimv: Lucy: 

I'm Ihy guardian, dar'st thou brave me? I'm thy sister, dosl thou love met 

I'm thy brother— wilt thou save me? I am dying, will thai move thee! 

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

Must 1 meet a traitor's doom? Must I meet now this dreadful doom! 

orifice, imd retires 

SCENE n—The Gnat Hall of the OatU 
The kniekts and ladiea sins a ckonia of congratulation to tke bride and brideBTOom, 
wkile Sir Henry greets tke guesu and asks tkem to pardon Laey '* asitated bearing, as ske is 
still mourning for ker mother. 


Lucy entan and is escoited to 
papen. Believing her lover falae, a ...,.._ 

tKe contract. Pale a* death and altnoit fainting, ohe i> beine supported by her faithful n 

and her fBmily adviscT, Raymond, when suddenly a terrible silence ensues, as Edgar, the 
lover of Lucy and the deadly enemy of her brother, appears at the back of the room dressed 
in B sombre suit of black. The wedding guests are dumb with amazement at the darinK of 
the young noble in thus presenting himself unbidden at the house of his enemy. The great 
sextette, the moat drsmatic and thrilling number in the entire range of opeta. now begins. 

Unlike many operatic ensembles, this sextette is not merely a most remarkable bit of 
concerted writing, but is so well fitted to the scene in which it occurs that even the enemies 
aelodies, are compelled to admit its extreme 

Sextette— Chi mi frena (What Restraina Me) 

By MsrcelU Sembrich. Enrico Csruso, Antonio Scotti. Marcel Journet, 

Mme. Severina and Francesco Daddi (/n Italian) 96200 12-inch. tS.SO 
By Tetraxzini, Caruso, Amato. Journet. Jacoby and Bads 

(/n llatlan) 9620) 12-inch. 3.50 
By Galli-Curci. Efencr. Ciriuo. dc Luca, Journet 

and Bada (/n Ilallan) 95212 12-inch, 2.50 

By Victor Opera Sextette (In Ilallan) '59066 12-inch, 1.90 

By Victor Opera Sextette (!n Italian) 70096 12-inch. 1.25 

By Vusella's Italian Band '95936 12-inch. 1.35 

By Hurudo Bros. Marimba Band *99S59 12-inch. 1.3S 

Trsntcription by Ferdinand Himmclreich (Pianoforte) *95223 12-inch, 1.39 

Edgar remains standing, with his eyes steadily fixed on the unhappy Lacy, who is 
unable to meet his glance. This dramatic silence is broken by the commencement of the 
sextette, as Edgar and Sir Heniy, with suppieased emotion, sing their short duel. 


And in hfs d ' ■ 

take up their portion* of the «extette until ihe 

One by one the chancten in 
great climax ia reached. 

Quartetto — T'allontana, sciaffurato (Get Thee Gone !) 

By Pcreira. MiMi, Bettoai. de Gregorio (In Italian) *68494 12-iaeh. tl-SS 

Henry and Edgar, who have drawn their Bworda, are separated by RaumonJ. who com. 
Eoanda them in Heaven's name toihealh (heir weapon*. A/cnry a*k* Ei/gar why he has come, 
and exhibits the marriage contract, but Edgar refuse* to believe the evidence of hi* ^ea 
and asks Lucy if the had BiB;ned il. With her eyes fixed on him she tremblingly nods her 
head in assent. Edgar, in a furious lage, tears the contract in piece*, flings il at the fainting 
maiden, and nishe* from the castle a* the curtain fall*. 


SCENE l—TAc Tea>tr of Raoaawood CaitU 
Edgar i* brooding on his mL*fortunes when a horseman rides up, dismount* and enters 
the lower. Il proves to be Sir Htnry, who has come to challenge Edgar to a duel to the 
death. They agree to light the following morning, and in this duet ash the night to hasten 
away, that their vengeance may be consummated, 

O sole piu rapido (Haste, Crimson \Iorning) 

ByUiuseppe Acerbiand RenioMinolti [In Italian) *62644 ID-inch. *0.8S 
SCENE a— Hall In Lammermoor Catllt 
The peasants and domestics of the castle are making merry at their (east in honor of 
the marriage when Rasmond enter*, greatly agitated, hearing the fearful new* that Lacy ha* 
become insane and ha* killed her husband. 


O qual funesto avveaimeato (Oh! Dire Misfortune) 

By Atutodemo Sillich, Baw, and Choruf (In Ilatian) *62644 10-inch. *O.Bi 
Rai/mend'i tidings have scarcely been apoken when Lucy enters, pale and lovely, and all 
unconacious oF the hoiriiied servants, begins her famous so-called Mad Scene. 

Mad Scene c wiih nuu obUi««o) 

By Luisa Tetrazzini, Soprano 

By Marcella Scmbrich. Soprano 

By Nellie Melba, Soprano 

By Amclila Galli-Curci. Soprano 

By Olive Kline. Soprano 

By Edith Helena. Soprano 

By Marie Michailowa. Soprano 
Forgetting her marriage, the demented maiden speaks o 
when she will be Edgat; wife, and next js terrified by a va^ 
come between them. 

{In Italian) S8299 12-inch. *1.50 

(/n nalian) 88021 12-inch. 1.90 

(In Italian) 88071 12-inch. 1.50 

(In llalian) 74S09 12-inch. 1.50 

(In Italian) 'SS047 12-inch. 1.9D 

(In English) *39214 12-inch. 1.39 

(In Raalan) 61129 10-inch. l.OO 

: (eelin: 

I htar the bitalhing of h» ttndet voice. 
That voice beloved sounds in my bearl fo 
My Edgar, why weic we psricd? 

See, for thy sake. I've all forsaken! 
Wfaat thudder do I feel tfaro' my Telna? 
My beart is trEmbling, my unses fail! 

Atsa! Dear Edgar I 

I sball w 

«t. dear Edgar, bef oi 

Ah! Tis tlie hymn for 

For us they are singing: 

The allar /or us is declt'd thus. 

Oh, joy unbounded! 

'Round us the brilliant tapers are 

The priesl awaits us. 

Oh! day of gladness! 

Thine am I ever, thou mine forev 

SCENE II— r^e Tombs of the RaeenMOooJi 
EJgar, weary of life, has come to the rendeivaua arranged with Htnry, intending to 
throw himielf on his enemy's aword. the last of a doomed race. But he waits in vain, for 
Htnn/, filled with remorse at the consequeitces of his schemes, has left Elngland. never to relom. 


ludtul a 

Fra poco a me ricovero (Farewell to Earth) 

By John McCormack 74223 12-inch, *l.SO 

ByGiovaani Martinelli 74483 la-inch, l.SO 

His attention is now attracted by a train o{ mourner* 
coming [rem the castle, accompanied by Raymond, who re- 
veal* to the unhappy man that Lacy ia dying, and sven while 
they converse the castle bell is heard tolling, a signal that the 

Tu che a Dio api^asti I'ali (Thou Hast 
Spread Thy Winga to Heaven) (O 
bell* alma innamorata) 

By Giovanni Martinelli 

By John McCormacIc 

By Gino Martinez-Patti 

The dramatic interest deepens as the air proceeds, until 
the finale, when Edgar, in an excess of penitence, prays that 
not even the spirit of the wronged Lacy may approach so 
accuiaed a tomb as that of Elavcnswood. 

74337 12-inch, *1.S0 
T4224 12-inch. 1.30 
62089 tO-inch, .89 


Breaking from Raymond, who endeavor* 

Tho' (he world trawn'd on oar union, 
Tho' in Ibis tife Ifacy did pail ut. 

Shall°ouAearl! be tu™ed"tS'™ieI 
3 prevent the fatal act, Edgar stabs himself, 

,p3223 12-iach. 



r ad Scene By Olive Kline, Soprano (/n /(o/fan)! ,._., ,_ . ,. 

Dinorah-Shadoa, S<mg By Olloc Klint. Soprana (In Halian)r^°*^ 12-»och. 

fSexwtte By the Victor Opera Scstette (In Hi>Uan)\..-.- ,_ . _, 

\ RlgoltllQ QaaTlct By the Vide, Opera Qaartcl (In Italian) ["**^^ 12-incb. 

radScene By Edith Helena. Soprano (In EngUih)\,..,. ,,- l , 

Trocalort-Peac^ol SVa> the Night Bs Edith Helena (In Engll,h)r^^^* 12-inch. 1. 
{Sextette (Transcription; Ptanefiirfc By Himmelreichl 

Caprice Eipaflol {MoukoieikO PianofoTle By Charia G. Spna\ 
(Sextette Vesiella** Italian Bandl 

t JaoeU of the Madonna— /ntameao VttMila 'a Italian Band] 

(Sextette By Hurtado Bros, Marimba Bandl,,,.-, ,_ . . 

\ AldaSdeellon (VerJi) fly //urforfo, B™. Marfmic San^r"** 12-inch, 

/Verrano a te sulfaura By Pereira and Salvati (In Ilallan)\-~.,. , , . , 
1 Quarteito By Peieiia. Maggi. BellonI and de Gttgorlo (// /*"'*'* l^-inch, 
jRegnava oel sileniio Giuseppina Hufuet, Soprano (ItaHan)\. ..-^ ,„ . , 
1 Norma— Caila Dlea By Glaiepplna Hagoel. Soprano (/r. /to/ion)f '"'* '"->°<">' 

(Se tradirmi tu potrai (I'm Thy GusriUan) 1 

By Giuseppina Huguet and Francesco Cicada (In AaAan)[62089 10-inch, 
Tu che a Dio ipictfssti I'ali By Martinez- Pa iii (In IlaUan)] 
lO qual funesto avvenimento Sillich and Chorus (In Italian)].-. .. ,„ ._ . 
)0 sole pid rapido By Acerbi and Minolfi (In Ilallan)r^*'** lO-incn, 

/Qusndo rapita in estasi By Giuseppina Huguct (Ilallan)\., 

\ Lucrata Borgla—Rlachlarala i lafineitra—La Scala Cho (llallan)r' 
/Prelude (Act I, Scene II) ~ " - 

\ Norma — Fanlatle 

aila fim 

By Francis Lapitino. Harpist),-.,. 
By Frandt LapiHno, Harping ^^^ 

3172 lO-inch, 


Opera in three act*; text by Felice Roman!, from Victor^ Hugo'a 

It prcxluction La Scala, Milan, 1834; given at the Thtilre ItaUen, Paris, October 

^.. _._jlLondon production. June6. i839;inEnBli.h,December 30,1843. Produced 

in New Orleans April 27. 1844; in New York. Artor Place Opera Hou«, 1847. and Seplei 

27,1840. ^_ . ._ . 

.. April 27. 1844; in New YorlcArtor Place Opera L _ _ .^ 

bet 3, 1854, with Maria Criai; given in I8S5 at the Boiton Theatre, with Clin and Mario, 
thia being the first Italian Open Company to ling at the preaent Boston Theatre; in May, 
1655, Steflsnone, Biignoli and Vestvali appeared in the opera at the Boston Theatre; and 
later a long list of popular sinsers appeared in Boston as Lucmta, among them La Giuge. 
Parodi, Medori. C«fozzi-Zucchi, Parepa Rosa. Lavielli. Tietjiens and Pappenheim; given 
in New York in 1876. with Tietjiens and Brignoli, and not again until Colonel Mapfeaon a production at the Academy of Music, October 30. 1882, Tlie next production 
d not occur until 1904. with Caruso, de Macchi, and Scotti. 


LUCREZIA Borgia Soprano 

MAFFIO ORSINI (Maf-M^li Or-f'-mt) Contralto 

CENNARO. Utn-nM^oK Tenor 

IL DUCA Alfonso Baritone 


Sctm and Paiod; Italg; the beginning of tht siidtenlh ctntaiy 

The plot of Donizetti's opera cannot be called a cheerful one — it is. in fact, crowded with 
horrors. However, it was b great favorite with American audiences for many years, being 
one of the stock operas of Cmma Ahott during nearly her whole career. 

LucKxIa, the heroine, was a connicuous member of the notorious patrician family — 
the Borglta — celebrated for their diabolical success as poisoners. She married as her second 
husband Don A(fomo, Dukt of Fttram, By her former marriage she had a son named 
Ctnnam, of whose existence the Duke is ignorant. This son had, at birth, been placed in 
the care of a fisherman who brought bim up as his own child. 


At the opening o( the Mory Lacmla, who in spite of her crimina] practices has stiU 
the mothei's yearning towards her own child, goes in disguise to Venice to visit hini. 

She finds her son in the company of some gay Venetian gallants. She watches them, 
and presently Cennoni, wearied by the mirth of his companions, draws apart euid falls 
asleep on a seat. Lacrala draws near, and gazing on his youthful beauty, she forgets 
everything except that she is his mother. She gently preases a kiss on his brow and 
prepares to depart, when he awakes and asks her who she is. She tries to evade the 
question, but Onlnl appears, recognizes her, and after brutally reciting her crimes one by 
Ooe, tells the horror-stricken Cennaro that it is the Boigia, All turn from her in horror, and 
Lttcraia falls fainting. 


Gennam afterwards show* his haired and contempt for the Bergtet by tearing down 
Liicrttla'i coal of arms from her palace gates, and is imprisoned by the Duk^'t orders. 
LacKiia, ignorant of the identity ol the culprit, complains to the Dulie, who promises that he 
shall be immediately punished. He gives vent to his feelings in his aii, yiad la mla BendtHa, 

Vieni, la mia vendetta (Haste Thee, for Vengeance) 

By Giulio Rossi. Bass (In Italian) *63404 10-inch. *0.83 

Cefinoro is sent (or and Lucitzla at once recognizes him. Full of horror, she turns to the 
Dulc and begs him to overlook the offense, but he is relentless and compela Lacntla 
henelf to hand a poisoned cup to her son. She obeys, but afterward contrives to give the 
youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that 
be trusts her and drinks the remedy. 

This act opens with a chorus oFbravos, who have been setio watch the dwelling of Gtnnaro. 

Rischiarata e la fineatra (Yonder Lifht is the Guiding Beacon) 

By La Seals Chorus (In llaltan) *6SlZa 10-inch. *0.89 

Cennaro. whose life has been saved by the antidote Lacmla had given him, instead of 

escaping from the city as she had advised hitn, accompanies OninI to a banquet which has 

been secretly arranged by Luattla, and to which have been invited the young men who 

had recognized and denounced her in Venice. In this scene occurs the famous drinking song. 

Brindisi (It ia Better to Laugh) 

By Ernestine Schumann-Hcink, Contralto (In German) 88188 12-iAch, *1.90 
By Sophie Braslau. Contralto (In Italian) 64468 10-inch, l.OO 

The words are well suited to the gayely of the music. 
It is better to laugh than be sighing. Gleam swhik. then are lost lo tbe sight. 

When we think how life's moments »re flying; Y*t. for esch sparkling ray 
For each sorrow Fate ever ii bringing. That so passes away. 

There's a pleasure in store for us sptinging. Comes another as brilliant and light 

Thg' our joys, like lo waves in Ihc sunshine. 

In the midst of the feast the door opens, the Borgia appears and tells them that they 
are doomed, as the wine has been poisoned by her. 

To her horror she sees Ctnnam among the guests. He, too, has drunk of the fatal 
wine. She again offers him an antidote, which he refuses, because the amount is insufficient 
to save the lives of his friends. Luctexia confesses the relatioiuhip between them, but 
Cennani apums her and dies. The Du^e now appears, intending to share in Lacrala'i 
hideous triumph, but finds his wife surrounded by her victims — some dead, others djHng. 
Lacmla. a witness to the horrible result of her crime, suffers the keenest remorse, drinks 
some of her own poison and herself expires. 



Text by Piave «nd Andrea Mdffei. after Shakapeare ; muilc by Verdi, Fir« produced 
at the Pergobi. Florence, Maich 17, 1647. Th» veriion wu given in New York in IB46. 
The open wbj teviaed by the composer, tranaliited into French by Nuitter and Beaumont, 
and Biven at the ThiMrt Liptquc. Paris, April 21. 1863, with UnaUX u Macbrtli. 

Other opera compoaera who took Shakeapeaie's work oa a mbject were Chtlatd. Patia 
AcadAtdt, June 29, 1627 {text by Rouset de Liaie. writer of " MarMJlloiM") : and Taubert. 
1837. Beethoven alao pUnned for an opera of Maddh, but made only prelimiaary aketchei 
which are now in the KOnlgllche BAUothik at Berlin. In the aoiuUs of munc are to be found 
a Mad>ttK by Andrd (Beriin, 17S0) ; and another by Reichart (Munich, 1793). Mu«c for 
William Davenant'* aemi-operatic version of the tragedy waa compoaed by Matthew Locke. 
Thii woi produced by Davenant'a widow and ton at Drury Lane, London, 1672. Efforts 
have been made to establiah both Purcell and Ecdea aa the compoaera ^oush Locke's 
BUthorahip is now generally admitted. In 16% a aetting by Ecclea waa performed at Drury 
Lane, wiui second act music composed by Richard Leveridge, 

The opera, which received scant praise in Italy, and atill leas in other countries, follows 
closely the familiar Shakespeare tragedy. 

Mr. Caruso has choaen to revive one of the most interesting airs from Verdi's opera, the 
PaUma mane. This, however, is one of the numbers written for the Pana version, as the 
original work had no part for the tenor. The text is from Schirmei's "Operatic Anthology." 

' Ah. la patema tnano (My Paternal Hand) 

By Enrico Caruso. Tenor 

1 figli. 

figli I 

(Inllallan) 6B59B ll-iDch. tLSO 

Mv children! Oh ye. my childrent 
By whal a lyrsnl were ye murder'd? 
With your hap1<^Bs moiher tisol 
Ah; my ■>■ terns] hand 
Could no assistance yield ye. 
Nor from Ihe murdVer? shield ye. 

Coirultimo, coll'iillimo reipir. _ 

Signorc, e Vei mi'sWEe,' ''™' 
PoHS a colui le braecia 
Del too pcrdono aprJr! 


A Japaneae lyric tragedy, founded on the book of John Luther Long and the drama by 
David Beloaco, with Italian libretto by lllica and Ciacoea. Music by Giacomo Puccini. FirM 
produced at La Scala, Milan, in 1904. it proved a failuie. Revived the following year in 
■lightly changed form with much success. Fiist American presentation (in Elnghih) occurred 
in October, 1906, in Washington, D. C, by Savage Opera Company. Produced in English 
at the New Orleans Opera. January 9. 1907, and in French January 6. 1912. First represen- 
tation in Italian al Metropolitan Opera House, February II. 1907, with Farrar, Caruso. 
Homer and Scotti. and from six to eight performances have been given each season since 

that time. 


Madame BurrERFLY (Cho-Cho-San) Soprano 

Suzuki. Cho-Cko-San's servant Mezzo-Soprano 

B. F. PINKERTON, Ueulenant in ihe United State* Navy Tenor 

Kate PINKERTON, his American wife Mezxo-Soprano ' 

SHARPLESS. United States Consul at Nagasaki Baritone 

GORO. a marriage broker T^ior 

Prince YAMADORI. suitor for Cho-Cho-San Baritone 

THE Bonze, Cho-Cho-San '■ uncle Bass 

Trouble. Cko-Cho-San's child 

Cho-Cho-San 's relations and friends — Servants 
Al NagaiakI, Japan — Time, Iht fimenl 

The Story > 

Puccini's opera, which from the first aroused the keenest interest among opera-goers, 
has become an enduring success. The original Metropolitan production in Italian was under 
the personal direction of Puccini himself, who refined and beautified it according to his own 
ideas into one of the most finished operatic productions ever seen here. 

The story of the drama is familiar to all through John Luther Long's narrative and the 
Belaaco dramatic version. Tlie tale is the old one of the passing fancy of a man (or a 
woman, and her faithfulness even unlo death, which comes by her own hand when she finds 
heraelf abandoned. 

Puccini has completely Identified his music with the sentiments and sorrows of the 
characters in John Luther Long's drama, and has accompanied the pictorial beauty of the 
various scenes with a setting of incomparable loveliness. E^rely has picturesque action 
been more completely wedded to beautiful music 



SCENE— fxlcrior of ftn^crfon i Aouk at NagaiakI I 

At the rue of the curtsin Com, the mBrriBge brolcer ' 
who hu aecured Plriferton hia bride, ii showing the Lieu. I 
tenant ovei the house he has chosen for his honeymoon. 
ShaipUu, the American Consul and friend of PlnkerUm, 
now arrives, having been bidden to the tnarriBge. 

Then occurs the fine duet, one of the most elective 
numbers in Act I. 

Amore o ffrillo (Love or Fancy ?) 

By Enrico Caruso. Tenor ; 
Antonio Scotti. Baritone 

{In Italian) 89043 12-inch, *2,00 
Plnl(trton, joynus in the prospect of his marTiage with 
the dainty Japanese girl, and quite careless of the con. I 
sequencea which may result from such a union, describes [ 
his bride to the Consul, who gives the young tieuteni 
some good advice, bidding him be careful, that he n 

not break the trusting heart of the Batleifiy who loves '(tTMALDTiis'FAaiuiii) — " 

him too well. 

The number closes with a splendid climax, as ftnkalon 
recklessly pledges the "real American wife" whom he 
hopes to meet some day ; while the Consul gazes at hb 
young friend with some sadneto, as if already in the shadow 
of the tragedy which is to come. 

Now ia heard in the distance the voice of Batlaflu, who 
is coming up the hill with her girl friends; and she sings a 
lovely song, full of the freshness of youth and the dawning 

Entrance of Cio-Cio San 

By Geraldine Farrar. Soprano 

(/n llaUan) 87004 10>incb, *lJOO 
By Frances Alda, Soprano 

(In Italian) 64334 lO-inch, 1 00 
The friends and family having been duly introduced to 
Plnlttrtan, they go to the refreshment table, while BuHtifig 
timidly confides to Piniterlon, in this touching number, that 
she has for hia sake renounced hei religion, and mil in 
future bow before the God of her husband. 

leri aon salita {Hear Me) 

By Geraldine Farrar. Soprano 

{In Italian) 87031 lO-inch. tlJOO 
The contract is signed and the guesu are dispersing 
when Bulteifisi'i uncle rushes in and denounces her, liaving 
discovered that she has been to the Mission, renounced her 
religion, and adopted that of her husband. 

She is call off by the family, who flee from the scene in horror. &/Je^ at first weeps, but 
is comforted by the Lieutenant, who tells her he cares nothing for her family, but loves her alone. 
Then occurs the beautiful duet which closes the first act, one of the finest of the melo- 
dious numbers which Puccini has composed for the opera. 

O quanti occhi fisi (Oh Kindly Heavens) 

By Geraldine Farrar and Enrico Caruso {Inllallan) 89017 12-in., *2.00 

By Olive Kline and Paul Althouse {In Italian) *5S098 12-ia.. l.»0 



HPT'Jf/ '^^^V^^^l^^ 

Hi? .' ■ -.'.y 





SC£NE~/n(crJor of Baltafly'a Homt—al the back a Gatdtn lellh CherHa In Blooni 

■B have now elapied, and BaHtrfiy, with her child and faithful maid, Svxuki. 
are awaiting the retum of PfrJ^erlon, Suzuki begins 
to loK courage, but Butlafiy rebukes her and de- 
claiea her faith to be unshaken. 

Un bel di vedremo (Some Day 
He'll Come) 

By Geraldiae Famr, Soprano 

i/nllaltan) 88113 12-inch, *1.90 
By Emmy Dettinn, Soprano 

lln Ilatlan) 88468 12-inch. l.SO 
By Francei Alda. Soprano 

(In Italian) 74339 12-inch. 1.50 
By Agnes Kimball, Soprano 

{In Engll$h) 700S4 12-inch, 1,29 

This highly dramatic number is sung after 

BuUerfly has reproached Sitaikl far her doubts, 

and in it she proudly declares confidence in her 


Ora a noi ! (Letter Duet) 

By Gerildine Farrar and Antonio Scotti 
(/n Italian) 69014 12-inch. *2.00 

Bulltrfiu >■ visited by Sharplea, who has re- 
ceived B letter from Pinktrlon, and has accepted 
the unpleasant task of informing Bulltifiy that the 
Lieutenant has deserted her. He finda hii task 
a difficult one, far when he attempts to read 
Flnk«Hon'i li;Her to her, she mUunderstoads its 


Eurpoit Biul continually interrupta the Conmil with 
ttle burMs of joyful anticipBtion, ihinking that 
t^nktrton will coon come to her. "When do the 
lobins nest in America > " ihe lulu, Miying that he 
will aurely come then. Finally realizinB aome' 
thins oi hia meaaasc ahe runa to bring her child 
to prove to SharpltMM the certainty of kei huaband'a 

Sai cos' ebbe cuore (Do You 
Know, My Sweet One) 

By Geraldiae Famr. Soprano 

(/n Italian) 87059 10-tn.. f 1.00 
In thia pitiful air ahe aaka little " TrouiU" 
not to liaten to the bad man {SharplcMMJ, who ia 
aaying that Pinkerton haa deaetted them. 

Shacked at the light of the child, which he 
knew nothing about, Sharpicii givca up in deapair 
the idea of furthei undeceiving her, knowing that 
ahe will aoon leant the truth. He aadly departa. 

leaving Ballafiy in an exalted atate of rapture 

over the idea of her huaband'a return. 
Throughout the duet may be heard the mournfully aweet "waiting motive" played 
aoftly by the homa. and accompanied by atringi piziicati. 

The lound of a cannon is tieard, and with aid of a glaaa the two women aee Ptnktrten 't 
ahip, the Abraham Lincoln, entering the harbor. 

Tutti i fior (Duet of the Flowers) 

By Geraldittc Farrar. Soprano. ittdLouiae Homer. Contralto 

(In llallan} 89008 12-in.. tZ.OO 
By Frattec* Alda. Soprano attd Sophie Brulau. 
Contralto {In llallan) 89131 12-inch. ta.OO 
Greatly excited, Ballafiy bidi the maid atrew the tooni 
with floweta, and they acatter the cherry bloaaomi every- 
where, singing all the while weitd harmonica which are 
hauntingly beautiful. 

Night ia falling, and not expecting Plnkcrbm until morn- 
ing. Buttetfiii, Suzuki and the child talie their placea at the 
window to watch for hia coming. Ai the vigil begina. in 
the orcheatia can be heard the " Waiting Motive," with its 
accompaniment by diitant voicea of the aailor* in the har. 
bor, producing an effect which Is indescribably beautiful. 
This music is included in the Fantaaie by Victor f-Ierbert's 
orchestra, listed on page 217. 

SCE^E II— Some at iht Preetdlng 

It ia daybreak. 5iuu;^, exhauated. ia sleeping, but 
Butterfii/ still watches the path leading up the hill. SaxukI 
awakes and inaista on Ballafly taking some rest, promising 
to call het when the Lieutenant arrives. 

Sharplat and f^nJ^erton now enter and question Saxulfl, 
the Lieutenant being deeply touched to find that BuUerflu 
has been faithful to him, and that a child has been bom. 

Saaikl. seeing a lady in the garden, demands to know 
who she ia, and Sharplat tells her it is the wife of Pinktrlon, 
he having married in America. 

The introduction by Puccini's librettist ai this char, 
acler haa been severely criticised, many considering it of 


ing note in the opera. 

I. iki. feelln 

cUnititful<l formina a jarr 
thai the part of Kale hsi been e! 

Hie (ailhfui maid i* horrified, and dieadi the effect of thii new* 
Weeping bitterly, the goe* into BuUerfiu'' chamber, while the friendi i 
reflectiona, expreoed by Puccini in a powerful duet. 

Velodissi? iDid I Not Tell You ?) 

By Enrico Caruso aad Antonio Scotti {In Italian) SM>47 12-itieh. »2JOO 

Pinlftrton rcBlizea For the firat time the baaeneaa of hi> conduct, while the Conaul re. 
minda him again to beware leit the tender heart of Bullerfy be broken. 

With the re-entrance of Siaukt occura the trio for PliJiaion, Shaipltu and Suzulfi. 

Lo so che alle sue pene (Naught Can Console Her) 

By Martio. Forim andScoili (In Italian) 87903 lO-iach. *1.90 

Now cornea the pathetic death icene at the cloae of the opera, Bntleifiy, convinced 

that Plri(ertcn haa renounced her, blindfolda her child that he may not witneaa her atiicide. 

takes down the dagger with which her father committed hari-kari, and after reading the 

inacription "To die with honor when one can no longer live with honor," ahe ataba henelf. 

Finale Ultimo (Butterfly's Death Scene) 

By GeraldJDc Farrar. Soprano {In Italian) 87030 lO-inch, (l.OO 

By Emmy Deatino. 
Sopr*no (/n Italian) 
910B6 lO-inch. 1,00 

: babe, who, blindfolded 
and waving hi* little flag, 
lakea it all in the spirit of play. 
The tragic intennty of ihii 
•cene alwayi movea many to 

Plnlttrten enter* lo aak 
Bultafiy'i forgiveneaa and bid 
her farewell, and ia hoirified 
to find her dying. Hb lifta 
her up in an agony of re- 
in the orchestra. Btlangely 
mingling with the American 
motive, th«' tragic death 
motive may be heard aa the 

Madame Butterfly Faotaaic— By Victor Herbert'* Orck 10035 12-iach. •1,25 

Opcn^ oi the Opera— "Wailina Miuic." Ad It— Dua, Au I— "Eatruic* o( Baiter- 

^" — "Love Duct" — Rn«le, Ae( I. 
/Madame Butterfly Selection, No. 1 By Pryor'i Band),., ._ 
1 BadertJ Bride Ooatart (Smttana) By Pryorj Bandr^^*^ 

/Madame Butterfly Selection, No. 2 By Pryor'a Band) 
\ Tannhaattr Sdecllon (IVagntr) By Pryor'i Band) 

/Madame Butterfly Faotasie By Rosario Bourdon, 'Ctlllit\„,... 
\ La Bohane Sdalion IPucdnl) KeM«//aj /(o^/an SonrfP"" 

{O quanti occht Fiai (Oh I Kindly Heavens) By Olive 1 
Kline, Soprano— Paul Althousc, Tenor (In Italian) [99098 
Alda—Fugglam gU ardorl (Kerdl) Lucy Marth) 

i Madame Butterfly Fantasie By Victor Herbert'* Orch] 
■SomeDayHe'llCome— "Wwtina Music," Actll— "Indeed. My L,„. 
Friend. You're Luck,." AOl-Doat, Act I. "Oh, Kindly Hasven." [55094 
A Ehtam e/Lece (Uul) Bn Victor Haitrt't OreU 

la-inch. 1,35 

la-ineh, 1.39 

12-iilGh. 1.39 

t-inch, I. SO 

a- inch, 1.90 



fppHmHH|P^^^T ■ .j^ 






Text by Cnnl Stewart, haard upon a ahoit French play, /c Jln€ cha ma Mire, by Decour- 
celle* and Thibaut, long a Mandard work on the French atage. Muiic by Victor Heifaert. 
Pint performance at the Metropolitan Opera Houa& New York, January 24. 1914. 

Characters and Oritfinal Caat 

MADELEINE FLEURY. prima donna Franca* Aid* 

NKHETTE, her maid Leonora Sparkea 


FRANCOIS. Due d'Erten-e Paul AlthoMe 

DIDIER. a painter Andrea de Segurola 

Thnt and Hact .- Salon of Madtldne'i houtt In Palis : Ntw Year'tDay. 1770 

Continuing the policy, begun in 1900^ of making an annual production of an opera by an 
American composer, the management of the Metropolitan Opera Houae brought out on 

ianuary24, 1914, thia new one-act opera by Victor Herbert. Mr. Stewart'a En^Uak lest ia 
amiliar in Mra. Burton Haniaon'i playlet, frequently given by anuteura. 

The atory tella of a popular ainger of the Op^ra. Madtldnt. who invitea varioua of her 
friend* to dine with her at New Year's, but each in turn declines on (he ground that he 
always dinea at home with hia mother on thia festal day. The Erat friend to appear ia the 
Cheealler dt Mauptat. an old beau, and when Madtldnt ask* him to dine wiA her he declineat 
sasring that it ia hia invariable custom to spend New Year's day with his mother. Next the 
polished Frantoli, who ia devoted to the singer, appears, but alas, he loo must visit his 
family on thia day. Madtltlne dismiaaea him and reaolvea to invite hia rival. Thia 

Sntleman sends her a polite note of thanks but announces that his mother expects him I It 
en occurs to the prima donna that she can solve the problem by having her maid as a 
dinner companion, but discovers that even Ntchtlte always eata with her mother on this 
evening. In a temper, the prima donna dismisses the maid, and goes into hysterics. DtJlei, 
a painter and childhood friend of the singer, appears with a completed portrait of her dead 
mother. He tries to soothe her. but is compelled to refuse her invitation to dine, as he alao 
is dining with his parents! Madtldne refuses his invitation to accompany him, and as he 
departs she places the portrait before her on the table, and as a ray of sunlight (alls on the 
loved face, remarka: "Then I, too, shall dine with my mother) " 

The noted American composer has given aome of his beautiful melodies to this opera, 
notably MaJdelne'i air, "A Perfect Day.'* 

A Perfect Day 

By France* Aids, Soprano (In Engllth) 74389 12-ineh. *1.90 


(Ballith) (i«U>a) 


(Ed Flai/-lth Maf-tt*th) 


Libretto by Schickaneder, adapted from a tale by Wieland, "Lulu; or, the Masic Flute." 
Muaic by Wolfgang Amadeui Mozart. Finrt produced in Vienna, September 30, 1791, Mozart 
directing. Firrt Paris production as "La Myilim d'JtIs," Augutt 2(X 1801. Firat London 
production, in Italian. In IBM; in German. 1833; In Engliah, 1838. Firat New York pra. 
duction April 17, 1833. at the Park Theatre, in English, and not again until Novembei 21. 
1839. when it vrai given at the German Theatre in Italian. Later production! included 
that of 1876. with Carlotta Paiti: at the Grand Opeta Houae. with di Muiaka, Lucca and 
Ronconl; and at the Academy iwlth Gerater. 

The latert revival waa at the Metropolitan in 1912. with Deatinn, Heropel, Homer, 
Slezak and Lambert Muiphy. 


SARA5TRO (Si*rWJroA), High Prieal of Uia Baaa 

TAMtNO {Ta/i-met'-noli), an E^ptian Prince Tenor 

PAPACENO {Pat-ahta'-noli). a bird'COtcbet BaHtone 

The Queen of Night Soprano 

PAMINA (/>«««'-«*). her daughter Soprano 

MONOSTATOS (MaA-na^4to«'-«), a Moor, chief ilave of the Temple Baritone 

PAPAGENA (Pwui^w-iB*) Soprano 

Three Lady Attendanta of the Queen ; Tlitee Boya belonging to the Temple : 
Prieata and Prieateaaea ; Slave* ; Warriors ; Attendanta, etc. 

The action ocean at the Tanpit of lila al Manphli, lAoal (Ac Smt of Ranatt I 
StrictW ipeaking, the Magic Flute i> not an opera, but rather a fairy extravaganza; a 
mixture of mystery, sentiment, comedy and delightful music. The libretto is, of course, 
utterly absurd, describing aa It does the magic of the pipes of Tamino, which had the 
power to control men. animals, birds; reptiles and even the elementa; and a* the (Itile Is 
continually playing throughout the work, the results may be imagined. 


By La Seals Orchestrs *68207 12-inch. *1.39 



The oveiture ii not only one of the gieateat at iti kind, 
but one of the mat geneiBlly •pprecialed, with iU Mrik- 
ing (ugue, "in which Mozart aports with [ub«I counter- 
point IU though it were mere child'* play." This fugue 
it tuinounced Ant by the cUrineta, and a few bars later the 
cometa take up the theme followed by every inalrument in 
the effective finale. 


The acene show* ■ rocky landacape with the Temple 
of the Queen of the Night viaible in the backsiound. Temino, 
an Egyptian prince who ia traveling with hia friends, 
becomea lepaiated from them, ia puraued by a huge aer- 
pent, and finally faints from fri^t and fatigue. Three veiled 
ladiea. attendant* on the Queen, come from ihe Temple to 
hia rescue and stab the anake with their javelina. While 
I they go to tell the Queen of the occurrence, Tamino revives, 
:» the dead serpent and hides as he heara a flute. 

Papageno, a bird-catcher, sdmirei of damaela. and all- 

I around rogue, enteia and ainga B merry lay. piping at every 

use. In hia song the fowler describes hia occupation 

snaring bird*, but aays he would like catching women 

TamJnonow comes forward and give* Papageno credit 

. . . ._ __ .... , , n honor which he promptly accepts. The three ladies now 

return, rebuke Papageno and show Tamtne a miniature portrait of the Queen of Nighl'i 
daughter, the lovely Pamlna, who has been taken from her mother by Saraiiro, the Prietl ef 
hit, to save her from evil inHuencea. Tamino fall* in love with the picture tind offera to 
rescue the maiden. He is given an all-powerful magic flute, and accompanied by Papageno 
sets out for Saraitro'i palace. 

The scene changes to a room in the palace of the High Priest, where Pamlna is discov- 
ered in charge of Monoitalos, a Moor. 

The Moor is betrayinghiatruat by persecutingPamfnawith hi* attention*, when Papageno 
enten and frighten* him away. The bird-catcher then tell* Pamlna of Tamlne'i love for her, 
and offer* to conduct her to this mysteriou* lover. 

La dove prende (Smiles and Tears) 

By Emma Eames. Soprano, and Emilio de Goe<' ~~ " 

This charming duet, with its grace and 
inimitable gaiety, introduce* the melody of 
an old aong, Bti MBnnem 

Smile* and Tan 

The smile, Ih*! on the lip is ploving, 

for having killed the 

Italian) 89003 12-ineh, *2.00 

t.,E>- ,,»» , — ,d as the priest separate* thei 
and covers their heads with veils, the 
lain falls. 


The first scene ihows a noble foreit and the Temple of Wudom. TKe priesU assemble, 
and Sataibo orders the lovers brought before him. He then singa the bivocstion, one of 
the moat impresaive numLers in the opera. 

Invocation (Great Isis) 

By Pol Plan^on. Baas (Plana ace.) (In Italian) 8S042 12-illch, II.SO 

By Marcel Jour act. Baaa 

{In Fnneh) 64239 10-iach. 1.00 
By Metropolitan Opera Chorua 

(/nGenrwn) •430S1 10-inch, 1.00 

the Temple anci besin their 

tcene Pamlna is discovereiJ asleep in a bower 
Queen suddenly rises from the earth and 

Aria delta Reirina 
{The Queen^s Air) 

The Queen of Night, Ailrifiammanlc. is one 
of the most striking chatactera in Mozart's opera, 
and the few numbers allotted to hei are difficult 
and Horid ones. This great aria is one which the 
most experienced of sopranos always approach 
with miagiving. because of its excessive demands 
on the vocal powers. 

De»l£''and dfstr'uciro'n ^^My HamT''aro 
Go forth and bear my vrngcance to Sai 


(She dlia 

Saratiro enters and soothes Pamlna, 
that he will take a righteous revenge on the 

K obtaining the happinesa of her da 
! then sings the noble Cavatina, corn 
one of the greatest of bass ariss. 


Qui sdegno non s'accende 
(^^ithin These Sacred 
By Marcel Journet, B*jb 
(InFrtmh) 7436« 12-inch. (l.SO 

Smastio: Wilbin this haHowed dwctluig 


lall guide Ihee t' ward the bettei land, 
hallow'd fane protects (hee 

n Ml 

tnd feai 

e ditects thee. 

To him thy woes are dear. 
The probationary trial* of the lov- 
ers continue through many itrBnge 
•cena, in tme o( which Pantlna meet! 
Tamlne, and nt>t knowing that he haa 
been forbidden to apeak to any 
woman, criea out that he no longer 
lovei her. She then ainga tkia pathetic 
little air. 

Ach ich fuhl'a. es iat 
verschwiinden (My 
Happiness Has Flo'wn) 

By Emmy Deatina, Soprano 
(Camm) 88910 12-iach. *1.50 

Wretch . 


My lighi 

Pamlmi, thinking Tamlno haa deaerted her, wishes to 
die, and tries to atab herself with the dagger her mother 
haa given her, but it prevented by the three boy*, or ;• 
(under instructions trom Sonufro). who assure her tl 
Tamlno is still true and promise ta conduct her to him. 

Papageno firuiUy becomes discouraged and tries ._ 
hang himself, but the three gtnll enter and suggest that he 
try the magic hells. This proves effective and Papagena 
makea hei appearance. 

The trials being finally completed, the lovers are 
united in the sacred Temple. The Queen and her accom. 
plices attempt to prevent the ceremony, but the scene 
auddenly changes to the Temple of the Sun. where Saiattio 
it seen on his throne with Tamlno and Pamlna beside him. 
while the baffled Queen and hei train sink into the earth. 


IO Isit und Itirit By Metropolittn | 
Open Chorus (In German) I 490S1 

HugatnoU {Soldltn' Chenit) flO-inch. (LOO 

Metropolllan Open Chom (In ItaUan)} 

Words by Meilhac and Gille. aher the novel of Abb« Pi^voat. Music by Jules Massei 
First production at the Op^ra-Comlquc, Paria, laiiuBiy 19, 1864; at Brussels, March 13. 1864. 
First London production May 7, 1685; in ElngJish by the Carl Rosa Company, at Liverpool, 
January 17. 1883. In French at Covent Garden, May 19. 1891 ; in Italy at Milan, October 19. 
1893. First American production at New York. December 23. 1865. at the Academy of 
Music, with Minnie Hauk, Ciannini and Del Puenle. First New Orleans production January 
4, 1694. Some notable revivals were; in 1895 with Sybil Sanderson and Jean de Reaikei 
in 18%, with Melba and de Reszke; in 1699 with SaviUe. Van Dyk. Dufric^e and Planfon; 
in 1909, at the Metropolitan, with Caruso, Farrar, Scotti and Note: and in 1912, with Caruso, 

Farrat. Gilly and Reiss. 



Count DES GrIEUX, his father Bass 

LESCAUT. Manon's cousin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN. a rou6 Minister of France Baas 

De BRiTICNY. a nobleman Baritone 

MANON, a school girl Soprano 

People, Actresses end Students 

Time anJ place! 1721; Amieia, Parli, Havre 

The story of Manen is. of course, taken by Massenet's librettists from the famous novel 
of the Abbi Provost, but for operatic purposes several changes have been made, notably in 
the events of the fourth act. which take place in France instead of America. 

Manon is a country girl, gay, pretty and thoughtleu. who meets a handsome young 
cavalier, da Gritax, while on her way to a convent to complete her education. He falls in 
love with her and she with him as far as her nature will allow, and when he tells her of the 
gaieties and pleasures of Paris, she needs little persuasion to induce her to elope with him 
to the Capital, to the chagrin of Gulllol, whose carriage the lovers coolly appropriate. 

Sooit tiring of love in a cottage, however, the young girl e 


ricli nobleman, i/i Br0lgrm, and when detCrlau it taken away forcibly by hia father, she 
•eizea (he opportunity and leavo with her new lover. 

[n Act 111 she leama that Jet Gritux, deapondent becauae of her faithleaaneaa, ha« resolved 
to enter a roonaMery. Her fickle affectiona turn again to him. and ike viaita him at the 
Seminary of St. Sulpice. He at Erst repuUea her, aayins his love ii dead, but ia unable to 
reaist her, and they depart together. 

The next act occurs in a gambline houae, where dtt Gritux is endeavoring to win money 
to lupport Manon in the luxury she demands. Gulffol, in revenge for the trick played on 
him in Act I, causes their arrest, da Griaa for cheating and Manon aa a diaaolute woman. 

The last scene occun on the road to Havre, where del Grlaix and Lacaai, Manen 'a 
cousin, plan to reacue Manon as she is being taken to the ship, en route to the prison colony 
in Louisiana. The soldiers appear, but it ia a dying Manon they escort, and the unfortunate 
^rt. after repenting ond aakiiig forgiveness of d» Criaix, diea in his arms. 

SCENE l—Omtiiard of an Inn at Amitnt 

As the curtain rises the crowd of villagers, including Letcaal, are waiting the coming 
of the coach, which presently arrives and cUscharges Manon. The young girl regards the 
animated scene with much interest, and soon espies Lacaut, her cousin, who was to meet 
her at thia point and escort her to the convent school. He greets her and compliments her 
on her charming appearance. She blushes and then artlessly tells him of her ii 
during the journey from her country home. 

Cttcaut Bsks Manon to excuse him for a while as he n: 
go to see after her luggage. He goea out. and the towna. I 
pe<n>le desert the square, leaving Manon alone. The root, I 
Caillol, appears on the balcony of the hotel, crying : " Miserable I 
landlord ! Are we never to have any wine ? " I 

He sees Manon, and his evil eyes light up at this vision of I 
rirath and beauty, but Laeaat enters and Gallhl is frightened I 
by the gruff soldier, to the amuaement of the byatanden. who I 
laugh at the baffled libertine until he flees in confusion. I 

£,escau( now wama Manon to beware of the men she may I 

He .poke to you, Msn 


Hanon WgMlyt: 

Well. «5 you Hf 'iws 

9 my fault? 


That'i true; and in m 

eye) you are so IDOd 

■hat t won't trouble 



Fish Gu"id«a» uTl, 

How now! Tbou com 

Secohd Guaidshah: 

Both cardi and dice ar 

e wsilint yoMr 


f^^k; but liril to tbi 

young lady, wiih your 

leave, good tin. 

I muw' A«k .oie wc 

rdi of eounsel full of 

The young girl pwmise* to be prudent and Lacaai leaves with the guari 

LISCAUT {to AfonoB); 
Give food heed to what I uy— And If. forsooth. lome lilly m 

Duty calls me now 8w»y, Sbould nhiraer folly in your i 


Et je sais vocre nom (If I Knew Your Name) 

By Berthe Ccaar and Leon Campaf nok 

{InFimch) *350B6 12-iilch. 1130 
By Mile. Koraoff, Soprano, snd Lten 

Beyle. Tenor (InFraiih) *lbii\ lO-ioeli. .89 

is • quick one, lu will be aeen by the tisnalation. 

Di* GaiEux ivrilh tmotitn}; 

■hat ioy! 

l«n«forth t: 

not wicked. 
K (in'rh ardor] 

Non. votre liberty ne sera pas ravie (You Shall Remain Fri^) 

By Bertlie Ccaar, Soprano, and Leon Campifnola, Tenor 

(In French) *9>056 12-inch. «1 JO 

Manon: Dn GiiEux Ifaiiianaitly) ; 

But 'tis, alts! the nvereigD will of HcaTcn, Afa! Manon, vou ihall never leave me now! 

Tn wh^.^ »r.:,-r I'm devoled. Since I would gladly mm thro* all tbe world, 

'- ' ' '■ " 'iag for you. love, an unknown retreat. 


can deliver 

, afaa[] hope ] 

Nous vivrons k Paris (We Will Go to Paris) 

By Lucette Koraoff, Soprano, and L£on Beyle. Tenor 

(InFreiKh) *45009 lO-inch. *1.00 

HearinB Lacaal'a voice from within the hotcL where be hu been somblinE, the lovera 
hattily enter the cartiage and drive off. while Gilllol (wears revenge and Lacaal bewaita k» 
double loaa of money and couain. 


SC£NE — Apertmtnt itf Det Gritax and Manon In Pari* 

1 dealt, while Manon ia playfully looking over bia aboulder. 



Da buKv'i: 

Yea. thal'i the my. Togclher we'll reid. 

On I'appelle Manon (She is Called ^ ¥^ ' 

By Famr. Soprano, and Cariuo.Tenor 

(/n French) 89059 12-iach. •2.00 
By Mile. Korioff. Sopr»no: Beyle, Tenor 

(/n FrencA) *49009 lO-inch, I.OO 

"Sfae ia called Manon, and is roune and fair- 
In her all ctiarma unite. She liu grace, 

radiant voutV "' '- "— '- - 

stream from 

Ifl ber eye* >hin» 
MiHOH : 

Is thia IrueF Ah. I Imev 

Dis GaiEUX: Deal 

"Like a bird that tlimueh all land^ followa Dis Gi 

the apring. ao her young aoul to life ia ever I de; 

open. Her lipi, like flowers, smile and Minoh 

speak 10 the lepliyra (hat kiu them in piu- Then 

^ but aceing aome beautiful flowera on (he table aaka 
of }x\° "^ "" 

repliea evsaivehr. and aaka if he doea not tmat her and if he ia jealoii 

entera, the former loudly demanding aadifaction from Jti Crfaa (or the abduction of hi* 
couain. Dtt Grlau at Eirat defiea him, but remembering that he ia a meraber of Manan't 
family, ahowa him the letter he had written to hia Father aaking her hand in marrisBe. 
Lacaut engagea him in conversation, thus giving de Btilignu an opportunity to apeak to Mamn 
aaide. He lella her that da Crleax ia to be carried off by hi> father that nif^t, and urges her 
to fly with him. Tempted by the thoughts of wealth the young girl heaitatea. Lacaut now 
loudly eipreaaea aatiafaction with the attitude of da Grieax, and departs with de BriUgiiJf. 
Dtt GWeux goea out to poat the letter and Manan atrugglea with the temptation wtii^ 
baa come to her; the pathetic air. Adieu noire pellle taUe, indicating that she ia yielding. 

Adieu notre petite table (Farewell. Our Little Table) 

By Geraldine Farrar. Soprano (/n FnmJi) 88146 12-incli, *1.50 

By Mme. Vallandri and Lioa Beyle (/n French) *4500B 10-inck. 1.00 

She regarda die little table at which they had served their simple meala. 


yel bo' large for uc Side by side so dflen botb of us. and each, in 'drinlang. soughl 

there we've sat. (Ifilh a sad imili.) I upon ila margin where dear lips had been, 

■mile Bi now I call to mind what narrow Ah! beat of frienda, how tbou bait loved! 


(/(onan) (EnillM (fi«ic*) 

II sogno— The Dream— Le RSve 

By E4mond Clement. Tenor. 
By John MeCormack. Tenor 
By L6on Beyle. Tenor 

{InFrmch) 74398 12-inoh, *1.50 
(InluJlan) 64311 10>incli. 1.00 
(/n FrcncA) *4500e lO-ioch, IM> 

With 'Lnc^-t eye 

A sveel ind lowl 

For, O my only l> 
Des Gkie 

with flowe. 

> fancj 

- thua we'll jmu our life. 

If but thou witt, O Minon! 

A knock u heard and Manon exclaimi 
snde, "Oh, Heaven, already they have came 
for him I " She trie* lo prevent him from open- 
ing the door, but he insiats, and i* aeized aod 
carried away, while Mamtn, auddenly repenting, 
i> overcome with grief. 


SCENE^^ Sintt in Porta on a File Di^ 
Manon enten. accompanied by dt Bi^Hgnt 

Gavotte — Obeiasons quand leur (Hear the Voice of Youth) 

By Giuieppin« Huguet, Soprano (In Italian) *4502B lO-inch, tl.OO 

Meeting dtt Grieui'i fadier, ihe inquiree after hii eon. She learni that the young roan 

hai forgiven her. buried hli love, and i* planning lo enter a monaatery. When the Count haa 

departed, the capricioui girl reaolvea to go to St. Sulpice and see for heraelf if ihe haa been 

ao easily forgotten; and at the curtain falla «he i* calling to Lataut lo conduct her thither. 

SCENE II— Aec^Hon Room at St. Salplte 

It lo retire from the world, 
'ful leave. Left alone. Jet 
>w aeek the peace of mind 

Attbebeginningofthii scene tlie Count plead* with his son n 
but Ja Gtitax says he ii resolved, and his father uke* a lorro^ 
Criavc sings his lovely song of renunciation, declaring he will i 
which only faith in Heaven can give. 

(fnncA) (/lnAim) (£<i/UJU 

Ah ! fuyez. douce image !— Dispar. vision I — Depart, Fair Vision I 

By Enrico Caruso. Tenor {InFrtnch) S8348 12-ineh. 11.90 

By Gino Giovannelli, Tenor (/n Aa/fon) *95001 12-inch, l.SO 

He goes slowly out and Manon enters, shuddering at the gloomy walls and wandering 

if her lover haa quite forgotten her. Dei Gr<ciuaoon retuma and is ai ' ' 

bidding her begone, saying his love is dead. She cannot believe it, ai 

that oft ihau hast kissed with ardor, do they shine n 

tounded to see Man 
nd cries ; "T 
« ? Am I not Manon > " 


Toil Vous! (Thou Here!) 

By Cesar and Campagnala 
Da Gritax is deeply moved, bul aska Heave 

(In French) *59089 12-ia 
(or itiengtH to reaiit her. 

N'est-ce plus ma main ? (Is it Not My Hand ?) 

By Ccfsr and Campagaola (/n French) '»90a» 12-iach. 1.90 

Her pleadinga finally have their effect, and he cries; "Ahl Manonl No longer will 1 
Btrusgle Bgainat myicKI" and they depart together. 

ACT rv 

SCENE— y^ Camtling Room 
In Paris 
Da Gritnx ha* been per- 
suaded by Manon to come to 
this place in the hope of win- 
ning money to satiafy her de- 
sire for luxury. He playa for 
high stakes and wins large 
■urns from GulUol, who leave* 
in ■ rage. Aa da Grlaix is 
showing Manon the gold he 
ha* won. a loud knocking is 
heard and the police enter 
with Cultlol, who denounces 
dcM GHeia aa a swindler and 
Manon a* his accomplice. 
They are arreated and taken to 
prison, but da Grieax ia after- 
ward released through his 
lo America by way of Havre. 

influence, while Manon 

Da Grieax and Lacaal 


SCENE— On Iht Road lo Haore 
n on the Havre road, waiting for t 


etcoiting the prisoners to the ship bound for America, des Grhux having conceived the 
mad idea of rescuing Manon. Beginning the duet he sings his sad and remorseful air, 
Manon in Chains f 

Manon, la catena (Manon in Chains I) 

By Remo Andreini, Tenor ; Riccardo Tegznu Baritone , and Chorus 

{In Italian) *55001 12-inch, $1.50 

Db8 Grieux {discovered seated by the wayside) : 

Manon, poor Manon! Must I see thee herded with these wretched beings and be power* 
less to aid? O Heaven! Merciless Heaven! Must I then despair! (He sees Lescaut 
approaching.) He conies! (Advancing impetuously to Lescaut.) Thy fellows now 
make ready; the soldiers will soon reach this place. Thy men are fully armed; they 
will rescue Manon and give her back to me! What! can it not be done? Are all my 

.' fond hopes vain? Ohl why dost thou keep silence? 


The voices of the soldiers are now heard in the distance singing as they ride. De$ 
Grieux and Lescaut listen attentively, and the former, realizing that they are almost at hand, 
madly tries to rush forward. Lescaut dissuades him, saying he has a better plan, as he is well 
acquainted with the officer in command. When the escort arrives, Manon is found to be 
very ill and is left behind by the officer at Lescaut* s suggestion. Des Grieux clasps her in 
his arms with joy, and then seeing her tears, asks her reason for them. 

Manon ? Tu piangi ? 

By Solari and de Gretforio (/n Italian) 67659 10-inch. $0.85 

Si« maledico ed impreco 

By Solari and de Gregorio (/n Italian) 67659 10-inch, .85 

During a heart-rending scene Manon asks and receives the forgiveness of des Grieux, 
repents her sins and dies in bis arms. 


{lo son solo (Alone at Last) By Gino Giovannelli {Italian)^ 

Manon, la catena (Manon in Chains!) By Remo Andreini, ^55001 12-inch, $1.50 
Riccardo Tegani and Chorus {In Italian)) 

/Et je sais votre nom By Cesar and Campatfnola {In French)\g^g^^^^ ... , _ ^^ 

INon, votre liberty Cesar and Campagnola {In French) r^^^^ 12-inch, 1.50 

/Toil Vous! (Thou Here?) Cesar and Campagnola {French)\^g^^^^ ,_ . , _ .^ 

iN'cst-cc plus ma main ? Cesar and Campagnola/ ^**'®^ * 2-mch, 1 .50 

rNous vivrons i Paris By Korsoff and Beyle (/n /*VencA)\^--^^^ ,^ . , _ _ ^ 

\On rappelle Manon KorsoflF and Beyle (FrencA)/ ****^ 10-inch, 1.00 

(Adieu notre petite table (Farewell, Our Little Table) 1 
By Mme. Vallandri and Lion Beyle (/n FrencA) [ 45008 10-inch, 1.00 
Le R6ve CThe Dream) By L^on Beyle, Tenor {In French)) 

{Et je sais votre nom By Korsoff and Beyle {In French)\.g^g^^. , . , 

Fa^rita—Splendon pitt belle de Segurola and Chorus {ltaUan)r^^^^ lO-mch, .85 

/Manon 7 Tu piangi 7 By Solari and de Gregorio (fn ltalian)\^^g.^f^ irk :« u a^ 

\Si, maledico cd impreco Solari and de Gregorio {In Italian) r^^^^ lO-inch, .85 

{Gavotte — Ob^ssons quand leur -voix apelle 1 

By Giuseppina Huguet, Soprano (/n /to/jan) >45028 10-inch. 1.00 
Traoiata—Non sapete B^ Battaglioli and Badini {In Italian) | 




Muiic by Giacomo Puccini, the libretto ((oundeil on Abbd Pr6voal'* novel) being 
mainly the work of the compoaer uid a eommitlee of frienila. Engliah vernon by 
Mowbray Marraa. First preaenled at Turin. February I, 1893, with Cremonini, Ferrani and 
Moro. Produced at Covent Garden, May 14. WM: at Trieate. June 10, 1893: at Hambutg, 
November 7, 1893. Firrt perfonnance in France at Nice, Much 19, 1906 (not given at 
Paria until I9l0)j at Madrid, November 4. 1893. Pint performance in the Americaa at 
Buenoi Airea, June 9. 1693 ; in the United Slate* at Grand Opera Houae, Philadelphia, in 
Engliab, August 29, 1894. with Selma, Kronold and Montegriffo. Given in French by a 
■mall traveling company at Wallack'a Theatre, May 27, 1896, and at the Tivoli Opera Houae, 
San FranciMU), in 1905. Produced at Wallaek'. Theatre, New York. May 27. 1896. by the 
Royal Italian Grand Opera Company. Pint impoRant New York production, January IS, 
1907, with CaruH, Cavalieri and Scotti, underthe direction of the compoaer.who Uien viaited 
America for the first time. Given by the Philadelphia-Chicago Company in 1912, with 
White. Sammaico and Zenatello. 



LESCAUT, sergeant of the King'i Guards Baritone 


GERONTE DE RAVOIR, Treasurer-General Bass 

Edmund, a student Tenor 

An Innkeeper, ■ Dancing-maaler. a Sergeant, a Captain. Singers, Beaui and 
Abbte Girla, Gtiiens, Students, People, Couitezana, Sailors 

Sctnt and Ptrlod : Parit and ddnllu ; ueond half ^ 'Ac tighlttnth etnlarp 


The Abbi Provost romaiice tiav been treated operatically by several composers, the 
Rrsl beinB HalCvy, who wrote a ballet on the subject in 1830. Otkei settings (ollowed — by 
BaKe. 1836: Auber in 1856 and Massenet in 1864. 

Puccini's version consists of (our detached scenes selected from the novel, and the hearer 
should possess some knowledge of the story to fully understand the action of the opera. 

The first act shows the courtyard of an inn at Amiens. 
Manoa't brother, Lttcaul, a dissolute soldier, is escorting his 
pretty little sister to the convent where she is to complete her 
education. While Leicaut is carousing with some chance 
companion!, Manan meets a handsome gallant, da Giitax, 
who chances to be dining at the inn, dressed as a student. 
The prospect of school not appeahng strongly to the young 
girl, she readily agrees to elope with Ja Grieax, thereby spoil- 
ing the plans of ihe old trnti, Ctranle, who had planned to 
abduct the pretty school giil. Marton soon tires of Ja Griaii 
sod his poverty, and leaves him for the wealthy Ccnnlt; 
but even this luxury fail* to bring her happiness, and when 
da Giieux appears again she runs away with him. 

Ctnnte is furious and denounces Manon to the police as 
an abandoned woman. She is condemned to be deported to 
the French possessions in Louisiana. Det Giitux and Ltttaul 
try to rescue her. but the attempt fails, and in desperation the 
former begs the commandant to permit him to accompany her 

In the final scene the lovers are shown in a "desert" near rAKSiS as uanoh 

New Orleans. (The Ahb^ Provost's knowledge of American geography was evidently 
limited, as was that of the French artist who drew the scene on page 234, with its lof^ 
mountainst) Da Gritax leaves Manon to search for water, and returns just in time to see 
her die in his arms, after a most affecting scene. 


SCEINE — A Street In fronl nf an Inn al Amitm 
Da Critwr, dressed as a student, strolling among the crowd, meets Edmund and a patty 
of students, who warmly greet him. He is in a gay mood and in this charming air asks if there 
is one among the girls who will take pity on his lonely condition. 

Tra voi belle brune (Now Amon^ You) 

By Franco de Gretforio. Tenor (In haUan) *490I9 lO-inch, *1.00 

A dihgence now arrives, and Manon and her brother and Ceninfe, a chance traveling 
companion, alight. Da Grieax is struck with the beauty of the young girl, and when 
LtMcaul and Gtronit have gone into the inn to arrange for quarters, he questions her respect- 
fully. She tells him that she is bound for a convent, but does not wish to go. Letcaal 
now calls to his sister, and she enters the inn after promising to meet da Grieax later in the 

D himself, in a line air, that never has he 

Donna non vidi mai (A Maiden So Fair) 

By Enrico Caruso. Tenor (InllaUan) 87135 10-inch. »IM> 

By Giovanni Mutioelli, Tenor (In Italian) 64410 10-inch. 1 .OO 

The students now gather round, bantering da Crfouon his new conquest, but he is in 
no mood for joking and goes into the inn. Lexaut now joins a crowd of soldiers who 
are gambling, and soon becomes absorbed in the game. Ccronfe, seeing the brother thus 
engaged, seeks the landlord and plots to abduct Manon. Edmund, a aludenl and friend of 
da GHeax, overhears the scheme and informs da Grieax. and Manan, anxious to escape from 
the restrictions of school life, is easily induced to elope with him. They take the carriage 


which Geronlt had oiieted and make their eicape. leaving him furioui. However, he finda 
Lttcaat and auggeala that they go to Parii in aeoich oF the runaway*. Ltxaal, who haa 
been drinking, conaent*, delicately hinting that i( Gaontt will admit him into the hunity 
group, he will uae hia influence to induce Manen to deaert da Crfou (or the older but 

ACT n 

SCENE — An Afiarimtnl In Geronle 'a Hoax in Paris 
Manon, who haa IcFt iti Gritax (or the wealthier Gertmlt, ia aeeo auirounded by the 
utmoat luxury, attended by her hairdreiaer, dancing maater, etc Letcaat entera. evidently 
much at home, and congratulalea hei on her change of fortune, taking to himaelE all the 
credit. She aayi ahe ia happy, hut aiks Lacaui if he haa heard any newi of da Gtiaa. 
Laeaal tella her that the young man ia diaconiolate, and ia gambling In order to get wealth 
to win her Uck to him. 

Manon gazea penaively at the rich hanginga, and in a hne air eipreaaea her longing for 
the humble cottage the haa left. She tella her brother that Geranfc borea her in apite of her 
every whim being gratified by her elderly admirer. Ltxaul it diaturbed, aa he doea not 
desire to be cut off from the income he receivea from Ceronle. 

They are interrupted by the entrance of a company of Madiiga] aingera who have been 
aenl by Geronlt to amuae Manon. and they aing a beautiful Madrigal. 

Madrigale — Sulla vetta del monte (Speed O'er Sumtntt) 

By Lopez-Kuaea, Soprano, and Chorua {In llalian) *4SOI9 10-inch. »l.OO 
When the aingera have departed, the dancing maater appean to teach Manon the minuet. 
She takea her leaaon, while Geronlt and aeveral (rienda watch her admiringly. 

Dot Giitui now entera and repioachea Manon bitterly. At the aight of him her love 
retuma, and ahe bega him to take hei away from all thia luxury. They aing a paaaionate 
duet, followed by a lovely aolo for da Grian, who reproachea Manon for her fickleneaa 

Ah I Manon, mi ttadisce (Manon, Kind and Gentle) 

By Franco de Gretforio, Tenor (/n Hd.lan) *4»027 lO-incb. f l.OO 

By Giorgio Malcaci, Tenor {In Italian) •63421 10-inch. .65 

Geronlt aurpriaea them, but controla hia rage, and aarcaaticalty v^iahlng them a pleaaant 
Ule-i-ttit, goea out. Lacaol ahortly afterward ruahea in and announcea that GennU haa 
aent for the police. Dtt Criaui bega Manon to eacape at once, but ahe inalata on collecting 
her jewela firat. Thia delay ia fatal, and ahe ia arreited and taken to priaon. charged with 
being an abandoned « 


SCENE— Tfc Harhor at Howe 
Meoan hai been banished from France, and ia now 
embarking on the ihip for the French colony in Louiiiana. 
Da Gritui and Lacaul have been schemins to rncue 
Manon, and have biibed the •entinel of the priaon. But 
newi of their plan hai leached the pricon officiola, and 
the girl ia cloaely watched. Unable to lecure her releaae, 
Dei Gritux entreat* the officers to permit him to go on 
board. The captain, touched by the grief of the un. 
happy lorera, conienia, and with a cry of joy Dtt Ciitia 
embarka juat aa the ahip ia aailing. 


SCENE— ^4 Daalale 5po( In LoulMiana 

g duet in which the sad, but 
music poitiayi the 

tragedy ia ended. Thi 

._— -„ „-h of Manon. the deapair of DuGWeiu when Ln«i.»u •= u 

he ia powerlesa to aid her, the laat farewell of the lorerit 

and the bittei siief of the unhappy young man when Manon diea. A* (hi 

to bear more, he falls lenaeleaa on her body. 

ITrs voi belle brune Franco de Greeorio. Tenor {In Italian)] 

JMadrigale— Sulla vetta del monte (Speed O'erSummit) UsoiS 10-inch, «1.00 

I By Lopei-NuncB. Soprano, and Cborua (In Ilatian)] 



Ubretto by Edward Rtzball. Muiic by William Vincent Wallace. Firat produced at 
Dmrj Lane, London. November IS, IMS. Firat American production at the Bowery 
Theatre. New York, May 4, 1846, by the ScKuin*. Other notable productioni : In 18S4 at the 
old Broadway Theatre. New York, with Uui«! Pyne and Sim. Reeve. ; in 1857 by the Pyae 
and Harrison Opera Company, with the compoaet conducting; in 186S by the Harrison 
Engliih Opera Company, at Niblo'a, with Theodore Thomaa conducting; in 1S68 by the 
Caroline Richinga C^era Troupe, and in 1S70 by the Parepa-Roaa Engliah Opera Company. 
More recent revivali by the Metropolitan Engliah Open Company. Cuatave Hinricha and 
Henry W. Savage. Character. 

Charles ll. King of Spain Baa* 

Don JOSE DE SANTAREM. hia Miniater Baritonfe 

Don Caesar de Bazan Tenor 

Marquis de Mo^4TEFlORl Baaa 

LAZARILLO Mezzo-Sopraiio 

MARITANA, a gypay linger Soprano 


Time anJ Place : The scene h laid In Madrid, at the time of Chaiiet II 


SCENE— .^ PahUc Place In Madrid 
The opening scene ahowi a band of gypaiea ainging ii 
Charlea, liatcru and is fascinated by the beauty of Marilana, • 


Don Jose, the King's Minister, extols her charms to His Majesty, hoping that the King will 
compromise himself so that he (Don Jose) can inform the Queen and further his own designs 
on Her Majesty. Don Caesar, a jovial cavalier and a former friend of Don Jose's, appears in 
a slightly exhilarated condition, and in befriending a forlorn lad, Lazarillo, involves himself 
in a duel with Lazarillo 's master. This leads to his arrest for dueling in Holy Week, and he 
is sentenced to die, to the grief of Maritana, who has taken a fancy to the gay cavalier. 


SCENE I — Interior of a Fortress 

Don Caesar sleeps in his cell, with the faithful Lazarillo, who has accompanied his bene- 
factor, by his side. The Minister enters, and Caesar, in a famous solo, ** Let Me Like a Soldier 
Fall,** begs to be allowed to die like a soldier instead of being hanged. He is assured that 
it can be arranged if, in the meantime, he will consent to be married. Anxious to avoid such 
an ignominious death, Don Caesar consents without inquiring who the bride is to be. The 
wedding banquet is being served when Lazarillo arrives with a pardon, which Jose secures 
and hides, his scheme being to have Don Caesar shot and then induce Maritana to go to the 
palace by pretending that her husband is there, and then compromise the King. Here, 
Don Jose, thinking of his affection for the Queen, soliloquizes of the past. 

In Happy Moments 

By Alan Turner, Baritone (In English) * 16552 10-inch, $0.85 

Maritana, who has been promised a glorious future if she will consent to wed Don 
Caesar, enters, heavily veiled, and the marriage takes place, after which the guards enter 
for the execution. Lazarillo, however, has drawn the bullets from the guns, and when the 
soldiers fire, Caesar is unharmed, but pretends death, and later escapes to a ball at the 
Montefiori palace. 

SCENE II — An Apartment in the MonteJiorl Palace 

Under instructions from Don Jose, the Marquis introduces Maritana as his niece. Caesar 
reaches the palace, but fails to find his bride. He sings a melodious song. 

There is a Flower 

By John McCormack, Tenor (In English) 64307 10-inch, $1.00 

Don Jose arranges that Don Caesar shall be presented to the Marchioness, -who is closely 
veiled. The scheme does not "work, however, as Caesar hears Maritana's voice and tries 
to claim her, but she is quickly spirited away. 


SCENE {—Apartment in the *Palace of the King 

In the last act Maritana is in the palace, wondering w^hat is to become of her amid all 
the conflicting scenes and counter schemes. The Minister introduces the Kirig as Maritana *s 
husband, but Caesar suddenly appears and now boldly demands his bride, but Don Jose 
demands his arrest as an escaped prisoner. Before explanations can be made the King is 
summoned by the Queen, while Don Caesar and Maritana consult together, finally deciding 
to appeal to the Queen. 

SCENE II — Garden of the Palace 

While waiting for her in the palace gardens, Caesar overhears Jose telling Her Majesty 
that the King has a rendezvous with Maritana that evening. Caesar appears, denounces him 
as a traitor, and slays him. When the King hears of Caesar's loyalty, he repents of his 
designs on Maritana and gives her to the hero, besides making him Governor of Valencia. 


/Scenes That Are Brightest By Charles D'Almaine, Violinist!- ^^^.^ lo j^^u ao a< 

\ WalUfrom Faust 3y Charles D'Almaine, Violinistr^^^^ lO-inch, $0.85 

In Happy Moments By Alan Turner, BaritoneK^--^ in :« k a< 

Faust— Waltz from Kermesse Scene (Gounod) B}f Pryor's Bandf^^^^^ lO-incb, .85 

Gems from Maritana By Victor Li^ht Opera Co. 31804 12- inch, 1.00 

Chorus, "Angrelus" — Solo, "Scenes That Are Brightest" — Solo, "Let Me Like a Soldier 
FaH"-Vrio. ''what Mystery"-Choni«, "Oh. What Pleasure'-Finalc, "Viva MariUna" 






Text by Lorenza da Ponte, (ouniled on a comedj by Beaumarchaia. Mudc by Mozart, 
First production Vienna, May 1, 1766, with Mozart conducting, la Pani a> Lt Mariagt dt 
'^garo, in five acta, with Beaumarchaia' ipoken dialogue, at the Academie. March 20, 1793; 
It the Theatre Lyrique, at La Nocei Je Figaro, h^ Barbier and Carrf, in four acta. May S, 
'8S8. In London, in Italian, at the King'« Theatre, June 18, 1812. Firal American produe- 
ion in 1 823, in EngEiib. Some notable revivals were — in the '70a, with Heraee. Sequin and 
'arepa-Roaa; in 1869, with Nordica, Eamea, and de Reuke; in 1902, with Sembrich, Eame*. 
le Reazke and Canipanari ; and in 1909, with' Sembrich, Eames, Farrar and Scotti, and in 
917, with Hempel, Farrar and de Luca. 


Figaro (Fa'-mAr-mA), the Barber, valet to the Count Baa* 

Count ALMAVIVA (^f-wA-cn'-aiA), a Spanish noble Baritone 

COUNTESS ALMAVIVA, hia wife Soprano 

SUSANNA, maid o! the Counteaa. betrothed to Figaro Soprano 

CHERUBINO (CAou-riK-kc'-noA), page to the Countes* Soprano 

MARCELUNA (Mor^/KUrc'-nal,), aervant to Bartolo Contralto 

BARTOLO, a rejected lover of Suaanna ^ua 

BASIUO (&*.«' .fctoA), a busybody Tenor 

Servania, Country People, Guards 

Scene anJ PtrioJ : Seellle; iht leetnleenth century. The acUon It a direcl 
conllnuaUon of the Barber of StOlBe 
Thoae who have read the story of Baihtr ofStClItt will find themselves again making 
the acquaintance of Bartolo, Almavlea and Figaro, some time after the marriage of the dash- 
ing 0>unt to Bartolo 'a ward. The Count has aettled down quietly on hia eatBle^ while Figaro, 
aa a reward for hia services as a matchmaker, has been appointed major-domo of the 
castle. Figaro ia in love with the Counfeu' maid. Sutanna, and expects to marry her soon, 
but unfortunately for his plana, had also promised to wed Marcelllna, the ex-housekeeper 
of Barlolo, on the very same day. Further complicationa are promised by the fact that the 
Coartt, already wearying of his wife, is making love to Suxmna himself. 
The overture is a moM delightful one, written in true Mozartisn style. 



By Pryor's Band 

*3510» I2<iacb. tUS 

SCENE 1—^ Room h, the OxiRt '• ChaUaa 
At tKe ofMning of the opera, Smaima tell* Flmara 
that the Connf i« Uying to flirt with hei, anil Figaro plaiu 

Hapl> your lordship Pcrfccl you ml 

May l>e for dincing. juting and Uughing, 

Play'^e guJur^Hr. sfnglrg^and playingf' 

Would you cut upera. Comptimcoii piyiog, 

S™ th'e Sm 'rMchTng. 1 ihall find'SLtl'"""'"' 

5e vuol ballare, Si^nor Continor (Will 
You Dance ?) 

By Ciiueppe de Lues, Baritone 

{JnlliJian) 64673 lO-inch. «t.00 

confided in Dr. Baitolo, and ■■ the 

portly doctor still harbor* a grudge againvt Flgoro (or CAivt 

robbing him of hi* ward, he conaents to help her. The Counlcu. who aeemi to be the 
onlv one in the caatle not engased in intrigue of tome kind, thinki only of her huiband, 
and bow to bring him back to her aide. Qteratlne, who desperately adores the Coanlttt, 
joyously pours out the story of his love (o the lympathetic Sutanna. 

Non so piu oosa son (Oh, What Feelinffsl) 

SCENE l—jiparimtia of iht Caaatttt 
At the beginning of Scene 1. the Count- 
eu ling! her lovety appeal to Cupid. 

PoKfi amor (Love, Thou 
Holy Impulse) 

By Teresa Arkel, Soprano 

giaUim) ■63419 10.inch.*0^S 

Satamta entera and telU the Cauntat of 
her husband's ficldeneas and they coniuti 
Figaro, who plansto make the Ciunf jealous 
by telling him that the Cwnfeu is to meet 
a lover that evening in the garden. It i» 
planned to send Marcellina in the Counlttt' 
place, and Cheratino, dressed as a young 
girl, to meet the Cbonf in Saumna't place. 

Figaro departs, and Cfierubino enters. 
Seeing hi* miatresi, he begins to heave 
deep sighs, but Satanna mocks him and 
tells the Courtteu he has written a song 
about his Udy love. The Counfew bids 
him sing it, and he takes hii guitar and 
describes the delights and torments caused 
by Cupid's arrow. 

Voi che sapete (What is 
This Feeling ?) 

By Nellie Mclba, Soprano 

UnllaHan) 68067 12-inch. *t.»0 


The song u in ballad torin, to suit 
the situation, the voice giving out the 
dear, lovely melody, while the itringed 
inatniment* carry on a limple accom- 
paniment pUifcafo, to imitate the guitar. 

t delighia m«,— 

Ml n 



The women now dreaa up the page 

finiihed when the Caitnl knocks, and 
Chtnibtno hide* in the cloaet. The Couni 
obaeEvea hii i-rife'i confusion, and hear- 
ing noises in the cloaet, become* jealous. 
He demand* that she open the closet 
door, and when she refuses he goes foe a 
crowbar- The moment he is out Cfteru- 
bino, aided by Saianna, slip* out and es- 
cape* through the window, and Suianna 
enters the closet in his place. When the "p]. 

Count return* and open* the door, the Koi 

maid come* out and the husband i* 
forced to apologize for his suspicion*. 

^pK^ Marctlllna now enters 

i| shall keep his promise to 
look into the matter. 


SCENE l—^ CaLlnd In ihe CiinC. Raldeno! 

The third act opeiu with a scene between 

Siuanna and the CiunL He plan* to force her 

I I to accept hisatlention* by threatening to make 

JSJ Figaro wed the ancient Maretitlna, while Satanna 

t the atlen* 
the plot 

ceived by the Coantas: while aC the aame _ 

■he deftly repels his ulvances. Finally she 
promises to meet him in the arbor and the 
C>anf i* in ecstasies. 

The two novr separate, each satisfied with 
the interview, — the Count believing she has 
yielded, and Sumnna convinced that she has 

MaKclllna, with her lawyer, BaHolo and 
Flgan> now enter, and Figaro is informed that he 
must wed Manclllna < ' 

O""""' '■ '■ discovery of a birthm 

DS LucA AS riGASo ^^^ j^^ ^^^ ^f ^arctuma. rie embraces nia — 

he was lately trying to avoid, decide* that he has changed hia mind. Matters are explained, 
however, and preparation* for the wedding are begun. 

.Susdnniinow seek* the Counlaa and tells her mistress that the CoanI wishes to meet her 
(Satanna) in ihe garden. The Countaa then dictate* a letter in which Satanna is to appoint 
a time and place for the meeting. 



Che soave ze£ftretto (Letter Duet— Son); to the Zephyr) 

By Marcella Sembncb tad Emma Fames (In Italian) 93202 12-iiieh, *2.90 
Thia ia a fine example of ihe Mozartian atyle and it full of beaubea, not only in the 
Tocal pana, but in the masterly orchestration. 

lither. lentle u|>hyr. hillier itpi 
Vhere tUe rose and myrtle blen.T. 

ihyr. hither 

l>o r 

:>! let Ihev loveJ c 


SCENE— Tie Coirfen cf Iht Chalem 
enteri and aoliloquizes on the fickleness of woman. After hi* air he hi 
I, disguised as the Coantat, and the Ccunleu disguiaed aa Satanna, ent 
nnceali herself, while Susanna, awaiting the Ciunf, and knowing that 
ingi her famous sohloquy. 
She pours out her whole soul in this address to the imaginary lover, in order to 
the jealousy of Figaro, who is hidden near by. 

jrighl thr moon, and blight the slai9 «re ginwing. 




if the : 

In the ruBlling reedt thai near it quiver, 
A voice to love invilea. the hoiom lilting 
With lore alone, all other passions alillin 
Come then, my deiresi. — ihe hours are q 
Let me with roaei bind now tby head! 

CAcnfi/no, having an appointment 
nrith the maid Barbarina, now enlera, 
md seeing the Caantat, thinks it is Sii- 
lanna and tries to kiss her. The Cmal 

kiss intended fortheGiunreis. He gives 
ChtnAino a box on the ear, sending him 
flying, and then makes love to the sup- 
posed Sutanna, tl " 

, him 


B lily 

her voice and ent:ouragmg 
kisses her hand, remarking 
whiteness, then takes n diamond nng 
from his finger and gives it to the sup- 
posed Siaanna. Figaro now sees Su- 
tanna, whom he of course takes to be 
the Counlea, and tetls her that her hus- 
band and Suuinna are together. Sutanna 
revealsherselfand ^goro embraces her. ""-—i 

The Count aees this embrace, and hia susanka, coubisss akd tHKRiBiNo l^ 

jealousy making him forget his new con- (iiatiehaitei, heupel and taibab 

quest, he seizes Flgan and calls for help. The plot is now revealed, and the Cwnf, 
he is conquered, begs the Cminleu' forgiveneas and promises to be a model husb 
the curtain falls the three happy couples are entering the house to continue the 



39109 12-inch. *1.3S 

^63419 lO-inch. .8$ 

fOverture By Pryor's Band! 

1 Fra DiaBolo Ofttlan (Aabti) By Prycr't Bandl 

(Pocfi amor By Teresa Arkel, Soprano (In Italian) 

TagUdtml la vita oncer— Aomnnso Ss' Taaa Arktl (In Italian). 

(Italin) (Eagliflh) 


iMah/4ah) (Mah/4hah) 

Libretto by St. George and Frie<lrich. 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, 1647, with Anna Kerr and Carl Formes. First Lx>ndon 
production July 1, 1858, at Covent Garden, in Italian, and at Drury Lane in English. First 
raris production 1858. In Italy, at Milan, April 25, 1859. Given in 1865 at the Th^trt Lyrtque, 
Paris, with Patti. First American production 1852, in German. First New Orleans produc- 
tion January 27, 1860, with Mile. Dalmont. A notable New York production occurred in 
1887 with Patti, Guille, Del Puente and Scalchi. Later Metropolitan performances were in 
1896; 1897 (sadly memorable because of the death of Castelmary on tf&e stage in the second 
act); 1900, in Ejiglish; the brilliant revival of 1906, with Caruso, Sembrich, Homer and 
Plangon. In 1916 another production was made with Caruso, Hempel, Ober and de Luca. 

Characters of the Drama 

Lady Harriet Durham. Maid^f-honor to Queen Anne Soprano 

Nancy, her friend Mezzo-Soprano 

SIR TRISTAN MKXLEFORD, Lady Harriet's cousin Bass 

PLUNKETT. a wealthy farmer Bass 

Lionel, his foster-brother, afterwards Earl of Derby Tenor 


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

The teene Is laid, at first. In the Castle of Lady Harriet, then in Richmond 

Flotow's melodious opera has always been a most popular, one, with its spirited Fair 
Scene, its beautiful duets and quartet, the famous third act finale and the beloved "Last Rose 
of Summer.*' 

The composer was of noble birth, a son of Baron von Flotow of Mecklenburg, and was 
born in 1812. His father destined him for a diplomat, but the boy loved music, and went 
to Paris to study. His first attempt at opera was Pierre et Catharine, followed by Stradella 
and others. 

Many great prima donne have sung the r6le of Martha — Patti, Nilsson, Kellogg, Gerster, 
Richings, Parepa Rosa ; and in the present day Sembrich and Hempel have charmed their 
audiences with Flotow's beautiful strains. 

The fine overture contains many of the best known melodies. 


By Pryor*s Band *35133 12-inch, $1.35 


SCENE l—Boadoir of Lady Harriet 

Lady Harriet, maid-of-honor to Queen Anne, is weary of the monotony of court life. 
She is bored by her admirers, and jewels and flowers pall upon her. " Why do you weep >** 
says her faithful maid, Nancy. " I do not know,** exclaims Harriet. 

Tristan, Harriet's cousin, a gay but rather ancient beau, is now announced and proposes 
a long list of diversions for Harriet's amusement. She declines them all and teases him un- 
mercifully. The song of the servant maids, on their way to the Richmond Fair, now floats 
in through the windo^ir ; and hearing these strains of the happy peasants, Harriet conceives 
a madcap desire to accompany them. NatKy and Tristan protest, out she orders them to go 
with her. Dresses are procured and they start for the fair, the ladies in the disguise of 
servant girls, and Tristan garbed as a farmer. 

SCENE II— The Fair at Richmond 

The scene changes to the Richmond Fair, "where a motley crowd of men and maidens 
are looking for positions. Two young farmers, PiurJcett and Lionel, now enter, the latter 



being an orphan anil adopted brother of Ptunktit, Uonel'i father, on hin deathbed, had 
given Plankcll a ring, which waa to be preaented to the Queen should the ton ever be 
invdlved in difficultie*. 

In thia effective duet the frienda apeak of Lionel') father and the incident of the ring. 

Solo, profugo (Lost, Proscrib'd) 

By Enrico Caruao and Marcel Joumet (In llallan) 89036 12.iDch, (2.00 

LlontI tella the atory of hia adoption by Plunkeli'i fnmiEy in the aria beginning — 

hymns. Plunkellthcr 

ik not w»alth and »plendor, 

. . . ;e Ihey e>r be mine. 

happy this heart rendct 

It frtenclthip fii'd in thine. 

The disguiaed ladiea now 
appear, accompanied by the 
unwilhng and disgutted Tria- 
Ian, who conaideia the whale 
affair a joke in veiy bad laate. 
The two young farmera spy the 
girla, and being muck taken 
with their looka, offer to hire 
them. The ladiea, carrying 
further their mad prank, aC' 
cept the money which ia 
offered them, not knowing 
that they are legally bound 
thereby to aerve their new 
niaatera for a year. Trlitan 
loudly protests, but ii hooted 
off the grounds, and the fright- 
ened girla are taken away by 
the fermefs. 



SCENE — A Farmhouse 

As the curtain rises the fanners enter, dragging with them the unwilling and terrified 

Siam ^iunti, o ^iovinette (This ia Your Future D-welling) 

By Frances Alda, Soprano; Josephine Jacoby, Contralto; Enrico Caruso, 

Tenor: Marcel Journet, Bass (In Italian) 95207 12-inch, $2.50 

Lionel and Plunkbtt: 

This is your future dwelling; 

And traveling has an end. 
Haxribt and Nancy: 

We're reaping for our folly. 

Full measur'd punishment! 
Lionel and Plunkbtt (cordially): 

Our house and home are yours now. 

Their comfort you will share. 
PIakkiet and Nancy iironically) : 

Their house and home are ours now, 

O we unhappy pair! 

Lionel and Plunkbtt: 
At dawn of day and morn's first glimpse 
Be up and stir about! 

Hakriet and Nancy: 
What vulgar ways they make us take! 
Before the sun is out! 

More monstrous things they'll next command 
That we never heard about! 

And extra crowns your purse may see 
Before the year is out! 

Che vuol dir cio (Surprised and Astounded I) 

By Frances Alda, Soprano ; Josephine Jacoby, Contralto : Enrico Caruso, 

Tenor ; Marcel Journet, Bass (In Italian) 95208 12-inch, $2.50 

When the ladies have recoverecl their breath and begin to realize that they are in 
no immediate danger, the temptation to plague their employers is irresistible, and when 
the young men endeavor to instruct the new servants in their duties the fun commences. 

At the close of the first quartet passage, Plunkett shows the girls the door of their room. 
Anxious to escape from the scene and have an opportunity to discuss their predicament, 
they start toward their room, but Plunkett, thinking of his appetite, stops them. 

Plunkbtt (interposing): 
Not quite so fast — 
First prepare a light repast! 

Harriet and Nancy: 
Kitchen work! O these barbarians! 


Why not excuse them? They are tired! 
Plunkett (firmly): 

Too much kindness will not do. 

However, even the gruff fanner has realized by this time that these are servant girls of 
a most unusual kind, and hesitates to scold them. 


What names bear you? 

Harriet (hesitating): 
Martha is mine. 

Plunkett (to Nancy): 
Well, and yours? 

Nancy (aside to Harriet) : 
(What shall I tell him?) 


Well, don't you know it? 

Ju-ju- Julia! 

Plunkett (mimicking her) : 
Ju-oo-olia! You're proudly nam'd girl! 
(IVith exaggerated courtesy.) 
fulia! Be kmd enoueh — 
To hang my bat and mantle up I 

Nancy (indignantly) : 
Do it yourself! 

Plunkett (taken aback): 
Bold! by the prophets! 

Lionel (to Plunkett): 

Not so bluntly give your orders. 
Rather wishes breathe, like me: 
(Verv politely) 

Martha, take these things, prithee! 
(Harriet takes them, but promptly throw them 
on the floor.) 

Lionel and Plunkett, astonished at such signs of insubordination, unheard of in servants 
of the seventeenth century, decide to learn what accomplishments these strange domestics 
do possess, and request them to show their skill at spinning. 

Presto, presto (Spinning Wheel Quartet) 

By Frances Alda, Soprano: Josephine Jacoby, Contralto; Enrico Caruso, 

Tenor; Marcel Journet, Bass (In Italian) 95209 12- inch, $2.50 

By Victor Opera Quartet (In English) 70052 12-inch, 1^5 




Quick now, fetch the spinning-wheels 

From out the comer! 
Harriet and Nancy: 

Do you want us then to spin? 

Do you think 

That for talking we engag'd you? 
Harriet and Nancy: 

Ha, ha, ha! To see us spinning! 
Plunkett (angrily): 

"Ha, ha, ha! To see us spinning!** 

H you want your wages paid 

You must earn them first, my maid. 

Harriet and Nancy (toith mock humility) : 
We obey, sir! 

When it is plainly seen that they are ignorant o(_the art the young men offer to teach them. 

(The ladies brina the wheels and place them in 
the foreground.) 

Begin now, I command it. 
Harriet and Nancy: 

We cannot! 
Lionel and Plunkbtt (astonished); 

How? What? 

Sit down now! (They take seats.) 

Turn the wheel! brr, brr, brr! 

(Imitating the noise of the wheel.) 

With your thumb and your first finger 

Draw a thread and twist it round. 
Girls (in mock despair): 

But the stubborn wheel won*t move, sir! 

Lionel and Plunkbtt (spinning): 
When the foot the wheel turns lightly 
Let the hand the thread entwine; 
Draw and twist it. neatly, tightlv. 
Then 'twill be both strong and nne! 

Harriet and Nancy (sitting down at the wheels) 
What a charming occupation 
Thus to make the thread entwine; 
Gently guided, drawn and twisted. 
It becomes both strong and fine! 

At the close of the quartet Nancy maliciously overturns the wheel and runs out, pur- 
sued hy Plunkett, and leads him a merry chase, causing him to lose his temper, while 
Lionel finds himself falling in love vrith the beautiful Martha, She laughs at him, but is 
nevertheless impressed with his good looks and manly bearing; so much so that when 
he asks her to sing she consents, and taking the rose from her bosom, sings the exquisite 
** Last Rose of Summer.*' 

Last Rose of Summer 

By Adelina Patti. Soprano 
By Luisa Tetrazzini, Soprano 
By Marcella Sembrich, Soprano 
By Amelita Galli-Curci. Soprano 
By Alice Nielsen, Soprano 
By Lucy Marsh, Soprano 
By Elizabeth Wheeler 

{In EngUih) 

(In English) 

(In English) 

(In EngUshS 

In English) 

In English) 

(In English) 



12.inch, $5.00 

12-inch, 1,50 

12-inch, 1.50 

12-inch, 1.50 

12-inch, 1.50 

10-inch, .75 

10-inch, .85 

As is generally known, this air is not by Flotow, but is an old Irish tune, "The Groves 
of Blarney,** to which Moore fitted his poem. 

'Tis the last rose of summer, 

Left blooming alone; 
All her lovely companions 

Are faded and gone; 
No flower of her kindred. 

No rosebud is nigh 
To reflect back her blushes, 

Or give sigh for sigh! 

ril not leave thee, thou lov'd one. 

To pine on the stem; 
Since the lovely are sleeping. 

Go sleep thou with them. 
Thus kindly I scatter 

Thy leaves o'er the bed — 
Where thy mates of the garden 

Lie scentless and dead! 

Nancy now returns, still pursued by the exasperated Plunkett, 


Don't you try this game again, girl! 
Where do you suppose she was? 
In the kitchen was the vixen 
Breaking bottles, glasses, dishes. 
And a good deal have I suffer'd. 
Till at last I caught the lass! 

Let me go! Don't make me mad, sir, 
Or some scratching you will see! 

Plunkett (releasing her): 
By the prophets! she has spirit I 
I confess, that pleases me! 
Nancy (plaintively): Martha! 
Plu n kbtt ( mimicking) : Ma-a-a-r-tha ! 
Pooh! What's wrong with you now? 
Standing as if thunder-struck! 
Get yourselves to bed, ye idlers! 
Off with you, my saucy Puck! 
(The clock strikes twelve.) 

The farmers, somewhat subdued by the knowledge that they have engaged two most 
spirited and insubordinate damsels, now bid their new-found servants good night in the 
beautiful "Good Night** quartet. 

Quattetto nottumo (Good Ni^ht Quartet) 

By Frances Alda, Soprano : Josephine Jacoby. Contralto ; Enrico Caruso, 

Tenor ; Marcel Journet. Bass (In Italian) 95210 12-inch, $2.50 

By Lyric Quartet (In English) *17226 10-inch. .85 



MirUiigbi i( 
Midnight » 

And tDmorraw. gently yielding. 

Plunkett ile WoBiv): 

Sleep thtt well, and may thy tc 

e maiden* now peep o 

Maitha'and 1?7nc* ^'^ 

te Were I but away. I'd never ' 

Play the peasani any morel 

(Harr?j( 'and Naocy rtiirt It thtir O^mbtr, 

I and Plunlrill hhS Liontl liavi by the largt 

door, locking il afirr Ihtm.) 

n their room, and •eeing no one, come out, and are ex- 
cape, when Trialan j voice i« heard oul*ide ■oftl)' Calling 
: their escape through the window, and return ti 


SCENE— v4 Hunting Park 'n Richmond FontI 
The yaung farmer*, who have aought vainly for their late (ervant*, have came hither to 
watch the Queen and her train at ihe hunt, and forget the two maidens who have wrought 
■uch havoc with their affections. The act opens with the spirited apostrophe to porter 
beer, sung by PlunktII- 

Canzone del porter (Porter Sony) 

By Marcel Joumet. Bass {InUallan) 64014 lO-incb. tLOO 

This moat famous of old English beverages i* highly praised by the jovial PtanktU, who 
gives it credit for much of Britain's vigorous life. 

I want to ask you, can you not lell me, ''"'"■^ »" ''**'' *"""' ""' '''''' ""- 

What rn niir tsnd 'th» Rritish Mrand ' Hurrahl Tra, ll 

We may of il be justly proud. 
It guides John Bull, where'er he be, 
Through fogs and mists, through Isnd and sea 
Yes, hurrsfa: the hops, and hurrah! the malt. 


The (anners dial 
melodious air of the I 
upknown Martha. 

M'appari (Like a Dream) 

By Enrico Caruio, Tenor 

By Giovanni Martinelli. Tenor 

By Evan Willianu. Tenor 

(/n Italian) 8B00I 12-inch. *1.90 
{In Italian) T4469 12-iach. 1.50 
{/n Engtiafi) 14128 12-inch. I.»0 

although amazed at seeing her 

Of thy gtnlle voice no more; 

Lionel suddenly encounter* LaJs Harriet, i 
dress of a lady, warmly pleads his love. 

I LaJff Harriet is forced to call the hunters, to whom she 

I declaies that Lionel must be mad. He ia distracted, while 
I Hunl^elt endeavors to console him. The great finale, then 


SCENE l—Plunkelfi Farm Haute 
PlurJ^t a discovered alone, musing on the unhappy 
plight of hi* foster brother, who, since his rejection by Harriet, 

Nancj/ enters, and she and Plunkell soon come to an un. 
derstanding. They decide to present iJontl'i ring to the 
Queen, hoping thus lo clear up the mystery of hi* birth. 
SCENE II— .4 Repreaentallon of iht Richmond Fair 

Lionei'i ring has been shovm to the Qaefn, vrho discovers 
that the young man IS really the son of the banished Earl nf 
Deriy. However, he refuse* to accept hi* rightful tank and 
continue* to brood over the insult offered him in the forest. 
As a last resort a complete leproduclion of the Fair Scene 
ol Act II is arranged, with booth* and the crowd of servants 
. all represented. Harriti. A^ancy and Huni^l are dressed in 
' the costumes worn at their first meeting. 

Uonel is led in by Flunketl. and when he sees Harriet in 
the dress of a servant, the cloud seem* to pas* from his 
mind and he embrace* her tenderly. The two couple* 
pledge their troth and all ends happily. 



rOverlure to Martha By Pryor'* Bandl,,,,, ,- .. 

I NoctameinEi {Chopin) By Victor Soriin, 'Cdlltl {Piar«i acc.)i"^^^ "-UICII. 

(Last Rose of Summer By Elizabeth Wheeler (/n £nffAjA)\,._,- ... . 

I Tonnhaiutr^-Tht Eotnlng Star Bg Victor Sorlln. ^Z/Wj'*""* !«-"'«>. 

fGood Nitfht Quartet By Lytic Qusrtetl,-,,, ,r.j„i, =. 

I Madrigal from "The Mikado" {Qlberl-Satllcan) Lsitc QaartdP"^" '""""cn- ■" 

Gem* from Martha 

Chorus of ScfvsnM—Qusnet. " Shsuu So Shy"— " LsW Rooc ol Sununar"— "Good Nisht 
Quiitet"-" Mmy DresiTu Truupon Tti« "-Finale "Ah. Mar Heaven For^ve Thee." 
By the Victor Opera Company (In Engllih) 31797 la-inch. 1 DO 

(lulian) (Eaflish) 


{Bahr4oh ten Mah/Jfeh-rah) 


Text by M. Somma, music by Verdi. First produced in Rome at the Teatro ApoUo, 
February 17, 1859; at Paris, ThiAtre des ItaUent, January 13, 1861. First London production 
June 15, 1861. First New York production February II, 1861. Some notable Metropolitan 
revivals occurred in 1903 with de Reszke; in 1905, with Caruso, Eames, Homer, Scotti, 
Plan^on and Joumet; and in 1913, with Caruso, Destinn, Hempel and Amato. 


Richard, Count of Warwick and Governor of Boston Tenor 

REINHART, his secretary Baritone 

AMELIA, wife of Reinhart Soprano 

Ulrica, a negress astrologer Contralto 

Oscar, a page Soprano 

TOMASO.}""™" °' *» ^"°*- {E^n 

Scene and Period : In and near Boston, end of the seventeenth century 

The opera was composed for the San Carlo, Naples, and first called Gustavo III (after an 
assassinated Italian monarch), but after the announcement had almost created a riot in Naples, 
Verdi was forced to change the scene from Stockholm to Boston, and the name to Ballo in 
Maschera. Finally it was thought best to abandon the Naples premi6re altogether, and the 
opera was taken to Rome. 

There are many, of course, who consider this work old-fashioned — and so it is, not 
pretending at all to be a great music drama; but there are many far more ambitious 
works with certainly less real music, and the familiar Eri tu, the Saper vorreste and the fine 
concerted numbers in Acts II .and III are well worth hearing. 

Richard, Count of Warwick and Governor of Boston, falls in love with Amelia, the wife 
of Reinhart, his secretary and intimate friend. This love is returned, but the wife's conscience 
troubles her, and she consults Ulrica, a black sorceress, hoping to secure a drug that will 
cause her to forget Richard, Ulrica sends her to gather a certain herb which will prove 
effective. Richard, who had also gone to consult the astrologer, overhears the conversation, 
and follows Amelia to the magic spot. Amelia's husband, who has come in search of Richard 
to warn him of a conspiracy to assassinate him, now appears, and Richard makes his escape, 
after requesting Reinhart to escort the veiled lady to her home without attempting to learn 
her identity. On the way, however, they are surrounded by the conspirators and Amelia 
is revealed. Reinhart swears vengeance on his false friend and joins the plotters. 

At the Masked Ball, Richard is stabbed by Reinhart, but die dying man declares the 
innocence of Amelia and forgives his murderer. 

SCENE 1— y4 Hall in the Governor's House 

The hall is filled with people — officers, deputies, gentlemen, etc. — waiting for the 
appearance of the Governor. He enters, is warmly greeted by those assembled, receives 
their petitions and inspects a list of the guests invited to the masked ball. The famous La 
rioedrd, the quartet from the first act, then occurs. 

La rivedra neirestasi (I Shall Behold Her) 

By Enrico Caruso, Tenor ; Frieda Hempel, Soprano ; Leon Rothier, Bass ; 
A Perello de Segurola, Bass; and Chorus {in Italian) 89077 12-inch, $2.00 

This number, although usually taking its title from the famous solo of Richard, La 
ricedrd, actually begins with his greeting of the people who have assembled for the 
Governor's morning audience : 



My friends, soldiers, and 
You beloved complnionB k 
My duly bids me w*tcb o 


Good deedi with ilorr. 
OlcitK (addrttling tht Govrr 

The people now Join in « chorus of prmwe. whi 
nspiralon, headeil by Samuel and Tomato, decide 
e auipiciou* moment to conaummate theii plot* 

A negro vromui, Ulrica, ii now brought i 

of being m witch. OKat lo ably defendi the old w< 

Richard laugha at the accuMtion and diamioei hei. He then 

call* hie courtieT* around him, and augseMi that (or a lark lAitsti a& iii.iisr;j 

they go diiguiaed to the hut of (he aorceren and contult her. 

The friend* agree, and the plotters, beaded by Samael and Tomojo, see a chance to further 

their plans. 

SCENE n—Thc Hal of Ulrica 

The hut i« crowded with people who have come lo have their fortunes told. The 
•orcetea* standi over her magic cauldron and lings her incantation, calling on the abysamal 
king lo appear and aid in her mystic rites. 

The Governor now arrives, dresaed aa a sailor, and accompanied by his companions. 
They are conversing with ihe witch when a knock is heard, and all leave the hut by Ulrica'i 
orders except Richard, who conceals hinuelf in ■ comer. 

Amtlltt enters and asks the sorceress to give her peace of mind by banishing a love 
which she cannot control. The witch promises speedy relief if Amtlla will gather a certain 
heib which grows near the town gallows, and From which can be brewed a magic liquor. 

Delia citta all'occaso (Hard by the 'Wefltem Portal) 

By Ids Giacomelli. Soprano: Lina MQeri, Contralto; Giao 

Marlinez-Patti, Tenor (/n Italian) *68143 12'inch. tl.SS 

The frightened girl consents to go that very night, and takes her departure. Ulrica now 
admits the people again, and Richard, in the character of the sailor, asks her to tell his for- 
tune. His inquiry of the prophetess takes the form of a barcarolle — the favorite measure of a — and theballad, vigorous and tuneful, has all the swing of a rollicking song of the sea, 

Di' tu se fedele (The Waves ^^Ul Bear Me) 

By Enrico Caruso. Tenor, and Metropolitan Opera Chorus 

(Inllallait) 81091 lO-inch, ll.OO 

By Giovanni Martinelli. Tenor (In Italian) 6448' lO-incb, l.OD 

This attractive ballad is full of humor, the tlaecota passages toward the cloae indicating 

the Governor's impatience to learn the future. In a gay mood he banters the woman. 

asking her to tell him if he will meet with storms on his tiext voyage. 


Declare if the wives will faitfafully bear me: With »ils rem asunder, with soul in com- 
If weeping the loVd one Irom whom I now motion, 

tear me. . I go now to slecr Ihro' Ihe dark waves ol 

Farewell, to me aajing, mj love ii betraying. ocean, 


The BiiHr of llcav'n and Hell to i 

Then hiate wilh Ihy magic, I 


■ Ulrica rebukes him, and examin: 

that friend who ahall next ahake hia 


Nn power have Ihe Ihutider cr angry winds 
Or death,' or affection my path lo denyl 
, tellt him he >■ wxm to die by the aword of 

Quintetto, "E scherzo, od 6 follia" {Your Prophecy Abaurd I) 

By Enrico Cartuo. Frieda Hcmpel. Mme. Duchcnc. Leon Rothier. A. 
SeKurola and Metropolitao Chortia (In Italian) S9076 12-iach. *2.00 

The conapiiBtori^ Samutl and Tomoio, are uneasy, thinking themaeivea luapected. but the 
Covemor laugha nnd oaka who will graap hia hand to prove the prophecy falae. No One 
darea to grant hia requeat. 

Reln/iart, who haa become anxioui abouthii chief and has come in aearch of him, now 
eaters, and aeeins the GovemoT, ahakea him by the hand, calhng him by name, to the aaton- 
iahment of all thoae not in the secret. Sir Richard tetia the witch ahe ia a (alae prophet, 
aa thia ia hia moat faithful friend. 

All the people greet the Governor with cheera. and kneeling, aing the hymn : 

O fiflio d*Itt{fhilten-a (Oh. Son of Glorious Enffland) 


SCENE \—A Fitid—on one ^dt a Galloua 
Amelia, much frightened by her lonely aurroundings. entera in learch of the magic herb. 
She ainga her dramatic air, YanJer Plant Enchanted. 

Ma dall'arido stelo divulaa (Yonder Plant Enchanted) 

By Lneia Creitani, Soprano {In Italian) *68I43 12.inch. *1.39 

'onder weed of d 
■rom in_y tempest 
Vhen thai image 


(A di4la„l tloet Slriktl.i 

Hark! 'lis midnightl Ah, jon viiionl 

Moving, brralhing. lo! a figure. 

UeiRn. oh. Heaven. Thy itrength to impart 

To this fainting. Eear-siiicken heart 

The vinon resolvea itself into Richard, who now 
approaches. The unhappy girl confeaaes that ahe lovea 
him, but hega him to leave her. 

Ah 1 Qual 9oave hrivido (Like Dew 
Thy -Worda Fall) 

By Ida Giacomelli and Gino Martinei-Patti 
(tnllalian) *68026 12-inch, 11.39 

Like dew thy wordi fall on my heart, From'oul the cypresa hower. 

Aglow with love's fond pasaionl Where I bad thought it laid in death. 

BrTght Itaf'lhit bidsi .11 gloom depart, Richabd: '"' 

My hallow'd love enshrining; Amelia! thou lov'il me! 

While thus on me thou'rt shining. AiltLH: 

Ah. let night forever reign! 1 love Ihee. 

But thy nohic heart will prolecl me! 

They are interrupted by the appearance of Rtinhart, who comea to warn Richard that 
hia enemiea are lying in wait to murder him. Richard, unwilling to leave Amelia, ia forced 
lo ask Relnhart to escort the veiled lady to the city without seeking to discover her identity. 
Rtinhart swears to obey, and Richard nukes his escape. The couple start for Boaton, but 


are ■urraunded by the conapirators, who take Rdnhari to be the 
Governor. Diwppointed in their prey, they Jesr the veil from the 
unknown lady and Rdaharl it astounded to (ee that it is his wiCe. 
The great finale to Act 11 now occurs. 

Ve' se di notte qui con la spoaa (Ah ! Here 
by Moonlight) 

By Giacomelli, Minolfi, Preve and Chorus 

{In Italian) *35I79 12-iach, 11.39 

Amdia is overcome with aharoe, but protests her innocence* 

Reinharl bitterly upbraids her and denounces his false friend 

Richard, while the conspirators depart, anticipating the sensation 

which the city will enjoy on the morrow. 

Rxinhart, now bent on revenge, decides to cast his lot with the 
plotters, and the act doses as he says to Amdia with deep meaning ; 
BEiHHMr (alOTii uilh Amtlia): Ameiia (aride): 

I shall fulfill my promise His voice like a deatb warrant 

To take thee Id the city! Uolh sound in my ear! 


SCENE \—A Room In Relnhart'a Houie 
Rdnharl is denouncing Amdia for her supposed crime, and 

finally decides to kill her. She begs to be allowed to embrace her 

child once more, and her husband consents. 

Left alone, the unhappy man repents his resolution, ajid re- 

Bolvea to spBre the guilty woman's life. In the greatest of the airs 

allotted to Relnhart he swears to avenge his wronga. 

Eti tu (Is It Thou ?) 

By Emilio de Gogori 
By P««<iuale Anuto 

S8324 12-inch, tLS 
88464 12-'iiich. 1.5 
88544 12-lnch. 1.5 

(In Italian) 
(In Italian) 
By Titta Ruffo (In Indian) 
By Mattia Bsttistiai 

(/n Italian) 92044 12-inch, t. 
By Giuseppe de Luc* 

{In Italian) 74926 12-ioch, I 
By Francesco Citfada 

{In Italian) *39I79 12-inch, 1 
Samad and TomoM enter and Reinhart tells them he knc 
of their plots, and will assist them, as he desires the Govemi 
death. They draw lots, and Relnhart is chosen to be the assasi 
Amdia enters in time to realize the stale of affairs, and is aboul 
plead (or the Governor's life, when Otcar enters bearing an inv 
tion to the Masked Ball. The page tells of the brilliancy of 
occasion, and at the close of the number the conspirators go c 
after agreeing on the password "Death!'* 

S<XNE II— rAe Cowmof'j Priaatt Q^t 

Ma se m'e forza perderti — Romanza 
(Forever to Lose Thee !) 

By Enrico Caruso, Tenor 

{In Italian) 88346 12-inch, *1.S0 
The recitative indicates this decision; 


Haply I hi 
Reinbart » 

To »tt from the* fortrtt: 
Myliurning thoughts will Ry to lh«. 
Though taie our lot may M»er. 

A page bring* a note to the Governor tnm an unknown 
lady who warm him of the plot, but Richard resolvea to brave 
kii enemiei and attend the ball. 

SCENE 111— Cram/ Ballroom In the Govetnor't Hoan 
Relnhari, mingiinH with the guerta, meeti the page Oicai, 
and Bttempta to learn now the Governor is drecacd. The page 
teaaei him. linging his gay air, .Super Dorrufe. 

Saper vorreste (You Would be Hearing) 


[h Italian) 8B304 12-inch, *1.S0 
In reply to Rdnharl's question* the merry page tauotinglr 

Rank n 

_ >l eyes ihall e 
a la. U la la! 

However, the page finally reveals to RefnAurf that the Governor U drened in black. 
' with a red ribbon on hit breaat. 

Amtlia meeta [he Governor and warns him against the plotter*. He bida her farewell 
and i* about to go, when Relnharl (tab* him. The dying Governor, supported in the arm* 
of hi* friend*, tell* Rclnhart that hii wife ii guiltle**, and that to remove tier from temptation 
he had planned to send Reinhari to Cjigland to fill an honored post. 

The secretary is overcome with remorse, and Richard fdiea, after declaring that Rtlnhart 
must not be puni*hed. 


(Dells citt« all-occaso (Hard by tbe Weatero Portal) ) 

\ By Giacomelli. Mileri and MartincE-Patti (In llallan)\bBl43 12-ioch, tl.39 

iMa dall'arido stelo divulsa By Lucia CresUni [In Itaban)} 

)Ve* se di aotte qui con la sposa (Here By Moonligbt) I 

By Giaeomelli. Minolfi, Preve and Chorus (In llallan)}3in9 12-inch. 1.39 
Eritu (Is it Thou?) By Princeaeo Cifada (In Italian)] 

/Ah! qual soave hrivido By Giacomelli and Martinci-Pattil,--,, , , ._ . i •>> 
\ FoTxoDaiino-Nonlmprccort Glacomdll. Moriln<^-PolU and Provcl*'^'^^^ 12-Wch. 1.39 
|0 figlio dlnffhilterra (Oh. Son of Glorious England) | 

I By Huguet. Salvador. Cicada, Sillich and Chorus (/n/(a//on)}631T3 10-inch. .89 
I Emani — Emani Inoolaml Bji Maria CritI, Soprano (In Italian) \ 


Tent "nd miuic by Arngo Bolto; a pamphraae o( bolh parta of Goethe'a "Faurt." The 

first pioduction at Lb Scalo, Milan, 1 668. we> a failur. 

■n and given !n 1 873 with suc- 
ccM. Firat London productian July 6, 
1660. Pint American production at 
the Academy of Music, November 24. 
leeO, with Campanini, Caiy and 
Novara. Given at the New Orleans 
Opera in I6S1. in Italian, and in 1894. 
in French. Some notable American 
productions were in 1896, with Calvf; 
in 1889, in German, with Lehmann: 
and in 1901 with Mclntyre. Homer and 
Plan^on: in 1904 with Caruao and 
Eameii in 1907. for Chaliapinei in 1906 
at the Manhattan Opera: the Chicago 
opera revival for Ruffo; and the re- 
cent Metropolitan production with 
Caruso, Deatinn, Hempel and Amato. 



Faust Tenor 

MARGARET S<^iai>o 

Martha Contralto 

Wagner Tenor 

HELEN Soprano 

PANTAUS Contralto 


Celestial Phalanxes. Mystic Choir. 
Cherubs. Penittens. Wayfarers, Men- 
al-atros. Huntsmen. StudenU, Citi- 
zens. Populace Townsmen 
Witches Wizard*. Greek Chores. 
Sirens, Naiads. Dancers, Warriors 


Arrigo BoIIo well deaervei a coiupicuoiu place amonK the great modern compoaera. Hia 
Mefiatofele ranka with the maateipiece* of madem Itaiy, and contain* acenea of great beauty, 
notably the Garden Scene, with iti lovely miuic, and the Priaon Scene, in which die patbo* of 
the demented Margartt't wandering*, the beautiful duet and the (letizy of the finaie are 
pictured by a maatei hand. 

The story of Bolto'* opera ia directly drawn from 
Goethe* Faatt, but the compoaer haa choaen epiaodea 
from the whole of Goethe '• atory, not confining hiniaelf 
to the tale of Gntchai, but including the epiaode of Heltn 
of Troy. In hia M^alofdt Bolto haa followed the great 
poet* work more dooely than did Gounod'a librettiat, and 
the work ia a deeper one in many reapect*. 


SCENE— Tfta Rtgiora ofSpact 
The prologue to Bolto'a opera i* a moat impreaaive 
acene, which take* place in the indefinite region* of *pBce. 
Invi*ible angela and cherubim, aupported by theceleitial 
trumpets, *ing in praiae of the Ruler of the Univeiae. 

M^ilttfde i* Tepreaented hovering between Hell and 
Earth, denying the power of God. He addresaes the 
Almighty in a mocking manner: then diacusaing FauMi with 
the Myitic Choru*. he wagera that he can entice the philoa- 
ophei from the path of viitue. The challenge i* accepted, 
and M^ttoftlt disappears to begin his plots against the 
■oul of Faatt. 

ACT 1 
SCENE \—A Sqaare In Frankfort— Eatter Sunday 
Hie aged philoaopher, Fauat, and hi* pupil Wagner, 
while mingling with the crowd, observe a grey Friar who 
■eem* to be shadowing their movemcnta. Fm 
and says to Wagnti: 

SCENE ll-ThtSlaJlo of Fault. It U Night 
Faatt entera, not obaerving that the Frfor *lipa in h, 
kind him, and conceala himself in an alcove. The agr 
philoaopher deliver* his soliloquy, Dal campi. 

Dai catnpi, dai prati (From the Green 

Alberto Amadi. Tenor 

(In Italian) •63313 lO-ioch, I0.8S 
> love for Goci 


ing; mr 

And vb. 

Ihe vatlcT*. which 
leep, I mme 


» God! 

The Friar appean, uid throwing off Kia dbsuue, TeveaU himael{ a» the Devil, offering to 
obFoiuI'i lervant if he will •ccompany him. "What is the price>" uk* the phjloaopher. 
"Up heie I will obey thee," uya M^ilojde, "but below our placeawill be revened." Fault 
uyi he cares nothing for the future, and if M</iif(/e/e can give him hut one houTof happiness, 
for that one hour ha would sell his souL The bargain is made and they act for^ on thair 

SCENE— TAe GarJtn o/Margarel 

Fatal (now a handsome young man 
known aa Htnry) is atmlLng in the gar. 
den with Marganl. while Mtfiitofde, as 
in Counod'a veiaion, make* sarcastic love 
to Martha, whom BoUo has pictured as 
Margartl'i mother. Fatal pleads for a 
meeting alone with the maiden, but she 
darea not consent because her mother 
sleeps lightly. He gives her a sleeping 
draught, enuring her that it will not 
harm her mother, but merely cause her 
to steep soundly. The scene then sud- 
denly changes to the mountains of 
the Brocken. 


The Smnmil of the Brocket 

This scene shows a wild ipol in the 
Brocken mountains by moonlight The | 
wind is whiitUng in weird gusts. Mefi~ 
ilo/ele is helping Fatal to climb the | 
jagged rocks, from which flames n 
and then dait forth. Will-o'-the-wisps | 
flutter to and fro, and Fatal welcomes 
them, grateful for the hght they give. 

Arriving at the summit, Mefitto/tlt 
summons the inFcmal host — demons, I 
witches, wizards, goblins, imps — and I 
presides over the salanic orgies as Kj 
All pay him homage and dance in w 

est joy as he breaks into fragment ^^^^ ,is.un „, »„.u~»,^, 

glass globe, typifying the earth, crying : 

" On its surface vile races dwell, degraded, toilsome, quarreling among themselves. They 
laugh at me, but 1 can laugh also I" 

Fatal now sees a vision of Margartl, on her way to prison for the murder of her mother 
and her babe. A led slain on her neck horriiies him, but M^ilofelt laughs and say*, "Turn 
away jrour eyes." The act closes in a riotous orgy, the demons whirling and dancing in a 
mad revelry. Tfiia wild scene ia graphically pictured in Kreling'a painting, reproduced 


SCENE— TAe PHwn ofMargar, 


Tbcy declare 'twiB I that iltw him! 
Cold ihe air is, the daik cell nurrow. 

Like Ihe Iimid woodland sparrow, 
Lonss to Hy; ah. lo fly off, fai, far awayl 
' M^tlafde now enters, {ollowed by Fautl, who b«8a 
the demon to uve Margartt. The fiend reiniiid* Fmul 
that it ic hU own fault, but promucB to tiy, and goo out. 
Fmitl goea to MargenI, who doe* not know him 
and ia f lightened, thinking her juletB have come (or her. 
He urge* her to fly with him. and dbey «ing a (endet 
duet, Far Aieag. 

Lontano, lontano (Far A'way) 

By Gertldine Fatrsr and Bdmond Clement 

ilnhallan) 89114 12-iiielu I2JX> 

Maicaxet and Fauit: 

O^f'wB^B of" ""dtspreadi^"!^™; 
|Mid peslaiors exhaled bj; the >es. 

The flight of itl hearts that are loving. 

Away'"* thalTsland far distant'"' 
The return of M^aloftie drivea MargartI into a frenzy, and she refiues to leave (he 
ptiaon. finally falling into Fauil'i arms in her death agony. Her aenaes returning for a brief 
period, ahe Eoigives him and diea. while a chorua of celestial beinga announce that her aoul 
ia saved. Faaat and Af<9f(to/e/e diaappear jtiat aa the headsman end jailera come to conduct 
Margartt (o execution. 

The Night of the Oaalcal Sabtalh 
We are now tianapoitcd to diatanl Greece, where M^ttfffde has resurrected the beautiful 
Hden of Tray for the further temptation of Faud. The scene shows an enchanting spot on 
the hanks of the Peneui^ with the moon shedding a golden light upon Htlen, PunfoUi and 
groups of Sirens. Faiat and M^atofde enter and the former soon forgets all else in the love 
of the fair Grecian. Mefitlofelt, however, feels out of place in this classic ncighhorhood, 
and leaving Fauil in the aims of Helen, returns to the Brocken. where he amuses himself 
with hia aatanic crew. 

SCENE— Fousf'i ShiJlo 
Faatt haa returned to hii studio, again old and feeble and full of remone for his past life. 
He bos tested the pleasures of earth and found them empty. He sings his famous epilogue ; 

Giuttto 5ul passo (Nearing the End of Life) 

By Alberto Amadi. Tenor (In Italian) '63913 lO-ioch. I0.B9 

M^tlofde enters for his final triumph, but Faa$l turns to the Bible luid seeks salvation. 

Mffittiffele, in desperation, summons the Sirens to his aid, hut Faual, leaning on the sacred 

book, prays for forgiveness, and the defeated M^tlofett sinks into the ground. A shower 

ot roaes, a. token (^ Fautt'i aalvation, falla on the dying man aa the curtain deacenda. 

NOT$— MefiMofelequcttticDtinlnjaiilHDiiioaKhrdia. brptnniiHi. (Cdct'i 1880, OliTer Ditoi Q^nar) 

(Mefistofele Selection By Veaaella'a Italian Band!.. ,,_ ,_ . . •> a. 

t For.aJelDe»ttf«>Soler^n<ir,q«t»Vora £!p KewJ/oj Ban./)'*'*" 13-iach. »1.3a 

fDai campi. dai prati By Alberta Amsdi (/n llallan)\., 

IGiunto *u] paMO By Alberts Amsdi (/n llalian)r' 


M-63313 lO-ioch. 



{Dm Ml/ .^r Jim 




Bodi text and music by Wagner. The idea of the opera was lUgBciled to the com- 
poser in boyhood, lu waa Tanohlluter, by the Teading of one of Hoffmaon't novela, and ivaa 
planned as a kind of budesque of the Mlnnalnga contest in TannhHuser. First prodiiction 
in Munich, June 21, IS66. Vienna first heard the opera in 1670; Berlin (he same year- 
Ulpwc in 1872. and Milan 1690. 

The first performance in England took place at I>ruiy l^ane. May 30. 1882 ; an Italian 
version was given at Cove nt Garden in 1SB9, and an English production by the Carl Roaa 
Company at Manchester in 1696- 

In 1888 it was given for the first lime at Bayreuth; and the first Atnetjcan production 
took place at the Metropoiilsn Opera House, New York, huiuary 4, 1886, with Fiacher, 
Staudigl, Kemlitz. KrUmei, Kiauas and Brandt. Some notal^e American productiona oc- 
curred in 1901, with de Fleszke. Gadski. Schumann -Heink. Dippel and Bispham : in 1905. 
with Van Rooy. Acle and Burgstaller, and some forty Metropolitan perfor 
Gatti-CaaazzB, with Tarious fine casts. 


HANS SACHS, cobbler, 


POCNER. goldsmitK 




NACHT1CAU buckle maker. 



KOTMNER. baker. 
ZORN, pewterer. 




ElSSUNCEa grocer. 


MOSER. tailor. 


ORTEU soap boiler. 


SCHWARZ, stocking weaver. 



conian knight 

.a your 

g Fran- 


DAVID, apprentice to Hans Sachs. . . 


EVA, Pogner's daughter 

Sop ran 

MAGDALENA, Eva's nurse 


Burners of all Guilds, Journeymen, Apprentices. Girls and People 
ScoK.- Nanmhtrg la iht middle of Ihe tbdanth ctntarg 

To the (q)era-going public in general Meistersinger is the mort 
entertaining of all ibe Wagner operas. Its gaiety and tunefulnewi arc 
charming, and iu story eawly understood by an audience, which 
cannot be said of mort of the works by the master. 

Tie humor is essentially Teutonic— an inlerminglmg of play- 
fulness, satire, practical jokes, and underneath ail anmelhmg (rf 
seriousness and even sadness, while the romantic element, provided 
by the lovers. £m and Waller, is not lacking. , , , , , 

The opera U a satire on the musical methods of the day. of 
the Reformation, the medi-val burgher, life in Nuremberg being 
pictured with a master hand. The love, of Jfflft" and Ew; .he 
noble philo«>phy of Saeh,. the cobbler-poet; the envy of the tidicu- 


nd the 

youthful frolic* of Daeld — all 
are *urTouncled by ■ome o( 
the moat gloriou* muiic 

The first act opena in 
St. Catherine* Church at 
Nucemberg, wheie Eva, 
daughter of the wealthy gold- 
■mith Pognt,, and WaUer. a 
young knight, meet and fall in 
love. When tCaAirleBma that 
Eca't hand haa been promiaed 
by her father to the winner 
of the aong contest, he re- 
•olvea to compete.and renuina 

the meeting of Maater- 
•ingen. Btclpnattr, who alao 
wiahea to many £«a, ia chosen 
marker, and under the rigid 
rule* of the order gives Wahet so many bad marks that he is rejected in spite of the influ- 
ence of Han Sacht in his favor. 

Act 11 shows • street, with the houses of HanM Sach and Pogner on opposite sides. The 
apprentices, who are putting up the shutters, plague DaalJ on his affection for MagJalena, 
Eoa't nurse. Saehi drives them away and sends DadJ to bed. then sit* down in his 
doorway and soliloquize*. He cannot forget the song which Waller delivered before the 
Mastersingers — its beauty haunti 

The «ld«r's 

And yel— it hiunia me' still. 
I feef. but ccnnprehcnd ill: 


lU i 

wilh Ihis did 

Eva now learns of WalUr'a rejection 
and is so indignant that she promises 
to elope with him. The lovers we inter- 
ninted and forced to hide by BaJi^tuti, 
who comes beneath Eva'i window for 
the double purpose of serenading her 

and rehears: 

Sacht, hearing the tinkling of the lute, 
peeps out, and just as Beclpnattr 

fi«j(f7i«»ria greatly annoyed and says 5acAs must be drunk. Afters long altercation with 
the cobbler, Beclpnater finally atarta hi* song, but a* Sacki continues to hammer on his shoe at 
each mistake or wrong accent, Secj^iiBMcr gets badly mixed, and delivers himself of this doggerel: 



Tia b<cauH • dliuff 

rhe«/Dfe is the i 
Ai I Slid ID be 

: neiKhbon now begin (o put the 
■ ana inquiTe who ia bawling ther 
" indow and signal* to 

. become* jealoua and attBcka Btcl(nitt$tr, 
brings everyone into the street, and the curtain falls 
thing resembling a riot. 

Act III opens in Saelu' workshop. WaUtr, who had 
the night with Sachi, coraes in and tells the cobbler of a 
wonderful melody which had come to him In a dream. 
They write it down and leave it on the table. fKoffsrgoea 
out and Bedcmtutr enters, sees the aoaa, and questions Saclu 
about it. Saclu makea him believe it is hia own and offers to 
give it to him, having conceived a plan to force the Master' 
singer* to consent to the appearance of Widttr. Btdanaut 
is overjoyed and runs out tO learn the song. Eaa enters to 
get a shoe Rtted, and now ha* fuUyrevealed to her the rioble 
character of Haia Sacht. 

He calls in Afa«Ja/cna and Danf./, who aredrcHcd for the Eea- 
tiral, andtelU them he vnahesthem for witnesses for a cJiristen' 
ing. AH look amazed, and Sachi explains that he wishes to 
christen Sir Waltet't Master Song. As no apprentice can bi 
David by creating him a journeyman. Eoa, in the rapture of h< 
the Prize Song : 

SlUUi.^ all 
TliiiVfi 111 1 


SCENE 11—^ FlelJ on the Shora of the River Pegnllz 

The •cene auddenly chansei to an open meadow on tka 
banks of the Pegnitz, where the contert ii to be held. The 

rclacle i* a briUiant one. with gaily decorated boat* dia- 
Tgins the variou* Guilds, with the wives and f amiliea of tha 

march to take their place* on the platform 

and in 

I a nobU 

address state, the terms of the contest. 

A Maiter, noble, rich and wiK, 

Hij on^y ehild, the highest pri» 

With all fail wealtb snd treaiure. 

He offers ii inducement strDni 

To him who in the art of long 

Ai Victor shafr apptin 

Thi. crown's of worth infinite. 

And ne'er in recent days or olden 

Bjr »ny hand » highly holdeti. 

Ai by this maiden lender: 
Good fortune may it lend herl 

(Creal jltr among all prtsenl. 


up to Potter, who pressti hit j 

hand. d. 


efforts to 

commit tValter'i song to memory, wipes his 

heated brow and 

begins, fie confuses his old melody with the new one, lot 
his place, mixes his linca, and is forced by the laughter 
the people to stop. In a towering rage he accuses Sachi of 
plotting his defeat, then flinga down the song and ruihea 
off. Sachi calmly picks up the scroll and remarks that the song 
tsa very fine one, but that it muat be rendered properly.and 
suggests that Walter be allowed to try it. 

Preislied (Prize Song) 
By John McCormack, 

(/-. English) 
74479 12-incb, tl.SO 
By Evan Williams 
(In English) 
74115 I2>mch. 1.90 ' 
By Mitcba Elmsn. . 

7418t) 12-ineh, l.SO 
By Lambert Murphy, Tenor 

(In German) 700B0 I2<inch, *1^5 
By Beatrice Harriaon. 'Cellist 

*S9067 la-inch, 1.90 
Walth (dAo has difendrd la Ihe platform with 


ii withoHl iiim- 

Wtaose ctuTTu bf/ond a 
Enlnnced my brait— 
Etk, id ParadiKi 
Thi People Ijoltly to ani 

Eea, who hu liatened with npl Bttenbon, now 
advance! to the edge al the plBtform uid place* on 
the head of Walia, who kneeli on the Meps, a 
wreath of myrtle and laurel, then lead* him to 
her father, before whom they hoth kneel Pogner 
extend* his hand* in benediction over them, and 
preaenta the emblem of the Maaten* guild, which 
WaUtt ia loath to accept; but Sacht, grHping 
WalUr'i hand, aaaurea him it ia hia due. 

Difparagc not the Masitrs' way*, 
a") thcy^can give of biiheit praiae 

Walla and Esa lean againat Sacht. one on each 
aide, while Pogntr aink* on hia kne« before hiin 
aa if in homage. The Maateriinger* point to Socht, 
with otitatretched handa, aa to their chief, while 
the'p'dtice* clap hand* and shout and the people 
wave hats and kerchief* in enlhuaiaam. 

/Price Song 
I Art Maria (Schutatj 

r elude By La Seal* Orcheatral , -,j^_ -_- „i, , _, 

Mafic nuhOoeriu,, £%, ia Sm/« OrcAeii™/**"' l»-mch. 135 




Text by Barbier ntd Cure, basea upon Goethe'i mihtlm Md,tit. Muiic by Ambroise 
Thomu. Fin! production at the Opira Condqat, Parii, November 1 7, 1 866, In London at 
Dniry Lane. 1870. Fint New York in-oductioD November 22, 1872, with NiImod. DuvbI 
and CapouL Revived at the Metropolitan in 1900; with de Luiaan, Adam*. Selignac and 
Ptancon; by 0«cat Hammentein in 1907, with Breuler-Gianoli, Pinkert, Bonci and Arimondi. 
and at the Metropolitan in 1906, with Farrar, Jacoby, Abott, Planfon and Bonci. 

Character! of the Drama 

MICNON, a young girl ilolen by gypiiei Mezzo-Soprano 

FlUNA {Fll-l^'-nal,), an actreu Soprano 

Frederick, a young nobleman Contralto 

WlLHELM. a Mudent Tenor 

Laertes (Laur'-lta), an actor Tenor 

Lothario (Lok^^uK■••t4>l•). ■» Italian nobleman BaMO Cantante 

ClARNO (/m/i/-nth), a gypsy Baaa 

Townifolk, Peaaanti, Gyptiei, Actoia aod Aclreaae* 

The jcene ^ Ach I aai II it laid In Gemai^ ; ^ Ati HI In ttaly 

Overture to Mignon 

Part I and Part II By Victor Coitccrt Orchcatra 17909 10-ineh, *0.S5 

Part I and Part II By La Seala Ofchama 6B029 ll-inch. 1.39 

The overture it full of the grace and delicacy for 

which Thama*' muaic ia celebrated, and contain* the 

principal themea, notably Flllna 'i daahing " Palonaiae." 


SCENE — Courtyard of a CiTman Inn 
Mignon, a daughter of noble parents, wai itolen 
when a child by gyptiea, and aa the act open* i* ■ 

K' I of leventeen, forced to dance in the public alreeta 
the brutal Glarno, chief of the gypay band. 
The iint icene ihow* the courtyard of a German 
inn, where townapeople and travelers are drinking. 
After the opening chorus, Lothario, a wandering minttrel. 
enten and linga, accompanying hinucif on hia harp. 

Fugtfitivo e tremante (A Lonely 

By Ceiire Preve, Ban [In Italian) 

*62690 lO-ineh. 
The minitrel it in reality Mignon j father, whose 
mind wat affected by his daughter's abduction, and 
he wanders about seeking her. 

The gypsy band appears and Mignon it ordered 
to dance by Qamo, who threatens her with his stick 

irily refuse*. tVllhelm, a young student, protects her from the gjrpay and 


(French) (En^h) 

Connais-tu le pays ? (Kno^w^est Thou the Land ?) 

(Gernun) (Italian) 

Kennst du das Land ? Non conosci il bel suol ? 

By Marcella Sembrich, Soprano 

By Ernestine Schumann-Heink, Contralto 

By Geraldine Farrar and Fritx Kreialer 

By Geraldine Farrar, Soprano 

By Emmy Dettinn, Soprano 

By Giuaeppina Hu^et, Soprano 

(/n French) 

(in German) 

(In French) 

(In French) 

(In German) 


12-inch, $1.50 

(In Italian) 'I'ddirS 

1 2- inch, 


This air is one of the happiest inspirations of the composer. It is said that much of ifM 
charm comes from Thomas* intimate study of Schetfer's painting, " Mignon.** At any rate he hy 
caught the inner sense of Goethe's ii fci ihig»aiii) - j> 

poem and has expressed it '"l ijfL tA ■ j I J.l^- g J J | J J J / J /Mi-I ^ 
exquisite tones. Ihe opening iy R ■■■** ' I i *^' J ■ * ^ i -*- ^t 

gives us an idea of the melody, one of the loveliest in the entire range of opera. The pas- 
sionate longing of the orphan child wrwa w. / : 
for her childhood home is effectively I At> j l J l ltJ" J J I T 
Bed in this superb climax : l gl""F» •' i "~-r~ ~ I : 

■J.j li-ir B t J j i jy p 


in which Mignon seems to pour forth her whole heart in a flood of emotion. The words 
are most beautiful ones. 

Kaowcft Thou the Land 7 


Knowest thou yonder land where the orange grows. 
Where the fruit is of gold, and so fair the rose? 
Where the breeze gently watts 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 1 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! 

IVilhelm, full of pity for the helpless girl, offers Qamo a sum of money to release her, 
and goes into the inn to complete the bargain. Lothario comes to Mignon to bid her fare- 
well, saying he must go south, following the swallows. 

Then occurs the charming "Swallow Duet.** 

(Fraieh) (Italian) (English) 

Les Hirondelles Leggiadre Rondinelle (Song of the S^w^allo^vs) 

By Geraldine Farrar, Soprano; Marcel Joumet, Baas 

(In French) 89038 12-inch, $2.00 
By Martinengo and Rubini (In Italian) *b7b5 7 10-inch, .85 

Mignon: (accompanying herself on the harp): 
Oh swallows g^y ana blithe. 
Ye Joy of every land, 
Unfold your gentle wings. 
Speed quickly on your way I 


The harp, touched by her gentle hand 

A melancholy sound mysteriously gives forth. 

Mignon: « 

Ye blithe and j^entle swallows. 
Unfold your nimble wings; 
Quick, hasten to the lana 
Where winter never reigns. 
Thrice happy bird, thrice happy bird. 
Who first the wished-for good 
Right joyously shall reach. 

IVilhebn is now invited to go to the Castle of Prince Tieffenbach with the troupe of players, 
headed by the lovely FiUna, who hais observed the handsome student with an appreciative 
eye. He hesitates, thinking of Mignon, but she begs to be allowed to accompany him dis- 
guised as a servant. 

IVilhebn finally yields a reluctant consent, not knowing what else to do, and the act ends 
with the departure of the players. 




SCENE \—A BoaJoIr In Thjfaiiach Caille 
FlUna ia Kated in front of her toilet table, itiuiing Mt 
the hamJaame Wilhthn, who haa made a deep imprei- 
•ion on het •omewhat volatile affectioiu. Wllhdm enters 
with Mignon, who meet* with a cool reception from 
the gay actreat. WUhtIm make* love to Fillna while 
Mignon v^atche* ihem ^th a *ad heart, a* she ha* 
learned to love her new matter. When left alone, 
•he trie* by the aid of Fillna 'i rouge to make her com- 
plexion a* beautiful aa that of the actre** who ha* 
dazzled her maMor. She goea into the cloaet. and after 
IVllhelm ha* returned make* her appearance in one of 
Fillna 'i dreaae*. He tell* her that he mu*t leave her. 

Adctio, Mignon (Farewell, Mitfnon) 

By M. lUgi*. Tenor 

(In FnmJi) *45023 lO-inch, *l.O0 
By Emilia Perea. Tenor (Plana ace.) 

(In Italian) *63410 lO-ioch, .85 

Mignon btwina to weep, refuae* money which he 
offer* her, and i* about to bid him farewell when 
Fillna entei*. and (eeing Mignon in one of her own 
dreaaea, eye* her with aarcaalic omuaement, which 
pula Mignon into a jealou* rage and ahe ru*hea into the cabinet, tear* off the boirowed 
iinery and pula on her gypay garment*. 

SCENE 11—7^ GarJtmo/iha Caitlt 
The (cene change* to the park of the caatlc. Mignon. in deapair, attempt* to throw 
heraelf into the lake, but i* prevented by LolhaHo, who con*ole* her. In a Gt of jeBlou*y 
*he wiihea that fire would conaume the ca*lle in which Fillna had won her macter'* affec- 
tion*. Lothario a puzzled by thia and goea ofi muttering to himaelf. 

The actor* and gueat* now iiaue from the caatle proclaiming the beauty and talent of 
Fllina. In the flush of her triumph she linga the brilliant Polonaa or Polatxa (French, 
Polonalit), one of the moat difficult and •howy of all wipran 

Polonese. " lo son Titanxa" (I'm Fair 
Titania I) 

By Luiw Tetraiiini, Soprano 

(In Italian) 68296 12-inch. *1.50 
By Mabel Garriaon. Soprano 

(InFrtnch) 74489 ll-inch. 1.50 | 
By Giuieppini Hufuet, Soprano 

(In Italian) *3S178 12-inch, 1.39 { 
By Lucette Koraoff. Soprano 

(InFrtnch) *45006 lO-inch. 1 

lo aoa Titaai. 

IBthold rilamtO 

n fair Tiunia, glad and »y. 

iio' Ihi world unfetler'd I blithely « 

I chrcrily dance Ihc hours away. 

Like the bird that freely wings ft* fll(ht 

I blithely do dinu! 
Behold TitiniB. glad and 


iVilhelm now sees Mignon and is about to speak to her when Filina interposes and asks 
her to go to the castle on some errand. The young girl, glad to escape meeting ]Vllhelm, 
obeys, but has no sooner gone than the casde is discovered to be in flames, the half-witted 
Lothario having set fire to it after having heard Mignon*s jealous wish. 

IVilhelm rushes into the burning castle and soon reappears with the unconscious form 
of Mignon, while the curtain falls on a striking tableau. 


SCESE— Count Lothario' » Castle in Italy 

This act takes place in the castle of Lothario, to which the old man has instinctively re- 
turned with Mignon, followed by IVilhelm, who now realizes that he loves his youthful ¥rard. 
The young girl is recovering from a dangerous illness, and as Lothario watches outside her 
sick room, he sings a beautiful berceuse or lullaby. 

Berceuse (Lullaby) (Ninna nanna) 

By Marcel Journet, Bass (In Italian) 74270 12-inch, $1.50 

By Cesare Preve, Bass {In Italian) *62650 10-inch, .65 


I*ve soothed the throbbing of her aching heart. By day and night some heav'niy spirit 

And to her lips the smile 1 have restored. Tne maiden doth protect ; 

Her weary eyes at last have closed On wings celestial, it doth hover round 

In gentle slumber; Protecting her from harm! 

Wilhdm takes Lothario*s place as watcher, and tells of his new-found atfection in a 
beautiful air. 

EUe ne croyait pas (Pure as a Flo^w^er) 

By M. Regis, Tenor {In French) *45023 10-inch, $1.00 

Mignon now comes with feeble step on the balcony, and seeing WilheUn, is much agi- 
tated. He endeavors to soothe her, but she insists that only Lothario loves her. Lothario now 
enters, and announces that he is the Count Lothario, having been restored to his right mind by 
the familiar scenes of his ancestral home. He shows them the jewels and prayer book of 
his lost daughter, and tells them her name was Sperata, Mignon starts at the name and 

* Ah, that sweet name to my ear is familiar, 

A memory of my childhood 
It may be, that's gone forever! 

She then begins to read from the book a little prayer, but soon drops the book and 
continues from memory, her hands clasped and her eyes raised to Heaven. Lothario is much 
agitated and when she has finished, recognizes her as his lost daughter. Father and 
daughter are reunited, while a blessing is bestowed on the young people by Lothario. 


Gems from Mignon By the Victor Light Opera Col 

"Away Ye Friends"— "Polonaise"— Barcarolle, " Now 

On We Sail"— "Pure as a Flower "—" Dost Thou }35337 12-inch, $1.35 

Know *' — " Finale " 
Gems from Tales of Hoffman By Victor Light Opera Co, 

iPreludio, Parte la (Overture, Part 1) La Scala Orchestral ^^^- .^ . ^, , ^^ 

tPreludio, Parte 2a (Overture, Part 2) La Scala Orchestrar®"^* ' 2.inch, 1 .35 

fPolonese— lo son Titanial (I'm Fair Titanial) \,- . -^ . ^ .. , ,^ 

iNonconosciilbelsuol? Giuscppina Huguet {In Italian)]^^^^^ 12.inch, 1.35 

/Polonaise— Id son Titania! By Mile. Korsoff. {In French)\.^g^^^ ygx i^^u i /wi 

1 Ukm6—Pourquoi dans les grands bois By Alice Verlet, {French)r^^^^ 10-inch, l.OO 

/Adieu, Mitfnon (Farewell, Mignon) By M. Regis {French)\.^g^^^ - ^ . ^, , .^ 

tEUe ne croyait pas (Pure >s a Flower) By M. Regis (FrencA)/**®*^ lO-inch, 1,00 

/Fuggitivo e tremante (A Lonely Wanderer) Prcvc, Bass\^^^-^ -^ . ^« „* 

JNinna nanna (Cradle Song) By Cesare Preve, Bassr^^^^ 10-inch, .85 

Gavotte By Maud Powell, Violinist 64454 10-inch. 1.00 

/Addio, Mignon (Farewell. Mignon) Emilio Pcrea, (/fa^anHA-^^Ain in_;«.^k ac 

\ Stelle d'Oro-Romanza By Silcano Isalberti, Tenor (In Italian^r^^^^ lO-mch, .85 

/Overture — Part I By Victor Concert Orchestra\. -^-^^ , -. . ^« a- 

lOvcrture— Part II By Victor Concert Orchestra/^ ^^^'^ lO-inch, .85 




Comic Open in two net*; text by W. S. GJbert; muaic by Sir Arthur Sullivan. FirM 
produced at the Savoy Thealie. London, Maich 14, 1S65. FirM American production at ike 
MuKum, Chicago, July 6, 1865, Followed by the production at the Union Square Theatte, 
New York, July 20. I88S. All (tar revival by Meon. Skubeit and William A. Brady el the 
Ouino Theatre. May 30, 1910. Revived at the Maje*tic Theatre by (he GUbert and SullivMi 
FeMival Company. 1913. The moat popular of all the Gilbert and Sullivan operetta!. 


MIKADO of Japan. Baritone 

NaNKI-POO. hi* aon, diiRuiaed aa ■ minstrel, in love with Yum- Yum. . . .Tenor 

KO-KO, Lord High Elxecutioner of Titipu Comedian 

PCXJH-BAH, Lord High Everything El»e Bau 

PlSH-TUSH. a noble lord Baritone 

YUM-YUM. Pim-SlNC. PEEP-BO, wards of Ko-Ko Soprano* 

KATtSHA. an elderly lady, in love with Nudci-Poo Contralto 

Schoolgirl*, Noble Guard, and Coolies 





li laid In Jafian ; pmtnl timt 
:n the greatest popular favorite of all comic 
eighlie*. The story is so generally known that a 

brief outline of the plot i* oil that is necessary here. 

Nankl-Poo i* in love with Yum- Yum, who i* betrothed to her guardian, Ko-Ke, Lord 
High Executioner. Poo-Bah, "retailer of state secrets at a low figure," tells Nankl-Poo of his 
sweetheart'* betrothal to another, but the young man *ecures an interview with Yam- Yum 
and confesses he is the MikaJo't son, di*guised in the hope of escaping punishment for hi* 
refusal to marry KalUha. Ka-Ko receives a message from the Mli^Jo, telling him he must 
see that some one in Titipu 1* beheaded within the month or he will joae hit position, which 
message interferes with the Lord High Ejiecutioner't matrimonial arrangements. Nani(l-Poo 
agree* to aacrifice himself if he may marry Yam-Yam and have her with him during the 
intervening month. Thi* is agreed to and the wedding plan* are made. 

At the opening of the second act Yum-Yam it preparing for the ceremony. While 
talking with NarJ^-Rio she is interrupted by Ko-Ko, who tells her that according to (Im 


Uw, wKen B mxried man u executed hi* wife is 
burned alive. Tliit new* coola yam- Yam i ardor, 
but Nanicf-Pee, to wve her, ■wean that he will 
that day perform tke Happy Diipatck or han-kaii. 
Aa thii would be dangerous for Ko-Ko, he prom' 
iaes in alarm to sweat falsely to the execution of 

The Mtkado now arrives and Ka-Kc tells him 
the execution has taken place, but the MikaJo, on 
leaming who the victim is, flies into ■ rase and 
says he has beheaded the heir to the throne, and 
must himself suffer torture for his act. However, NaiJ(l-Poo opportunely appears and Ko- 
Ko gairts his pardon by marrying Katliha, while Yum-Yum and MinJf-/^W are happily united. 

35991 12>iiH:h. *1.35 

Gem* from "The Mikado*'— Part I 

Qusrlet, "Behold the Lord HiEti£x«iitisDei"— Solo and Cfaoru 
Tts Flowers thM Bloom in tliB3prina"—Won»D'j Trio, "Thiei 
Lillle Maids-Solo .Xit-Willow- -DuK snd Chonu. "Ho'. Corn 
and Mairied Yuin-YDm"-aionu, " Wiih Jorfol Shout" 
la from "The Mikado"— Pan II 

Chorus, "Ceodsmsa oEJ»pan"— Solo, "A Wwidoina MiMtrol"- 
Solo and Qiuilat. "A Sons of ihs Sa"— Solo. Moon Sana - 
Dii«L " Emperor of imomn — Solo and CfaoTus, " My Obiott Al 
Sublinu"-Fin.1e. Ad I 

By Victor Litfht Opera Company 
Yum-Yum*i Song — The Moon and I 

By Martfaret Romaine, Soprano 60132 lO-inch. .79 
;Madri«aIe— Brightly Dawns Our Wedding Day | 

By theLyric Quartct[l7226 lO-iaeh. .85 
_ Marthit—Geod Night Quorfef Bu iht Lyric Quarltt] 

^t^sSS^pSn ByVi«o,Co.c«0„l„«.}.,.»I .0-«.h, .85 
..;ado Waltse* By Pryor's Baodl,,,,. ,, . .i , -, 

&«. »/ Nt«, York SdocHon Bs Pryor-. Bandj'"** 12-mch. 1.35 


(Fnaeh) (Enaluh) 



Worda by M. Cant, from MltHo, Proven^! po«m by Mi«tr«l; music by Gounod. 
Fini venion given nt Saint Rimy- de-Provence, under ihe direction d( the composer, in 1663. 
Produced in Pnria Much 19. 1664. Reduced to three act*, with the addition of the walt& 
and reproduced December 15, 1864. In London, in Italian with Rve acta, aa Mirella, July 5, 
1064. The firit performance in America waa given by Mapleson, at the Brooklyn Acad- 
emy December. 16d4. with Nevada, Scalchi and VicinL Given at the New Orleana Opera. 
January 29, 1665, in Italian. April 23. 1665, given at the Academy of Music New York, 
vrith Patti in the caH. Revived at the Metropolitan Opera Houae, New York, March 8. 1919. 


Ramon, a rich farmer Elaaa 

MlRELLA, his dauihter Soprano 


VlNCD^TTE, r" '*"<'«» {Meno-Sop^ 

TAVENA, a fortune-teller Contralto 

OURMAS, a bull tamer Baritone 

Peasant) and People ; Pilgrims 

Minlla, which came later than Faoit in order of production, is an example of the more 
delicate art of Gouitod, and the story of the faithfulnen of the heroine for her peasant lover 
is reflected in the music with true Proven^ warmth and color. 

The librettist look for his subject the pastoral poem MlrHo, by the beloved poet of 
Provence. Frederic Mistral, and Gounod has given it a tuneful setting with much loc^ color, 
including many folk-songs. 

The Rrst scene opens in a 
mulberry grove, where Mlrdla 
is teased by the village girls 
about her attachment for 
Vinctnl, the basket-maker. 

Taoena, the fortune-teller. C^^^V^h^Mi^KT^HB^H Ufl 
warns the young girl that ■^^^H^^B^^Du^^^H iV« 
Ramon, Mlnlla'i father, will -^^— ^-^^^--^^^^^^ • ^^ 

Mirtlla meets Vlncenl and the 

gotten. Tlie lovers renew their 
pledges and agree to meet soon 
at the Chapel of the Virgin. 

The young girl is also in- 
formed by the fortune-teller 
that yinctnl has a rival, a wild 
herdsman, who has asked 
Mlrdla't father (or her hand 
and obtained his consent. 
When the herdsman appears 
MiKlla repulses him, declaring 
her inevocable attachment for KJircenl. She then starts on the long journey across the desert 
to meet her lover at the chapel, and on the way meets Taotna, who assures her that Vincent 
will be waiting for her. The journey proves almost too much for the young girl's strength, 
and when she finally orrives at the chapel she is completely exhausted, and faints on the 
threshold. Vlnctnt soon appears and ministers to his fainting love. Ramm, who has 
followed his daughter, soon appears, and moved to pity by her sad condition, gives his 
consent to the union of the lovers, and all ends happily. 
rMurctla Overture By Vesiella'* Italian Baodl,.._, _ . . „ 


Opera in three acta; text by Joaeph D. Redding; miuic by Victor Herbert. Pint pro- 
duced by tbe PhiladelpkiB-ChicaBO Opera Company, at the Motnipalitan Opera Hotue, 
PhiUdelpbia. February 23. 191 1. Firtf New York production February 28. 191 1. 

Character! and Original CaM 

OON FRANCISCO DE LA GUERRA. a nobte Spaniard Ban (Huberdeao) 

Barbara, hia daughter Soprano (Grenvillel 

NATOMA, an Indian girl Soprano (GBrrJen) 

Paul Merrill, LieutenanloftheU.S.Brig "Liberty". .Tenor (McCormack) 

Juan ALVARADO, a young Spaniard Baritone (Sammarco) 

IOS£ Castro, a kal(-breed BaHtone (Preisch) 

FATHER PERALTA Padre o{ the MiwiMi Church Ban (Ehidanne) 

Pico, KAGAMA. Comradnof CaMro <Crabb«) (Nicohy) 

American Officen; Nuna; Convent Girb; Friar*; Soldier*; Dancer*, etc. 

Sctnt anJ Period : California, uadtr Ihe Spanlih i^ghne, 1820 

Victor Herbert'* Natoma treat* of one of the n)o*t romantic period* of American his- 
tory, the •cene being laid in California in the day of Spanish rule. The atoty centre* 
around Naioma, an Indian girl ; Boiban, the lovely daughter of Don Franduo Je la Giuna, 
a noble Spaniard ; and Uaal. Paul Merrill, of the U. S. Navy, who i* loved by both Natoma 
and Barbara. 

SCENE— //ac(B»/a o/ ftin FranclKO on iht Idand of Santa Craz 

At the <^ening of Act 1 Dan Franclica i* gazing over the water* of the Santa Barbara 
channel waiting the coining of kia daughter Barbara, who i* leaving the convent at the eloae 
of her sduxd day*. Alearado, a young Spaniard and Bartarv'i couain, who ■■ anziona to 
marry the young girl and tku* gain control of the vaat eatate* loft her by her mother, ia 
al*o anxiously waiting her arrival. Naioma has met Lieutenant Paul and there is alreaib' a 
bond of *ynipathy between the handsome Indian maiden and the young ofiicer. The 
two are now seen approaching, the Indian girl innocently telling the young officer that 
her nkiatre**, Baibata, is very beautiful. When Barbara airive* and meet* Paul it is a case of 


Hlove at Bttt aiBht, and later, when Atoarada ureei hU suit, the 
young girl haughtily rafuiei kiiti. In a rage he plota with Cuba, 
the half-breed, to carry Baihara off to the mountain* the next 
day, when the celebrations in honor of her coming of ago ate 
at theii height Thii plot ■■ overhearil by Natoma, who ia con- 
cealed in the arbor. All the gueata lake their departure, and 
Baihata, alone on the porch in the nioonlight, declares hei lore 
for Paul. The young lieutenant appears and they nng an im- 
passioned love duet. When a light ia seen in the hacienda, the 
young girl, thinking it ia her father, urges Paul to take his de- 
parture, and goes into the hacienda. A* the curtain fall* 
Natoma, who realize! that her miatreas is now her rival, is seen 
■eoted alone in the window gazing out into the night. 
SCENE — Plata at Santa Barbara 
In the dim light of early morning the Spanish soldiers qi- 
pear, the flag of Spain U raised, and trumpeters and drummers 
play the national salute. The vaquetos and rancheros arrive, 
while the dancing girls join in the revelry. 
Don Frandico and hii daughter appear on horseback, with 
Natoma walking by theii side. The guests assemble, and after 
the Castilian custom, Don FrancUco places on his daughter's 
' row a woof of royal lace, signifying that 

Spring Song (I List the Trill of Golden Throat) 

By Alma Cluck (InEngllth) 743^4 12-in. *l.SO 

The sailors from the U. S. S. iJbaty appear, and with them is Ueateaanl Paul, who pre- 
sents hii commander's compliments. 

The Panuelo. or "dance of declaration." follows, in which each man places his hat on 
the head of the girl he loves. Bartara infuriates Alaarado by gaily tossing his hat into the 
crowd when he places it on her head, but before he can apeak Cmfni appears and dares 
any one to dance with him the ancient Dagger Dance of California. Natoma accepts the 
challenge, and they dance to the wild and barbaric rhythm. 

Dag(;er Dance 

By Victor Herbert's Orchestra 70049 13>iach *1.35 

As the scene becomes more absorbing, Alaarado and Pico sUp cloae to Baiiara, and. 
throwing a scrape over her head, attempt to carry her off. Natoma, who has been watching 
Altarado, rushes wildly past Cattro and plunges her dagger into the Spaniard, who (alls life- 
less. The crowd rushes at Natoma to avenge the death of Alearado and Paul draws his 
sword to protect her. Suddenly the Mission door opens, and Father Peralta alowly 
advances, holding aloft the crou. The people kneel, and the Indian girl, dropping her dag- 
ger, approaches the priest and falls at his feet. They go into the church as the curtain fall*. 

ACT 111 ' 

SCENE— /nfertor of the Mlulon Church 

Natoma is seen kneeling at the altar, invoking the Great Spirit to give her vengeance 
for her misfortunes. The old priest seeks to calm her. and finally strikes the one re- 
sponsive chord in her heart — her love for her mistress. He convinces bet that she can yet 
make her mistress happy, and that fate has decreed the union between Barbara and Paul. 

The church now Rlls with the people, who respond to the words of Fathtr Ptralta. 
Paul and Barbara sit near the altar in opposite pews, and at a sign from the priest the Indian 
girl walk* down the aisle to where they are seated. Under her spell they kneel, facing the 
altar, and Natoma. lifting the amulet she wears around her neck, bestows it as a blessing on 
her beloved mistress. Turning, she walks toward the convent garden, and as the priest in 
the pulpit raises his hands in benediction, the doors of the cloister close upon her. 

A Iprovdiir): Then fulfill Ihy fate, and follow him! (Act 1.) 



Book hy Felice Romani, (ounded on an old French atory. Score by Vincenzo Bellint, 
Pint production December 26, 1S31, at Milan. First London production at King's Theatre, 
in Italian, June 20, 1833. In Engliah at Dnity Lane, June 24, 1837. Flrit Paria production 
Theatre de* lialieiu. 1633. First Vienna production, 1633: in Berlin. 1834. Firrt New York 
production February 25, IHI. at the Park Theatre. Produced at the New Orleans Opera. 
I)ecembet 31, 1842. Other American production*: September 20, iB43, with Conini and 
Perozzr: October 2, ISM, with Griai, Mario and Suaini, at the opening of the Academy of 
Music: and December 19. )S9I, at the Metropolitan, with Lehmann. Recently reTived by 
the Boston Opern Company. 


Norma, High PrieMes* ai the Temple of Esua Si^ano 

ADALCISA, a Virgin of the Temple Soprano 

Ct-OTILDE, attendant On Norma Soprano 

f'OLIJONE. a Roman proconsul commanding the legions of Caul .Tenor 

FLAVIO, his lieutenant . Tenor 

OROVESO, the Arch-Dniid. father of Norma Ban 

Priests and Officers of the Temple. Gallic Warriors. Priestesses and Virgins 
of the Temple, two children of Norma and Pollione 

SetiK anJ PtriaJ ! Tht « 

li laid In Gaol, thortly afttr tht Reman conqaat 

Norma, although an opera of the old school and seldom performed nowadays, c< 

some of the loveliest of the writings of Bellini. Its beauties are of the old-fashioned kind 
which our forefathers delighted in, and which are an occasional welcome relief from the 
abundance of "music dramas" with which we are surrounded of late. Eapscially chann> 
ing is the apirited overture, always a favorite on band programs. 



Overture to Norma 

By Artbut Pryot'i Bind 

* 35166 12-ii 


The tcene is laid among the Druids at the time <rf the Roman invasion. Norma, the 
HilJ) PrieMess, though sworn to bring about the expulsion of Rome, is aectelly married to 
a Roman proconsul, Palllont, by whom she has two children. She rebukes the Druida (or 
wishing to declare war, and after the ceremony of cutting the mistletoe, she invokes peace 
from the moon in the exquisite prayer, Ceila Dioa. 

Casta Diva (Queen of Heaven) 

By Marcella Sembrich, Sopraao {In Italian) 8B104 la-inch. 11.50 

By Giuaeppina Huguet. Soprano {In halian) * 16939 lO-inch, .85 

n popular favor, its beauty and tenderness raak- 

rcneai. atone diidainmg 
leaven, hallow'd by thr 

F forrst 

Di$cncuRil>C['d of sught n 

In the next acene Norma diacovera that her husband loves AJalgfia, and in her rage she 
contemplates killing her children: but her mother's heart conquers, and she resolves to 
yield her husband and children to AJalgtia and expiate her ofiences on the funeral pyre. 
AdalglM pleads vfith hei, urging her to abandon her purpoae, and offers to send PoUlont 
back to her. 


1 1 Iff Mr H in the Htat Mt, Norma, (amiliar to every munc-lover. 

Mira o Norma (Hear Me. Norma) 

By Alms Gluck. Soprano, and Louise Homec. 

Contralto {In Italian) 89101 12-inch, fl.OO 

By Ida Giacomelli, Soprano, 
and Una Milcri, Contralto 

(/n liaUan) * 62)01 ICineh, .69 
By Francis I^ipitino, Harpiit * 11929 lO-inch, .89 

phintomi. f.r mar. 

Polllont rcEuKi to return to Norma and at 
foil* th» Bttempt and reaaoni with him, tellii 

In mia mano (In My Grasp) 

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

(h Italian) * 6S309 I2-inGh. *1.39 

Noiua: In my Erii»> alihnugh I have thee. 
Yel Hitb kind inlent I bur me: 
And can free ve. Hear me: 

Ad^fgisa'to'relmqiiish' ""' * '"""' 

And thia hcinaiia love futinguiah; 

Then Ic Hades tby aoul 1 aend not! 
Pollltmt still refuses, and Norma strike* the aacred shield to summon the Druids. She 
declares war on Rome and denounces Polllone, hut offers to save his life if he will leave the 
country. He refuses, and she is about to put him to death, when love overcomes justice 
and ike Priestess denounce* herself to save Pelllont. Norma'M noble sacrilice causes his lore 
to return and they ascend the funeral pyre togelker. As the flames mount about them 
they are declared puriRed of all sin. 


CUeron Ovtrlart {tVtttr) 
In mia mano alfin tu lei (In My Grasp) 

By Ida Giacomelli. Soprano, and Gino Martin ez-Patti. 
Tenor (In Italian) I 

Faoarila—Fia otro laadarll {Shall I LtaOt Thtt » 

By Clolllde EtposJto, Soprano, ortd Gina Morlina-Palll, Tenor 

(In Italian)] 

/Hear Ma, Normal By Francis Lspitino. Harpist) , -_,_ ,_ -__i. _- 

1 Luda-Prctudt BsFrorKl,Ufilllno.H<irpl,ir^^^^ ICmch. .BS 

ICaau Diva (Queen of Heaven) 1 

By GiuMppina Hufuet. Soprano (In llalian)\ ,,. m ;»-k n« 
Lud<,-Rtgnaca nd .lltnzio (SllerKoO-tr All) p*'* lO-mch. .89 

Bg Gliatpplna Humtt. Soprano (In llalian)] 
IMira o Norma (Hear Me. Norma) By Ida Giacomelli. 1 

{ Soprano, and Lina Milcri. Contralto (/n /la(/on)^62101 10-inch, .89 

1 Camxn—PrduJlo. Act IV By U Scala Orchaira] 


>8309 12-inch, 1.39 




Text by Jamea Robiiuon Plancht; music by Carl Maria von Weber. Firat produced bi 
Covent Garden, London. April 12, 1826^ in Ensliah, under the pertonal direction of the com- 
poaer. Tianalated into Cerman by Theodor Hell, and given in Leipiic, December. 1826; 
Vienna. March 20l 1627: Berlin, July 2, 1828. FirM Parii production, in German, in 1830, 
ma a compaiative failure. Revived at the ThMtre Lyrique. tranalation by Nuiner, Beau- 
mont and Chazot, with (ucceaa, Febni^ 27, 1837. Revived in London, December 7, 1876. 
FirM American production. New York. October 9. 1627. Revived at the Academy o( Music, 
March 29. I870l in Eagliah. with Parepa-Roaa and Mrs. Seguin. The open was nnt sung in 
Italian at Her Ma)esQ''s, London. July 3, 1660, with reciutivea by Benedict, and this veinon 
was given in Philadelphia in IS70. Revived In New York In 1912 and 1916. 


Sir HUON DE bordeaux Tenor 

SHERASMIN. his Squire Baritone 

OBERON, King o( the Fairies Tenor 

REZIA, daughter of Haroun Soprano 

FATIMA. her attendant Mezzo-Soprano 

Puck Mezio-Soprano 

Two Mermaids Mezzo-Soprani 

Haroun el RASCHID, Caliph of Bagdad 

BABEKAN. a Saracen Prince 

ALMANZOR. Emir of Tunis 

ABDAUAH. a Conair 

ROSHANA. Vfife of Ahnanzor 

Chorus of Fairies, Ladies. Knights, etc 


Weber's great overtures show hi* genius better, pcrhapo, than any of his writings. Pre- 
eminent among them is, of course, this immortal " Qberon," with its wonderful inslnimental 
coloring, breathing the very atmosphere of Elfland, The chief elements of the story of the 
Opera are outlined in the overture. After an introduction, the horn of Oberon is heard, with 
the tip-toeing of the fairies represented by the clarinela. Throughout the whole work are 
interwoven the exquisite melodies of Fairyland, and at the dose is heard a portion of Rala't 
air. "Ocean. Thou Mighty Monster." 



'35166 I2-incli. tl.39 



ry of "Ober 

ariginally np- 
■ collection oi French ro- 
mances, "La Bibliotkique Bleue," under the 
title "Huon of Bordeaux." The Geiman poet 
Wieland adopted the principal incidents of 
the story as the haus of his poem. 

The opening scene of the opera occurs in 
Fairyland, where the hi ties are danong 
around the sleeping Oitron, the Elfin-Kins. 
Oteron has quarreled with his fairy partner, 
Tllania, who vows never to be reconciled to 
her King until he shall End two loven coa. 
stant to each other through trial and tempta- 
tion. The King's "tricksy spirit,*' Puci^ hears 
of the plight of Sir Haon of Bordeaux. ■ young 
knight, who has kiUed the son of Oiade- 
magne, and who is for this condenuied to 
travel to Bagdad and slay the person who sits 
at Haroun'j left hand, and claim Haman'M 
daughter, Rezia, as his wife. Obaon deter- 
mines to use Sir Huon and Rexia to bring 
about his reunion with TVlon/a. Aicj^ brings 
Sir Haon to the Elfin-King, who shows him a 

visionof Haroun '^daughter, Rt^a, Huon falls In ii uon 

love with her. and on waking Ottron promise* 

him that he shall possess the maiden, giving him a magic horn which will summoit the Elfin- 
King at Huon 't need. Haon is transported to Bagdad and carries Rtzia away, but a storm is 
raised bv Oieion and they are shipwrecked on a desert island. Rczla is captured by pirates 
and aold to the Emit of Tanh, while Huon, behoved to be dead, is left on uie beach. 

Huon, however, is transported by the 

I fairies across the sea, and enters the harem 

n search of Rata, but is captured by the 

_unlr and condemned to be burned alive 

with Rttla. At this crisis Oienin, hearing 

the fairy hom, appears with Tilat^a, saves 

1 the lovers, and beats them to the Court of 

I Charlemagne, where Huon is pardoned, and 

I Oberon and Tllania, influenced by the con- 

I Btancy of Huon and Redo, are reunited. 

The air "Ocean, Thou Mighty Monstet,*' 

a portion of which Is included in the overture. 

I belongs to the scene wherein the lovers are 

I shipwrecked. It is sung by Au/a, the opening 

recitative describing die terrors of the sea. 


When cslmLy slocping 
Itui when thou rhtst ii 
And ning'sl Iby (olds i 

.Slill 1 seVThy bTfk .„, 

Through tht Blopm Iheir whrtt f™. 


Open in (our acts: liook by Raroieri De Calzabisi ; mude by Gluck. Firat pToductian 
in Vieniu. October S, 1762, Cluck conducting. Fir«t Parii productian, 1774, whenthe rOle 
of Orphfiu WKS traiupo*ed (or high tenor. Revived et Pari* 1859, when Paubne Vimrdot 
reatored the Italian contralto version. Firat London production, Covent Garden, 1770. 
Some notable revival* were during the Winter Gacden (eaMn of 1663 ; in 1665 (in German), 
by the Metropolitan Opera; the Engliah production in 1666 by the National Opera Com- 
pany, the Abbey revival in Italian in 1692; and the Gatti-Caaazia production <rf 1910, with 
Homer, Gad«ki and Gluck. 


Orpheus Contralto 


Love Somua 

A Happy Shade 

Shepherds and ShepherdeMes, Furiea and Deroooa, Heroe*. etc 

Tbii opera, which hai been called "Cluck's iitcomparable masterpiece," and of which 
the great Fitii wrote, "it is one of the moat beautiful productiivi of genius," may be 
properly termed a purely classical music drama. The music isjfcqulsite in its delicacy and 
grace, while the story is an interesting and affacting one. Oipheus is the oldest work of 
its kind to hold its place on the stage. '* 

The story concerns the Greek poet Ojpheiu, who grieves deeply over the death of his 
wife EarlJlce, and finally declares he will enter the realms of ftulo and search (or her 
among the spirits of the departed. The goddess Looc appear* and promises to aid him, on 
condition that when he haa found EmiJict he will return to earth without once looking at her. 

The music accompanying this scene is exquisite and the most familar bit is the number 
given here. 

Melodic (from "Billet Music") By Msud Powell. Violinist 64079 lO-inch, •I.OO 
Melodic (from "Bsllct Music") By PhiUdelphU Orchestra 7456? 12-ineh, 1.50 

This tender melody is first given on the Mring*. followed by a Bute solo of exquisite withos. 

Orptt"" now journeys to the Gate* of Erebus, and *o softens the hearts of the Demon 
guards by his grief and his exquisite playing of bis Isrre. that he is permitted to enter. He 


Giuls EarlJice, and without lookins at her, takei her by the hand and hid* her (allow him. 

She obeyi, but faUing to undentand hi> averted tiaze, upbraids him for hi* apparent cold- 
neu and oaks that he ahall look at her. 

Orphcui, knowing that Co ca*t a linele look at 
hi* loved one mean* death Co her, at firil keep* 
hi* (ace averted, but finally, unable to endure 
longer (he reproachei of hia wife^ he daaps her 
in hit arm*, only to *ee her aink down h(ele**. 

Hold, C.^ 

OiPHEUE (ditpairingMi 
Wtiat wDuldyou »1<h n 


I Have Lost My Eurydice 

By Louifc Homer 

(/n/foAan) eS2B» 12-ulch. tl^O 

"What have I done I Into what guK haa my 

(atal love caat me}" criea thehapleu youth, and 

break* into hi* lovely and pathetic lamentation. 

"1 hiv 

He«f 1 

y Eurjidicc 

'of d 

Whul suffering, wh»t lormcnt, irringi mj hearil" 
Of the many beautiful number* in Cluck** 
drama thii lovely aria of mourning (beat known 
by the Italian title Che faro ttiaa EurlJke) ia the 
moat familiar. 
Love appeal* and criea: 

EutrdLce! revive! 

My Eurydice! 
EusYDicE (rttiwno): 
My Orphem! (fhty 






Open in [out acts. Text by Arrigo Boito. Miuic by Verdi. First production Feb- 
ruary 3. 1 867, at Lb ScaU, Milan, with Tamagno. First London production May 1 6, 1 889; 
in English 1893. First American production April 16, 1668, with Csmnanini ai Oldlo. 
Notable revivals occurred in 1894, with Tamagno and Maurel; in 1902, with Eames. Alvarez 
andScMti: in 1 908 at the Manhattan, with Melba, Zenatello and Sammarco; and in 1910 
at the Metropolilan Opera. 


OTELLO, ■ Moor, general in the Venetian army Tenor 

lACO (Et^'-tth). hi* ensign Baritone 

CASSK) (Cw'««A), his lieutenant Tenor 

RODERIGO {RiAikr^i,'^), a Venetian gentleman Tenor 

LODOVICO ILe/i-Jeli-ai' -M), ambassador of the Venetian Republic Bass 

MONTANO. predecessor of Othello in the government of Cjrprus Bass 

DESOEMONA. wife of Othello Soprano 

Emilia (^iMn'-buA), wife of lago Mezzo-Soptano 

Soldiers and Sailors; Venetians: Cyprians; an Innkeeper 

5cene and Period ; End <if the fifletnlh century ; a ttaperl la Qiprui 
After having given [he world his splendid Aide, Verdi rested on his laurels and v 

silent for sixteen years; then, at the age o' 

with his magnificent Otello, a masterly n 

him famous. 

The text, by that accomplished scholar and master librettist, Boito, follows closely 

the tragedy of Shakespeare. 




SCENE— Ote//o'i CoAtk InQuina. A SUtrm li Raging andtbejIngrySathclMe I 

Venetiaiu, (oldierB, including logo, Rodtrigo and Cuifo, ai« awailing the rf turn of Olello. 

Hit venel arrive! ufely. and .aiiud much reioicing the Mocr announces ihal the wai is 

over, the enemy's ships having nil been sunk. He goes inio iKc chsiIe, ani {ago and 

■Rodcrlgo plan the can*piiacy ^gainst Ciaiia pnd Oldh, by ^vhicK Rmlfrigo hopen to secure 

VaSanona-fat himself and logo to he revenged on Olello. 
They join the soldiers and by to induce Cauio to 

drink. He refuses, but when lago toasts Dttdtmona, he is 

compelled to join. logo sings the rousing Brindltl : 

Brindisi — Inaffia Tu^ola (Drinking; Song) 

By Antonio Scotti, Baritone 

(hllaUan) 66062 13-inch. *l.50 
By Antonio Scotti 67040 10-incb, 1.00 

during which he continues to Gil Cattio's glass. When the 
latter is quite drunk they pick a quarrel with him, and he 
draws his sword, wounding Monlano. lago and Caitio 
rouse a cry of "riot," which brings Olello from the 
castle. He disgraces Caulo and orders all to disperse. 
SCENE —A Room In the Cailk 
The crafty logo is advising Cauh how to regain the 
favor of Oleilo, telling him that he must induce Dadentona 
to intercede for him. Coufo eagerly goes in search of 
Dademona, while logo gazes after him, satisfied with the 
progress of his schemes, and then sings the superb Credo. scotti as mco 

Credo (lago's Creed) 

By Pssquale Amato, Baritone (/n Italian) 68326 12-incb, tl.SO 

By Titta Ruffo. Baritone {In Ilallan) 86466 12-iaeh. 1.50 

This is a free adaptation of lago't last speech with ComiIo in Shakespeare, Act 1[. [n 
his setting Verdi has expressed fully the character of the perfidious lago : cynical, vain, 
weak and subtle. He declares that he was fashioned by a cruel God who intended him 
for evil, and that he cares naught for the consequences, as after death there is nothing. 

logo sees Dttdemana approach and Cnufo greet her, and u soon as the young officer 
is earnestly pleading with her to intercede for him, lago runs in search of Olello, and 
sows the first seeds of jealousy in the heart of the Moor, bidding him watch his wife well, 
Olello, much troubled, seeks Dttdemona and questions her. She begins to intercede for 
Caisto. but the Moor repulses her, and when she would wipe his perspiring brow, roughly 
throws down the handkerchief, which is picked up by lago. 

Left alone with lago, Olello gives way to despair, and expresses his feelings in the 
bitter Ora e per sempre, 

Ora e per sempre addio (And Now, Forever Farewell) 

By Francesco Tanusno 99003 10-inch, tS.OO 

By Enrico Csniso S7071 lO-iaeh, IJK) 

Now finally convinced that Dademona is deceiving him, he bids farewell to peace of 
mind, ambition and the gloiy of conquest. lago further aajrs that he has seen Detdemona'a 
handkerchief in Coufe'i room, at which news Oltlh la beside himself with rage. The act 
close* with the great scene in which logo offers ta> help Olello secure revenge, and they 
swear an oath never to pause until the guilty shall be punished. 

Si pel ciel CWe Swear by Heaven and Earth) 

By Enrico Caruso. Tenor: Titta Ruffo. Biritone (Italian) 890T5 12-in. *2.00 

Olello now seeks Dew/on 


SCENE— Tfte Oeal Hall of iht Catlle 

t her handkerchief. She 


often it, but he i»yt it U not tKe one. and aaks for the one with the peculinr pattern which 
he had given her. She sayi it is in her room and often to biing it, hut he at once denoun- 
cea her, and lends her away aatoniihed and giieved at the ludden iealouty which the cannot 
underttand. He remains loolcing after her in dejection. • 

lafo now tetU OteHo how he had alert^ in Caalo'i roqoi^lately and had heard Curio 
I ileep, bemoaning the fate wtiicb had rc^bed jiifn a( Z>mf«nM)ta and givep Jier 


Caulo enters, and lago, bidding Oldio watch behind a pillar, goes to the young 'pfficer. 
and with fiendish ingenuity induces him to talk of his swet^eaft Bianca. OUtto, UsteninK 
thinks that it ■■ of DeaJemana that CaMfo speaks, as Ow'q'pioduces the fatal handkorchiaf, 
telling lago he had found it in his room, and wondering -to whom it can belong. Oldh, 
seeing the handkerchief and not heating the conveisalioai, has no further doubt of DaJe- 
niOTu'i guilt,and when Coirio departs he asks /ago how best can he murder them both. The 
viUain suggests that DaJanona he strangled in her bed, and says he will himself kill Cairia. 

Messengers now arrive from the Senate bearing orders for Olello. who has been recalled 
to Venice, and C<a$lo appointed Governor of Cyprus in his stead. He aimounces his de- 
Hrture on the morrow, and then unable to control his rage and jealousy he publicly insuhs 
Deademona and flings her to the ground, then (alls in a lit. The people, considering the 
summons to Venice an additional honor for the Moot, rush in, shoutine "Hail to Otello," when 
logo, pointing with fiendish triumph to the prostrate body, cries. "Beholdyour Lion of Venice I" 

SCENE— DeWonono 't Btdn»m 
The heartbroken DoJe- 
momt is prniaring to retire, 
assisted by her maid, Emilia. 
She telU Endlia that an old 
•ong of her childhood keeps 
coming into her mind. Then 
•he sings the sad and beauti' 
ful WaioO) Song, which seems 
like the lamentation of a 
broken heart. 

Salce, salce 
(Waiow Song) 

By Nellie Melba. 
(In Italian) 
B8148 12-incb. *1.S0 
The faithful EmlUa leaves 
her, and she kneels before the 
image of the Madonna and 
sings the noble Avt. one of the 

Ave Maria (Hail. Mary) 

By Nellie Melbs. Soprano (In Italian) 88149 I2.ioch. *1.S0 

Otello enters and again accuses DeiJanona of an intrigue with Caaio, hut she swears 
that it ia false. He disregards her cries (or mercy and strangles her, Emilia knocks at the 
door and ia admitted by Oltllo, who hardly realizes what he has done. Seeing Detdemona 
lifeless, ahe accuses him of the crime and calls loudly for help. All rush in and Emilia, see- 
ing lago, denounces him as the author of the plot, and tells Ofello that DcHfanona was inno- 
cent. The Moor is torn with remorse and tenderly gazing on his dead wife, sings his last air. 

Morte d'Otello (Death of Otello) 

By Francesco Tsmigao, Tenor {In Italian) 9S002 tO-inch, tS.OO 

By Nicols Zerols. Tenor 74217 12-iach, 1.90 

He then draws a dagger and stabs himself, and with an eftort to embrace the Dade- 
mona he has so cruelly wronged, he dies. 

pired portions of the wonderful fourth act. 

* ll<' <■% 




ObUu) (PKaeh) lEafluh} 


iEt PtU-vat-eht.) IPak^la^ 

Dramatic opera in two act*: librello and muaic by Ruggiero Leoocavalla. Rt>t pa. 
formed at the Tutro dsl Venne, Milan, on May 21,1892; in Vienna, September 17, 1892; in 
London, May 19. 1693: DrcKlen, January 23. 1893 1 Puii. in French, December 17. 1902. 
Firat New York production June 1 5, 1894, with Kronold. Montegriffo and Campanaii. Some 
famoua casts ot recent yean at the Metropolitan and the Manhattan op«ra ; CaruMi. FerTar. 
Stiacciari— Ahrarei, ScheS, Scotti — Farrar. Bar*, Scotti— Cavalieii, Rouaaeliere, Scotti— De- 
veyne, Martin. Campanari, etc 

Charicteri in the Drama 

CANIO lKaK-nmJ>kl (in the play '•Pagllacdo " [Panchlndle]), 

mailer of the troupe Tenor 

NEDDA IfUf-JaU (in the play •'ColunAlite"). hi* wife Soprano 

TONIO ( r«Jir-nM« (in the play "Taddto"). tha clown Baritone 

PEPPE {fW-rv) (in the play "Harlequin") Tenot 

SILVIO. (SlT-OK^I,} a villager Baritone 

Villaeers and F 

The JceiM It laiJ In Calattla. near Montalto. on the Ftaal of the A 
Leoncavallo wat bom at Naplei. in I83B, and wai the aon of a magiitratcv the Chevalier 
Vinconl. He look up the pianoforte at an early age and entered the Neapolitan Conaerva- 
toire. At eighteen he promptly ihowed hit leaning toward operatic compotition by writ- 
ing an opera, but it waa never produced. Forced to earn hia living, he gave leaaona and 
played accompaniment* at cafi concert*, finall; becoming a concert pianist. After several 
yeara of these wanderings, he proved that he had not been idle by submitting to the house 
of Ricordi the firit part of a tremendous trilogy called CrtpaMculum (Twili^t). based on 
the lubiect of the Renai**«nce in Italy. 

This Ricordi accepted, but made no production and in despair Leoncavallo went to the 
rival firm of Sonzogno. which encouraged him to write the opera which was to make him 
famous. The young coropoaer went to work and in the space of five months completed 



hi* open, buing the plot on an actual occutrence in 
the court where hi* father wb« preaidins a* judge. 

^ The succcB* oi the opera vtaM overwhelming, aild 
the name of Leoncavallo waa heard throughout the 
world. Other opera* by Leoncavallo wkidi have 
been produced with more or lea luccev are : Chat- 
terton (16%); BohCme (IS97) ; Zaza (1900) i Roland. 

But it ii PagUacci which will keep the name of 

Leoncavallo remembered, with ita mattsrful libretto; 

I moving dory-, the orchestratian, written with 

'■ ' '" ' '' " intensely dra- 

dience in rapt 

The work ii ■ prime favorite in America and 
leads all <^her opera* at the Metropolitan — more 
than seventy perforauuicet having been given there 
•ince 1906. 


During the OTckeatral introductioii Tanlo, in hii luhcavaiui 

clown costume, come* forward and ezplaina that the 

Elay is taken from real life ; reminds the audience that acton are but men, with paniona 
ke their own, and that the author has endeavored to ezpresi the real feelings and senti- 
ments of the characters. He then orders up the curtain. 

The first act shows the entrance to an Italian village. Canto and his troupe of strolling 
players, or fogltaaJ, having paraded through the village, return to their traveling theatre, 
followed by a noisy crowd of villagers. ConJo announces a perfamuuice for that evening at 
seven, then goes with Ptppt into the tavern. Toi^, the clown, remains behind ostensibly 
to care for the donkey, but takes advantage of his master's absence to make love to Ntdda, 
Canio'i wife. She repulse* him scornfully, (tiiking him with her whip, and he iwears to be 
revenged. Siloto, n rich young villager, in love with Ntdda, now joins her and begs her to 
fly with him. She refuses, but admits that she loves him. her confession being overheard by 
Tonio, who hurries in search of his master. Canh returns too late to see Sllelo, but hears 
Ntdda 'i parting words. " Forever I am thine I " Mad with jealousy, he demands the lover's 
name, and when Ntdda refuses, tries to kill her, but is restrained. Ntdda goes to dress 
and Canto is in despair at the thought of being obliged to play while his heart is breaking. 
The curtain rises on the same scene and the ploy is about to begin. This proves 
m be the usual farce in which the Clown makes love to Columbine during the absence 
of her husband. Punchinello, but is laughed at and resigns his pretensions, finally con- 
senring to act as a lookout while Columbine and her accepted lover. Harlequin, dine together. 
Strangely enough, this conventional farce is very like the situation in the real lives of 
the players, and when Punchinello (Canto) arrives and surprises the lovers, as the play 
demands, he loses hi* head when he hean Columbine repeat in the force the very words 
he overheard her say to her real lover earlier in the day. Mad with rage, he again demands 
her lover's name. Ntdda tries to save the situation by continuing the play, while the 
audience is de|»hted by such realistic acting until the intensity of Canto 'j passion begins to 
terrify them. The other playera endeavor to nlence him, but itt vain. RruJly, stung bv 
his taunts, Ntdda defies him and is stabbed. Canto hoping that in her death agony she will 
reveal the name of her lover. She falls, calling upon Slleh, who rushes from ue crowd 
only to receive in turn the dagger of the outraged husband. As Canto is disarmed by the 
peaaants he cries as if in a dream, "La eammtdia tfirito" (the comedy is ended). 


Leoncavallo chose to introduce his character* in a novel manner, and wrote this number 
in the midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient 
Greek tragedy, and explains that the subject of the play is taken from real life, and that the 
composer has devoted himself to expressing the aentiment, good or bad, but always human, 
of the characters he introduces. 

m ud nm^ laccpl dx Prok>s«) br UikI poB^^o. of G. Sdi^BH. (Csor'l 1906) 


Prologo (Prologue) 

By Pasquale Amato, Baritone 
By Antonio' Scotti« Baritone 
By Emilio de Gotforza, Baritone 
By Emilio de Gotforza, Baritone 
By Reinald Werrenrath, Baritone 
By Pryor*0 Band 

(in Italian) 
(In Italian) 
(In Italian) 
(In Italian) 
(In Italian) 


12-inch. $1.50 
12- inch, V.50 
12-inch, 1.50 
10-inch, 1.00 
12-inch, 1.50 
12-inch, 1.35 

12-inch, $1.50 


Prolo^O (Prologue) (Complete in two parti) 

Part I— Si puo ? (A Word) 88392 

Part II — Un nido di memorie (A Song of Tender Memories) 

By Titta Ruffo, Baritone (In Italian) 88393 12-inch, 
f (a) Part I— Si puo? ) 

(b) Part II— Un nido di memorie [*35171 12-inch, 1.35 

By Francesco Cicada, Baritone (In Italian)] 

The Brst part of the Prologue is in itself a miniature overture, containing the three repre- 
sentative themes associated with the main events of the drama to be unfolded. 

The first is the motive which ita»«^#riH (j.^m) ■v -rf''^ V 

always accompanies the appearance {/ fl J J '?^J°'TT '^ rTrr W" w 
of the players or pagliacci : ' iipn^-r-|j- ih fJ -• 

The second theme represents 


Canto's jealousy and is a sombre [^ ^jj ii_rt l J J I JiLfv j J'iS 
strain suggestive of revenge : V ^' * F^-" Ki V^ 

The third represents the guilty love of Nedda and Sil^o 

and appears frequently throughout the opera, not only in the love duet, but in the last 

act, when Ntdda refuses to betray her lover even with death awaiting her. 

The presentation of these themes is followed by the appearance of Tonio, the clown, 

who peeps through the curtain and says : 

Ladies and eentlemenl 
Pardon me it alone I appear. 
I am the Prologue! 

He then comes in front of the curtain and explains the author's purpose, which is to 
present a drama from real life, showing that the actors have genuine tragedies as well as 
mimic ones. 

Our author loves the custom of a prologue to 

his story. 
And as he would revive for you the ancient 


He sends me to speak before ve! 

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! 

He then goes on to speak of the author's inspiration, and says : 

A song of tender memories 

Deep in his list'ning heart one day was ringing; 

Ana then with a trembling hand he wrote it, 

And he marked the time with sighs and tears. 

Come, then; 

Here on the stage you shall behold us in human fashion, 

And see the saa fruits of love and passion. 

Hearts that weep and languish, cries of rage and anguish. 

And bitter laughter! 

The beautiful andante which follows is the most admired portion of the aria, and is 
indeed a noble strain. 

Ah, think then, sweet people, when ye look on us. Will ye hear, then, the story. 

Clad in our motley ana tinsel, As it unfolds itself surely and certain! 

For ours are human hearts, beating with passion. Come, then! Ring up the curtain! 
We are but men like you. for gladness or sorrow. 

The curtain now rises, as the pagliacci motive reappears in the orchestra. 



Opening Chorus — "Son qua!" (They're Here!) 

By Li Seal* Chorui (llallan) *16S14 10-incIi, *0.e> 
The first Bcene, repruentine the edge of a imall village 
in Calabria, ia now revealed to the audience. The people 
are engaged in celebrating the Fea>t of the AMumption. and 
among the attracliona offered to the crowds who have flocked 
to the village is the troupe of strolling players (known aa pagll- 
acet) headed by Canto. They take with them a amall tent 
(usually carried in a cart drawn by a donkoy), which they set 
up in the small villages. 

A number of the townspeople have BHemhled in front of 
the little theatre and are awaiting the return of the downs, who 
have been parading through the village to announce their ar. 
rival, as is the custom. As the curtain rises, the sound of a drum 
and trumpet ia heard from a distance, and the villager* are full 
of joy at the prospect of a comedy performance. They exprsas 
their excitement in a vigorous opening chorus, a clever bit of 
writing. This oft-recurring phrase : 

which is presented with many odd modulations, produces a pe. 
culiar and novel effect. 

The little troupe has now come into view and the noise is 
redoubled. Cun/o appears at the head of his company, his wife, 
NtdJa. riding in the cart, while Tonlo and Ptppe make hideous 
nd cracked trumpet. Canlo. who ia dressed in the tnditional 
'ith flour and his cheeks adonwd with patches of 

noises on the baM di ... 
garb of the clovra, his face smeared 
rouge, addresses the crowd, and tells ot hia con 
The people boisterously express their joy 
at the prospect of an evening's entertainment. 
Canio now turns to assist Nedda to alight from 
the cart, but finds Tonlo. the Fool, there be- 
fore him. Giving him a cuff on the eat, he bids 
him be off, and Tonlo slinks away muttering 

One of the peasants invites the players to 
the wine shop for a friendly ghua. They ac- 
cept, and Cai^o calla to Tonio to join them, but 
he replies from within; "I'm rubbing down 
the donkey," which causes a villager to re- 
mark, jestingly : 

Careful, Pasliaceio! 

He only stays behind there 

Far making lave lo Nedda! 

Canlo at first smiles, but soon the first 
trace of bis jealous nature is shown, and he 
wams the spectators; 

'Twere belter not Iq play, my neighbon! 

To Tonio. aye. to you ail I sav it: 

For Ihe Mage there and life, they sre different 

Nedda, who ia bstenins, is surprised and 
•ay* aside ; " What does he mean >" The 
villagers, rather puzzled at hia earnestness, ask 
him if he is serious. With an effort he rouses 
himself fl-om his gloomy mood and, saying 
Ughtly, "Not I— I love my vrife most dearly!" 
kwae* her on the forehead. 


Th« (ounil of bagpipe* (oboe) u keard in the 
dutsDce, telling o( the menymaking in the village. 
The people commence to diaperae, and Canio goei 

Coro delta campane (Chorus of the 


By L* Seals Cbonia 

(hllallan) *35ir2 U-ioch. *1.39 

This ia the famoua Bell Chorus, or "Ding Dong" 
Chorui, one of the moat remarliable numberi in the 
opera. It ia aung with apirit. and the chiming bell* are 
introduced in a moat effective manner. The people go 
off ainging and the meaiurea die away in the diatance. 

Ntddtt, left alone, ia troubled by her remembrance 
of Canto 'i manner and wondera if heauapecta her. But 
ahaking otf her deprewon, ahe bocomea once more 
alive to the briehtneaa of the day, which fill* her with 
a atrange deh^l. 

Ballatella, "Che volo d'augellit" 
(Ye Birds Without Number I) 

By Lucreiu Bori, Soprano (In Italian) 88398 12~itlcli. *1.90 

By Alma Cluck.. Soprano (In hallan) 74238 12-iQch. 1.50 

By Giuaeppina Huguet. Soprano (/n llallan) *3S172 12-inch, 1.39 

gay tremolo in the atringa announcea the theme of the birda, and NtdJa apeaka of 
' ould underatand their Unguage. 
IDA; Ah, ye birds without number: 
What counlleM voices' 
What ask ye? Who knows? 

My mother, she Ihit was akililul at tellins one's fortune, 
Undentood what they're singins. 
And in my childhood, thus would she ring me. 
'a the brilliant BalateUa or Bird Song, beginning i 

A gay tremo 

i^^S ' ^- r =£^ =^ ^ ? ^^ ^j= 

It ia a moat beautiful number with an exquiaite accompaniment. 

At the doae of her aong Nedda Bnda that the hideoua 
Tonk> baa been listening, and now seeing the handsome 
Columbine alone, begins to make love to her; but ahe 
•comfully order* him away. 

So ben che deforme (I Know That You 
Hate Me) 

By Ciiueppina Huguet. Soprano, and Fran- 
ceaco Cigada, Baritone 

(Inhallan) •33173 12-inch. »1.35 
He persiata. but hia proteaCationB are greeted with 
mocking laughter. 

Tonia, driven almost to madneaa by NeJJa'a scom and 
ridicule, seizes and tries to kias her. She strikea him 
the face with het whip. 

Tomo (j<rMmi>i|7) : By the Blessed Virgin of Assumption 
Nedda. ( swear it. 


The young vilUsei, Slhlo. wkom NeJda haa •ecretlymet on previoui vi«t» to the town, 
now jump* over the walL Nedda, olanneij, crie* : 

Nidda; Silvio! In Ihc dartimc? Wbtl folly! 
Silvio (smilingt: I fancv it's no great nik I'm taking! 

Canio i spied from afst with Pcppe yonder. 

She talU him of ToiHo't behavior and hida him beware, a* the clown ii to be Eeared. 
Her lover cheeta her and UukIu at her fean, and they •■»■ the beautiful love duet, in 
which SUvIo urges her to fly with him. 

De toi depend mon sort (My Fate is in Thy Hands) Part I 

By Mile. Heilbronner and M. Vieneau (In FrencA) *6»09» 10-ineh. I0.B9 

She ia afraid and heg* him not to tempt her. hut he perMtt, and reproachea her for 
her coldneaa, until finally in a paiaion of abandonment ake promiaea to go. 

Pourquoi ces yeux (Why Thofle Eyes) Part II 

By Mile. Heilbronner, Soprano; M. Vifneau. Baritone 
rjb> i»nf IfKluJu the dad "Nulla mmdaf—See falou (In Fnneh) 69099 lO-inch, *0.eS 
Then together they aing the lovely duet : 

Nulla scordai ! (Naught I Forget 1) 


. -r-rar.'-iL'- 




: Thou-lt come? 

The loveia, who have caat aaide alt prudence 
and mcc only each other, fail to observe CanIo, who 
haa been yarned by TanAi and ho* hurried from the 

Cinfa, who haa not aeen Sllnlo't hce, but baa 
heard Nedio 't parting worda, now ruahea toward the 
wall. Ntdia bara hia way. The record begirka with 
the melodramatic music written by Leoncavallo for 
tbia exciting atruggle, during which CtuAo puahea her 
aaide and runa in purauit of Sihio. 

: Ml 

Uay Heaven protect him now! 
Scoundrel! Wfai^re hideil thou? 

Cinfo re-enter^ out of breath and coi 
pletely exhausted. Aa he tuma to NeJJa wi 
auppreaaed rage we I 
paniment that dismal 


Nedia proudh' lefuies. Filled with joy bee 
may be her own nte. Canto, beiids himielC. mil 
hiro liack and takes aivay his weapon. Tonio COITi 

e of &/1X0 J 

on her with . . 

to Ptppe '1 aangtance, faying : 


alone, hii head bowed with ihami 

Vesti la giubba (Air de Paillasse) (On >Vith the Play) 

By Enrico Cariuo. Tenor (In Ilallan) 86061 I2-ineh. I1.S0 

By Nicola Zerola. Tenor (fn ItaUan) 64169 lO-inch. 1.00 

By Giovanni Martinelli, Tenor (In Itaban) 64404 lO-iach, l.OO 

By Lton Campatfnola, Tenor (/n Fttnch) '55083 12>inch, l.SO 

By Paul AlthouM. Tenor (Inllallan) *45055 lO-inch. 1.00 

The unhappy CanJo. left alone after the excitiitB acene 
I with Ntida, wring* his handi and criea: 
To play! Whrn my head's whirl- Yrt I must force niTielf! 

Mol Vio'»ing what 'I'm Baying or I'm but a P^ira'ccial 

Then follow! the s^eat aria, in which the unfortunate 
Pagliaccio describes how he must paint hia face and make 
merry for the public while his heart ii torn with jealousy. 
The people pay you, and they muit have 

LaCb ■<>"<1. Paeliiccio! 

And all will shout, well dooel 

Laugh, Pagliaccio, for the tove that is endedf 
<.Sobbifig) : 
Laugh far the pain that [> gnawing your 

(Ht mooet ileaiy toward the Ihealn, loeeplng; ihat at ihe 
cartain lieulfy falb, ruthta Into tht Itnt. ) 
SCENE— Some at Act I 
rtain of the tent ii now drawn aude, discloaing a amall room with two dde 
1 window at the back. Ntdda, dressed as Columbine, is discovered walking 
luily. The tripping minuet move- 
runs throughout the action of the 
ne rises and looks out of the window, saying : 

Pagliaccio. my hushand, till late this evening 
Will not be at home. 
The sound of a guitar, cleverly imitated by the violini. plzzfcalo, causes Columbine to 
utter a cry of joy. and the voice of Harlequin is heard outside beginning the Serenade, 
in which he extravagantly rhapsodizes his sweetheart. 

Serenata d'Arlecchtno (Harlequin's Serenade) 

By Huguet and Pini-Corii (Inltallan) *39174 12-inch, *1.3a 

Tonfo as Taddeo, with bii basket, 
now peeps through the door and 
says exaggeratedly, with 1 

ment which 


Edessa! (Behold Her!) 

By Giuieppina Hu|{uet. Soprmno; Frincesco Citfida, Baritoae: and 

Gmetuo Pitii-Corsi. Tenor (In Italian} *39174 12-inch, tl.39 

The audience laugh* in delight as Tonla tries to expreaa hii love hy a long, exaggeraled 
•igh. ColuDihine tries to suppresa him by inquirinE about the chicken he had been aent 
h^, but Tonio Icneela, and holding up the fowl aay* : 

See, we are beth before tfaee kneelinil 
Hia prelennona are cut ahort by Harlequin, who entera and leada him out by the ear. 
Ai he goes he givei the lovers a mock benediction. 

Versa il filtro nella tazza sua I (Pour the Potion in His Wine) 

By Barbaini, Hu^et, Cigada, and G. Pini-Corii 'SSirS 12-ineh, *135 

The lovera now partake of their feast and make merry logethci. Harlequin taliea frook 
hia pocket a litlle vial, which he gives to Columbine, saying: 

HAKTauiM: Take Ifax) liltle aleeping draught. And then away we'll fly. 

'Tis far Paglisccio! CoLUUsiHi iiagtrM: 

Give it bim at bedtiine, Ye*, give mel 

Upon the acene suddenly burst* Tonfa, in mock aloim, bawling loudly : 

He hag caught you, and I ehalt fly lo caverl 
The lovera dmulale the grealeat alarm, at which the exdted apectalora are highly pleased, 
and applaud lustily. Harlequin leaps from the window, and NeJJa continues the acene by 
repeatins Columbine's next tines, which by a strange chance are the very words she 
had spoken to Sllole earlier Jn the day : 







Sr^^k^ J^^ ^H ^^ '• 



ITakina up lUt parti: 
You liad ■ man witb jeul 

CoLuuBiHi OigMly}- 

onjtnse! You ire tipijl 
lo (rtitroiniHtt hiimtlf Willi 

"vthy'thtM pl«effs £oi two? 
Taddca WIS aupping witb me. 

The audience laugh* loudly, 
which enmse* the unh&ppy mAn, 
and forgetting hii part he tunu to 
NiJda and fiercely denuuidi the 
name of bar lover : 

Woou , 

The wretthcd 

ii Ihy 1c 

s ihou c 

>lo. PsglLsccLg. I'm notl 

TU abame thai pal« it 

Oh, shamt 
Nedda (f'iitly.mMcli alarmti): 

Pagliaccio! Patliacdol 

Tlirowing off entirely the tnaak 
of the player, Canh becomes again 
the iealous huiband. 

No, Pagliaccio non son I 
(No, Punchinello No 
By Enrico C*riuo, Tenor 
(llallan) 88279 12-inch. ll.SO 
By AutfuitoBarbaini.Tenor 
(/loffan) •3S17'5 12-iiich. 1.35 
fooliih man 

loudly applaud what they think ia 

Canh saya that he it no longer a player, but a man, and protests as a man againat the 
wrong inflicted upon him. Hii paauon givei place to a softer stTnin as he ipeBkB of his 
love for Ntdda, his faithfulness and bis sacriGcea (or her. 

Finale to the Opera 

By Antonio Paoli, Tenor: Giuseppina Huguet. Soprano; Francesco 
Cigada, Baritone; Gaetano Pini-Corsi, Tenor ; Ernesto Bidini, 
Tenor: and Chorus (In llallan) 89137 12-ineb. *1.00 

Canjo'i declaration ia greeted with loud cries of "bravo" from the azdted audience, 
who think it is merely splendid acting. 


ward ulm. 




the play, bul U 

checked by 


tuice. which ii aUrming. 

B og lur Huuk dif- 


No. by in 

lellinB of her paMJon (or Slloio, which ia to endura 
h«T, hut ia reatrained by Ton/a and Ptppe. Ntdia 
alaba her, crying : 

Cam id: Take Ihii! 

Perfaaps in death's la.<t acony, 
You will speak! 
Ntdia falla, and with a laal faint effort calU: 

"Oh. hflp me, Silvio." 
Sllch, who has diBwn hia dageer, niahea to her, when Canio criea ; 
Ah. 'Iwasyou! 'Til well! (Slabi liim.) 
Casio (o. if itoptfitd. lining fM his knif,) : 

The comedy it ended! 
Then one* more ia heard the tragic motive of jealouay and death, now thunder 
by the orckedr* m if rejmdng at ita final triumph. 



IProlonie By Reinald ^'errenrath. Baritone (/n /la&nn) !..„,„ ,„. . 

Cormoi-C^mwn J« TwWKfor tVcrr^nrtUh anJ Cho (/n F™«A)r ^ 12.iilch, 
Prologue. Part I By FraoceMO Cigada. Baritone (In llallanji,,,,, ,. . . 
Prologue, Part II By Praneeaco Cigada. Baritone (h Itallan)^^^^^ 12-mch. 
(Prologue ByPryor'»B»nd|_,,,_ ,, .-.l 

i Fy«i Dutchman F«nto^« (W-g-tr) ft, Aj^r'j BanrfP*'" H-mch. 

jCoro delta campane By La Seala Chorus (/n /toAan)l_,,„ ,, ._ . 

tChe volo d'augelli By Giuaeppina Huguet. Soprano (Italian) r'*^" JZ-incB. 

(So ben chedeforiue By Huguet and Cigada (/n /fafran) ),,,,_ ,, . . 

Nuilaacordail By Huguet. Cigada and Badini (/n llallan)r^^" 12-incli, 

Serenata d'Arlecchino By Huguet and Pini-Coriij 

£ de»o (Behold Her!) By Giuaeppina Huguet, Soprano; )3S1I4 12-inch, 

EranccBco Cigada. Baritone; Gaetano Pini-Coni.Teaorj 
Versa il filtronella tazza lual ) 

By Barbaini, Huguet. Cigada aud Pini-Coni (In llallan)}3in5 I2-ineb, 
No. Pagliaccio noa aoni By Auguito Barbaini (/n Italian)] 

Opening Choru. ~ -—.-.—. 

\ Tiooalort — Ptri 

rGem* from Pagli 



The Comedv. ■Jul 

Cenu/rom dealltria 

By Vic 

_-_ -Tliii E«; ■ 
imber"— "PmT 

'Dintf Dona" — "Tliii ETcninff At Seren" — 
II Number"— "PuriUiceio'i L»niml'(V«ci _ ,. — 
'"Jul* Look. MyLove"— CliOTUfc '"See, They Coi 

Opera Co. {In Engllth)] 

-,bb.)-Du«. }35343 

Bp Victor Optra Compans (In Engltth)] 
By Lion CampagnoU, Tenor (In Frtnch)\.. 



■J*'Sj'V'J,?i!,"-'^r'"" /'/"if^'lT^U^O" lO-ineh, 1.06 
^11 'Paal Althoate, Tenor (In Italian)! 

Totca—E luctoan It itdle 

la giubba By Pietro. Accordioniit) , .qxi 

CaOaiUHa Raillcana—lnlermetto 'Pfrim'i ^oerAon Quorfrfr "*' 

fDe toi depend moa aort By Mile. Heilbronner, Soprano I 
and M. Vigneau, Baritone (In French) [69099 
Pourquoicea yeux Heilbronner and Vigneau (In Frtnch)\ 



Muaic unci libretto by Richard Wagner ; bated on the famous Grail Leg""^- First pio- 
duced at Bayreuth, July 28, 1862, but not elsewhere until 1903, when the work yna given 
Bt the Metropolitan Opera, in spile of the determined opposition of Mme. Wagner. A 
production in English was afterward given by Henry W. Savage. The copyright expired 
in 1913 and productions at Berlin. Paris. Rome, Bologna, Madrid and Barcelona followed. 


TmJBEU a Holy Knight Bass 

AMFORTAS. his son Baritone 

GURNEMANZ. a veteran Knight of the Grail Bass 

PARSIFAU « •• guileless fool" Tenor 

KUNCSOR, an evil magician Bass 

KUNDBY Soprano 

Knights of the Giail; Kllngsor's Fairy Maidens 


BubaenfsttgpiiilhMi BtfrnUi 



The Hory of tbe Gnil i* perbsp* the moat beautiEul 
in legendary lore. Wagner'a version, which wsa inspired 
by B mediiBVal epic written about 1300 by Wolfram von 
Eachenbach, of Thuringia, whom Wagner hna already 
introduced to U* in Tannhauser. tells or the Holy Grail, 
ttie cup from which Christ drank at the Last Supper 
with His disciples, and into which Was placed the blood 
which flowed from the wounds of the Saviour. 

This sacred cup, together with the lance which 
caused these wounds, was in danger of prohnation from 
infidel hands, and was therefore sent hy holy mesaengera 
to a pure Knight. Tllarel, who built B splendid sanctuary 
on an inaccessible lock in the Pyrenees and gathered to- 
gether a company of Knights df unimpeachable honor, 
who are devoting their Lvea to the guarding of the Grail. 
Once each year a dove descends from Heaven to renew 
the sacred powers of the Grail and its guardians. Such 
a subject as this, mystic. lymbolic and poetic, so inspired 
Wagner that in Patiifal he reached his highest sphere 
as a composer. By no other writer or composer has this 
most beautiful of legends been so reverently treated, or 
given such a wonderful significance. 

The events which are supposed to occur before the 
opening of the opera must be understood before a clear 

idea of the action of Wagner's work can be gained. ('Mili^™7 1882)"""'' 

Titani, finding himself growing old, appoints his son, 

Amfortai, as his successor. Nearthe Casde of Monsalvat there lives Kllngtor. a Knight, who, 
feeling himself growing old and wishing to Bton« for his sins, vainly trie* to join the Order 
of the Grail, but without avail. In revenge, he consults an Evil Spirit and plots to bring 
about the downfall of the Knights. To this end he invokes the aid of a company of sirens, 
half women and half floweri. called flower girls, who dwell in a magic garden. One by one 
the Knights have fallen from grace because of the allurements of aie flower maidenA until 
AmfoHai, seeking to end these fatal enchantments, resolves to go himself, carrying the sacred 
Lance, which he is confident wiU be proof against the magic of the sirens. But, alast he is 
not only defeated, but is wounded by the sacred Lance, which his enemy seizes and turns 
against him. makingawound which nothing can heal. The unhappy Aiafoitot returns to the 
Castle weighted with an eternal remorse and a perpetual agony from his wound, but is forced 
as head priest to continue to celebrate the Holy Rites, all the while feeling himself unworthy. 
In vain he seeks far and wide for a remedy for his wound and forgiveness for his sin, until 
one day in a vision ha hears an invisible voice proclaim that only a guileless fool (J. t., one 
who is ignorant of sin and who can tesist temptation), and whom heavenly messengers will 

guide to Monsalvat. will be 

able to bring him 


Amforlat ' downfall was 
brought about by a strange 
being, KanJrjf, who seems 
lo have two natures. She 
appears alternately as a de- 
voted servant of the Grail, and. 
when under the magic influ- 
ence of Kllngtor, as a woman 
of terrible beauty, who lures 
to their ruin all Knights who 
come within her power. This 
cursed existence is a punish- 
ment for a crime committed in 
a previous existence, when as 
Herodlai she mocked at Christ 
on the cross. 


ACT i 

SCENE— ^ Fonaf Ntnr Moaialixit 
The riae o( the cuitain ahows Gamaaanz, a Tctenm Knight, with two novicea, aaleep. 
Tnimpet calls (rom the Caatle awaken them, and they join in prayer, (Jterward preparing 
the bath with which Amfortaa aeeka to heal hia wound. Meaaengen from the Caatlc report 
that the lateat balm which he had tried failed to bring lelief. Gumtmaia U much grieved, 
and ainka down in dejection, until he ia roused by the approach of Kundry, who cornea in 
hurriedly, dreaaed in sombre garments and in her normal tnind, but exhauated with fatigue. 
She biinga a new remedy which she had sought in distant Arabia. When Amfortas arrives 
with his tnin for a bath in the sacred lake, the new balm is offered to him. He accepts and 
thanks the strange -looking woman for her kJndnew. When the procession departa the 
novices attack Kandrg, calling her a aorceresa, but she is defended by Gumcnxinr, who says 
ahe ia devoted to the King but is subject to strange apella, during which ahe vanishes for 
long periods. 

That of her lina tht ms]> be shriven Series herHlf and also ua. 

Suddenly a wild awan falla wounded at the feet of Gumanara, and two Knights appeal 
dragging the irmocent Paralfal, who had shot it, not knowing it was under the King's pro. 
lection. He is reproached by Gumananx and questioned, but can tell little of himself. He 
remembers that his mother was called Hetxddd and lived in a foreat. Kundry, whoae atten- 
tioa ia attracted, explains that the youth's father was GamanI, and after his death in batde 
hia mother look him away from the haunts of men leat he meet the same fate. She is now 
dead, and Panifal is a wanderer. 

The train of AmfoHat again approaches, returning from the lake. Gamananx invites 
PonM'af to accompany them to the Casde, the thought having occurred to him that this strange 
youm may be the "guileless fool " who is to be the means of <4ni/(>r<ai ' regeneration. 



^a lai body wilA h\ 

Knowlcdfc of it will not be t 

Methinks I know (b« now in 
No canUy road Id it doib lui 
By no one un it be delected 

I Wbo by iUtlf i<i not clectrd. 

Yet awiflly seem to run. ' 


My ion. Here tine and spice 

The change to the Castle [-(all ia heie effected by a moving acene behind Gun 

and Panifal, so that they aeem to he walking ilowly alang, at (irit through the (oreat, then 
into a coveted gallery which aacetids to the Caide. This effective device waa firat used at 
Bayreuth. and afterward in the Americiui represenlations. 

SCENE W—Tht Catlle Hall 

The two suddenly tind themselves in a vast hall, filled with a strange light, while invis. 
iUe belli are pealing. Panifal ia dazzled and (aacinated by the wonderful sight, while he 
is carefully watched by Qumtnuua, who hopes to aee aigru o( an awakening knowledge of hi* 

litea which c 

In the hall the Knights are preparing for \ 
Ctail. Then one of the most itnpreaaive aceni 
Amforiai is brought in on a couch and preparei 
mind and body, he endeavora to postpone the i 
ia heard from the dark chapel commandin: 

..the Holy 
place. The unfortunate 
to preside at the cereniony. In agony of 
lea, but the voice of hia aged father. Tllanl, 
proceed. Amforlat, in a heart-breaking 

plea, begs Heaven to permit him to die, to end his intoleiable aufferinga. 


'Gainst th« dislress, Ihe pangs of HctI, 

Woeful in^criunce on"ine pressed, ' 
I, onEy sinner 'mid the biased, 
'The ho]y bouse (d guird for oibers 

From ttf AlmgMy One^glf ended. ' ^ 

My panting heart is riven. 

The hot and sinful blood datb lur^. 

Which no expiation yet eta purge 

God of pity, ohl have meriyl 

misea himaelf from the couch and offers the prayer of conaecia 

ing ray of light (iTeama down from the vault above and falla on the Grail, which glov 

a ei'eat luater. The Cup is covered and all partake of the bread and wine, after which they 
file jowly out. During the ceremony Panffal haa atood faacinated, but with impaaaive face. 
Gumtnianz, finally out of patience, cornea tip and thruati him out, aaying: 


(Hi apeni a imall ti 
Come away, on tby ri 


nerily o 

ir the future alone 
/Par'tif^? oJi ^nd'Thmt Ikt dear 

him ai tlu c< 

H falli.y 

ACT II. SCENE— /anj»r'i Magic Guf/e 
In the inner keep of a tower open above ; atone atepa lead up to the batdemented autn- 
mit and down into darlcneaa below ths atage, which repreaenta the rampart. Magical 
implementa and necromantic appliancea are aeen. Kllngaor ia discovered sitting at one aide 
on a rampart before a metal mirror. 


The time bit cornel 

Lor bow my magic tow'r 

Yon fo^' who neareth. 
shouting like a child! 

He lights incen«e, wbich 
immediately fills part of the 
baclcgiound with a bluish 
vapor. He then reseat* him- 
self and calls toward the 
depth * 

In the bluish light arises 
the form of Kundij;, She is 
heard to utter a dreadful ciy, 
as if half awakened from a 
deep sleep. She tries to 
resirt him, but Kllnfor'i 
power over her finally pre- 
vails. He tells her she must 
tempt Panffal, who U now 
iroaching the Castle of 




Klikc«0> Iwrathfnay): 
One tail contimpt and 

Unredeemed Bhall (he B 
A^'loon— I feel it— 

suited Oij tute Anfortu Ibc brave. 

With a laat cry of protett and sn- 
guUh ske vnniahes in a bluiik miaL The 
tower linkj beneath the earth, while a 
magic garden liUed with wonderful 
Bowera and plant! lisea to take ita place. 
On the wall itanda Panlfal, lookins 
down on the garden in aatoniahnient. 

I all lidei, from the garden and 

from the palace, ruah in msxy course 
jovely damaela, firat aingly and then !n 
numbera; their dreaa ia hastily thrown 
about them, aa if they had been aud' 
denly atartled from sleep. They have 
diacovered that aeveral of their [overs 
have been slain by an unknown foe, and 
seeing Panlfal, they accuse him of the 
deed. Panlfal comes nearer, saying 
innocently : 

Y them. 

lr"y maiient I 

Kuhdit: Oh!— MiB'rr— Mia'ry! 
W«k e'en hel Weak— all nea 
By my cuise aad with me 
Alt of them perish! 
Oh, u— --^-■ — 

n shall I win ibtti 

bo mDurna thee Ktlelb tiiee ftsc; 
n hoy who I- 

I've Km nowhere jn beings » bright! 

If I nid fsir, would it seem right? 
Uahseli {with merrimcitO: 

Then wilt thou not treat us badly r 
Pauitkl (miling): 

1 could not BO. 

But what thou haat done has Aiitioye.l us; 

Our plarmalea thou hast destroyed us: 

WhoH] sport with us now ! 

Some have gone inbi the groves and now return in flower dresses, appearing hke 
flowers themselves. They playfully quarrel for poaaeasion of Pan(fal, who stands looking 
about him in quiet enjoyment of the scene. He finally gently repulses them, saying : 

wild crowd of beautiful flowc 

u on thee shall 
leave him in 


"Bxt P4T><f4l 

5ht>nn«l <h< 

•ir circle of . 


th genlle 

geaturcs."— ^t( //. 







She kisie 

[n alccp it « 


» ind'so 


J molhcr 

'washed it 1 



Ihe mor 



the dew 


1 .Mrs 

Haa she. 

, encased in 



luacd by thy fa 

!"£:■? f;"." 

Gentljr Uushing, they diuppsar blD 
tho Cutle. The torm of KunJiy now 
become* vidble a* • woman o( ex- 
quiaite beau^, reclining on a Boweiy 

pired. ■ 
Thy father, Camurel, ddIo hii aon. 
Who Ihcn the daylight had not greeted: 

'Tvras by Ihii name lie. dying, called thee. 

What drew tbce here if not desire to 

t see. and which impre»es me with awe. 
And bloDmest thou too in ihii flower 

Ich >ah daa Kind (I Saw 
the Child) 

By Marfarete Matzenauer, 

(/n Gefflxin) 

88364 12-inch. fLSO 

Though tilled with aadneu. 

How laughed then even Hcai 

When, shouliag gladness, 
Sought she (o hide awar with ihee ir 
All care was she. alas! and (earing: 
Never should augbl of Itnowledge 

Heat^siThou not still her lameoling 
When far and late thou didst roamP 
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 anaufsh broke her heart. 
And— Heart's Affliction — died. 

Paraifal is greatly affected and (inks at KtatAj/'t feet. dUbened. She embiacea him 
tenderly and tiiea to comfort him, while he aeems to imagiiie that it ia again hia mother 
whoae gentle embiBcea he is receiving. Aa ahe gives him the Idas which ia to complete 
hii aubjection he awakes to a knowledge of hia misaion, realizea Kandry'i evil puipoae and 
Tepulaea hei with acom. She pleada with him, playing on hii lympathiei : 

sobbing. Withiti thy arm's embracing!— 

Grabbing; To thy help alio am I sent, 

1 man to flee. If of thy cravings thou repent. 

ed by Iheel The solace, which shall end lb. sorrow, 

Pmsifal: Yields not that spring from which It flowa: 

Etemallj should I be damned with thee, Ralvatian cansi thou never borrow. 

If for one hour I forgot my holy mission. Till that sane spring In thee shall close. 

Finally, enmged by hia TeKiael ahe calls for help. Fearing that he will eacape, Kllngtor 
rushes out of the Caide and flinga a apear at Partial, but an inviaible force stops it 


!T liu head. Patrol snip* 
it with hi* hand and fanndiahes it with a gesture of 
exalted laptute, making the aign o( the Cnraa with it. 


Thii liga I make, and ban tby cuned mick : 

Ab tbe wound Bhill be clowd. 

Which Ihou with thii once doTcrt,— 

To wrack and 1o niin 

Falls ttaT unreal diaplart 
As with on eaithquake the C^ade (all* to niins, 
the garden wither* up to a desert, the danuel* became 
shriveled Bower* strewn around on the ground. 

/Tun Jijf links down at /'an{/aj 'j (eet, while the hero, 
gazing Bt her with compassion, and referring to the 
Holy Ciail. where true salvation can alone be found. 

KHiduapptari, and tht 
turtoin falU q%itkty.) 


SCENE — A ipring landitape In the gmmJi of Morualoal, 
Al the hade a tmall hamttagt 
Gumanara, now an aged man, in hermit's dies* but 
still wearing the tunic of a Knight of the Grail, comes 
out of the hut and listena. He then goes to a thicket 
and finds Kundis apparendy hfelesa, but she revives 

under hi* ministmlionB. She is dressed as in Act [, and soon arises and goes immediately, 
like B serving maid, to work. She enters the hut, procures ■ water jug which she iills at 
the spring, Gamtmanz watches her carefully, seeing signs of • change in her. Panffal now 
enters from the wood in complete armor and seats himself. Gumtmaia, not recognizing him, 
reminds hiro that no armed Imight is allowed in the sacred premiaes, and especially on this 
day. Good Friday. Without saying a word, Pantfal risesi removes his helmet, and kneels 
down in silent prayer. GunMmaru in surprise, says softly to Kundiy; 
GuiMsUAMZ: Ha! b* what pslb ajt came he? 

Doit know wbo 'tis? . . . That Spear— I rfcognizel 

He who long since laid low the swsn. l/n great tmotioH.} 

(Kindry toHfirmt him ftji a ilighl Boi) Oh!— holiest day, 

For sure 'tis he! To which m^ happy sout iwakeal 

Tbe fool wbom In soger I dismissed. IKtindry hat tuTHtd away htr faet.} 

I^^K^^^^^ ^^^^^ Par^al rises slowly fmm his pmyer, gazes calmly 

ll^^^^^B^^;^^^^^ Jf J around, recognizes Gumtmeiu, and stretches out his hand 
Lj^P^^^jJ^"^ <W( ' '" '''"' '" Sreeting. 

G^Kfli^^^^^k iTSl Gumanara questiani him and is confirmed in his belief 

'M|f'^Hfkb'\ Tf that this is the one who is to redeem the sins jof the Grail 

k^^ ^B^UV n brotherhood. He tells Pantfal of the sad state of a&irs 

It the (^ide. 

Tbe blessing that thou t 
Since ihal iirit day in « 
The mourning which thi 
The anguish — sorely has 
Amfortas, strugglir 
With the wounffth 

daring then his death: 

When ^e □□ 


He ia on the point of fallioKi tidp- 
lody. Gurnemiifuaupporta him anil al- <^> 
Low* him to sink dovm on the gmtwy *' 
knoll. Kundry haa htoughl a baain of 
water with which to apiinkte Pantfal, 
hut Qumanant wBvea her avny, aaying 
that holy water alone muat be uaed for 

Panl/at aaka to be guided to Am- 
/oriai, and Cumanaia and Kundiy buay 
themaelvea in pTepanng him lot the oT. 
deal. Kandry bathei hi* feet and drie* 
them on hei haii. Paraifal aaka Gamt- j, 
mani, who by hia pure life haa become '*^ 
worthy of thia office, to anoini him with 
the water of puiificalion and the con. 
tenta of the golden vial which Kandry 
producea from her boiotn. Gurntmam 
coitaenta, and beatowa on Panifal the 

title of Prince and King of the GraU. . 

Penl/al now look, at Kandry with deep <^^i^,CM efi^NG^I-V?|i!^fi|yRjx; 

compaaaion, and taking up some water ''' - - - 

■prinklea her head, aaying : 


Charfreitagszauber (Good Friday Spell— Part I) Mein 
erstes Amt verricht' ich so 

By lUrlJdffi. Tenor iJean'Muller.BMi (German) *iSObl IZ-Ja.. *1.90 

P;kKST?AL: And trail in the Redcemerl 
" ' duty tbui:— (Kundry bom 

and mtadonu'i : 
How fair Ihc woodt and meadows sum to-day! 
Many a magic flow'r I've seen. 
Which souglil lo claip mc in 1I9 baneful twio- 

Garnananz explains that thi* beau^ of the wooiii 
anil fields is caused by the ipell of Good Friday, 
and that the flowers and treea, watered by the lean 
o( repentant linnere, expreis by their lusuiiousnasa 
the redemption of man. 

Char&eitagszauber (Good Friday 
Spell. Part II) Du stehst. das ist 
nicht ao 

By Herbert Withertpoon, Bus 

(/n gennan) 14144 12-iiich. «1.50 
By Karl Jom, Teoor; Jean MuUer. 
Ba«* (/n German) *95061 I2-ineh. 1^0 

At the Redei 


Uplifi theit ptiy'rs of dulj. 

Tn ICC Him on Ihe Crou Ihey hive no power: 

Who ^wiiVdre^' no"''mor"dolh'co^"' 
Through Cod's love made dean and pare: 
And now perceives each blade and flower 
Thai mortal foal lo-d»y it need not dretd; 

a h's meWfor Kim'bled, ^'""' 

All n 

wilh p 

To-day a 

With all"iiSt"fllv?3°'and"V« goeiVrmee. 
That treapiu- pardoned Nature wikea 
Now 10 her day of Innocence. 

Kaadiy has elowly raised her head again, and gazes with 
moist eyes, earnestly (uij calmly beseeching Panffal. 
I saw my acornful mockera wither: 
Now loi^ they for forgiveness hither?— 
Uke blessed Eweeldew a tear from thee loofioweth: 
the landscape g' 

Thou weepeit- 
.rd pealing, very gradually swelling. 

e Blowelh. 

y lord, thy lerran 

o lead 

Cumtmani has brought out a coal-of-mail and mantle of the Knights of the Giail, 
which he and Kandty put on Panifal. The landscape changes very gmduBlly, as in the 
lint act Parsifal solemnly grasps the Spear, and. with Kundis, follows the conducting 
Cumanonz. When the wood has disappeared and rocky entrances have presented them- 
selves in which the three become in- 
visible, processions of Knightsin mourn- 
ing gaib arc perceived in the arched 
passages, the pealing of bells ever in. 

Processional of the Knights 
of the Holy Grail 

By Pryor's B*nd 

31139 12-iach, ILOO 
At last the whole immense hall be. 
comes visible, just as in the fint act, 
only without the tables. There is a faint 
light. The doors open again, and from 
one side the Knights beat in Tltunl't 
corpse in a coffin- From the other Anu 
farl<u is earned on in his litter, preceded 
by the covered shrine of the Grail. The 
bier is erected in the middle; behind it 
the throne with canopy where Att^oifat 
is set down. 

FiUT TsATH ((DilA tkt Grail and 
AKtftrtai) : 

Td iscred place in ihetlerini ihiine 

The Holy Grail do we csr.y. 
Skokb Tsaib (tn'iA TilurtVi coffln}: 

A hern lies in this dismal shrine 

Wilh all this Heavenly rtrength, 

To whom all things once God did 

Titurel hither we bear. 


Amfortaa* Gebet, "Mein Vater!" (Amfortas' Prayer. 
"My Father*') 

By Clarence Whitehill 

My lather I 

Hfgb«l vtnerxed bt 

Tboa purest, to whi 

angfFa bended: 
Oh! thou who now in Ilesvenir beighta 
Dost behold the Sa--'— -'- --" 

He pour apoa tbeae brotht 

(In Gtiman) 74406 12-inch. tl.90 

No I— No merer 

I bid ft to ilBT met 

(Ttari optn kit drtu-t 
Behold_ine:— the. open 

It the Spear, touching Amforlat 


Be whole, unaullied and ibulvedl And Knowledee'l purest i 

For I now govern in thj place. They taught a timid Fool. 

Oh, bicutd by thy sorrows, The holy itsear— 

For Pity's potent might Once moie^.;hold in thit 

Oh, mighly miracle of bliu!— Whoie pure tide in the Grail i> flowiii(t 

This that throuEh me thy wound realoreih. Hid be no inoie thai shape divine: 

With holy hiDod behold it pourcth. Uncover Che Graill Open the shrinel 
Which yeanu to join the ^unliin ilowini. 

The boys open the shrine and Panifal takea (roro it the Grail and kneels abiorbed 
in ita contemplaticin, silently praying. The Grnil bIowb with ligh^ and a halo of ^17 
poura down over all. TUara, for die moment reanimated, raiaca himaelf in benedietion 
in his coffin. From the dome descends a white dove and hovers over Pantfid't head. 
He waves the Grail gently to and (id before the upgnzmg Knighta. Kandrj/, loolcing up at 
Panlfal, ainka alowly to the ground, dead. Aa\fortat and Gumemaaz do homage on Uieii 
knees to Panlfal. 

Au. (ailh veil 


Comic opera by Gilbert and Sullivan. Fint produced at the Optra Comique. London, 
April 23, 1861. FirM American production at the Standard Theatre, New York, September 

23. 1861. 


Reginald Bunthcane. a fle*hly poet 
Archibald Grosvenor, an idyllic poet 

ANGELA, SAPHIR. ELLA. JANE, lapturoua maideni 

Patience, a dairy maid 

Colonel CALVERLY, Major MURCATRCYD. officer* of the Drasoon Guarda 

Patience i« Gilbert'* famou* latire on the eithelic craze of the early 'SO*, and thi* absurd 
■chool of eitheticinn did not long *urvive the witty ridicule which Gilbert aimed at it. 

In the first act twenty love-iicfc maiden* are ainKing plaintively of their love for Banthantc 
PaUenee, a buxom milkmaid, ridicule* them, telling them the Dragoon Cuardt are expected 
shortly 1 but though the maiden* doted upon the Dngiiont a year ago they *com them 
now. The Ciiardt arrive, al*o Banlhomt, followed by the fair twenty, who pay no attention 
whatever to the DragoonM, who leave in a rage. Patience appear*, and the poet make* love 
to her, but *he is fiighlened and run* to Lady Angela, who tell* her it i* her duly to love some 
one. Patience thereupon declare* she will not allow the day to go by without falling in love. 

Gmotnor, the idyllic poet, and an old playmate of Patience, enter*, and she prompdy fall* 
in love with him, but he remains inditferenL Bunlhomt, unable to decide between the 
maidena, puts himself up a* the prize in a lottery, but Patience interrupt* the drawing and 
announces that she will he his wife. She i* accepted, whereupon the fickle maiden* 
tran*fer their affections to Grototnor, 

In the second act we see a rather ancient damsel, /ant, mourrung because of the maidena' 
desertion of Banlheme, who i* content with a milkmaid. Gnusenor, followed by Pailtnce, 
who tell* him ihatahe *till love* him, and AmfAorTK. with /one clinging to him, enter. Finally. 
Bunlhome in a jealous rage at Pallenct't regard for the flc*hly poet, exit* with Jane. Now 
the maidens make advance* to the Dragoon*, and the poets quarrel. Bunlfiorne aMts GraiMnsr 
how to make himself le«* attractive, and is told to dress himself in a more commonplace 
maimer. When the maiden* find he ha* given up esthetic* they find suitor* among the 
Dragoorui Patience deserts Bunthome for GnuMnsr. and Jane goe* over to the DiJtt, leaving 
Bunlhome disconsolate. 
Gems from Pstieoce 

" Twenty Love-Sick Maidena" — "Soldiers of Our Queen" — "Love is a 
Plaintive Song"— "A Most bitenee Young Man"— "1 Hear the Soft Note"— Finale 

By the Victor Lifbt Opera Company 91SI6 12-iach. 11.00 

"Hold youl Mine alene ii tbe Hgbl to iudgcl"— Act II 

pescatorT di perle pearl "fishers 


Text by Cant and Cormon. Music by Geoisei Bizet. Fint production at tha ThAttre 
Lytimie, Paris, September 29, IS63. First London production, entitled "Leila," at Covent 
Garden. April 22, 1687: mnd n Petcalori dl PtrU, May 16, 18S9. Recently revived at Covent 
Garden (or TetTozzini. Fint peiformance in America occurred at Pkiladelpbia, Auguit, 1893, 
in English. Pint New York production (two acta only) January 1 1, 1896. nt die Mctropoli. 
tan Opera House, with Cb1v& Revived at the Metropolitan in 1916. with Caruso. Hempel 
and de Luca. It ii 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. 


L£ILA.a priestess Soprano 

NADIR, a pearl fisher ^ -Tenor 

ZURGA. a chief 

NOURABAD, high priest 

Priests, Priestesses; Pearl Fishers. Women, etc 

Scene and Period : Ceylon ; tartaric period 


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

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


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

Preludio (Prelude) 

By La Seals Orchestra *62100 lO-ineh, $0.85 


SCENE — The Coast of Ceylon 

The rise of the curtain discloses a company of Qngalese pearl fishers, who, after 
choosing one of their number, Zurga, to be their chief, are enjo3ring themselves with games 
and dances. Nadir appears and Zurga recognizes him as a friend of his youth. They greet 
each other and speak of the days when they were rivals for the hand of a beautiful woman. 
Nadir, beginning the duet, recalls the moment when the friends first beheld the lovely Leila, 


Del tempio al limitar (In the Depths of the Temple) 

By Enrico Caruso and Mario Ancona (/n Italian) 89007 12-mch, $2.00 

By Edmund Clement and Marcel Journet (/n French) 76022 12-inch, 2.00 
By Giuseppe Acerbi and Renzo Minolfi (In Italiart) *68063 12-inch, 1.35 

In an impressive strain he describes the scene within the Temple of Brahma : 

Nadis: Lifts her veil, revealing 

In the depths of the temple A face that haunts me still 

A lovely form we beheld, With its beauty ethereal! 

That form 1 still can see! Nadir: 

^",5?^* . . f . . , But now her veil she drops 

Twas a vision of beauty! And. passing through the wandering crowd 

^lADis: Slje disappears 

The kneeling worshipers, astonished, Now a strange emotion overpowers me, 

Now murmur, "The goddess comes 1 j fg^r to touch thy hand. 


She descends from the altar Zurga: 

And, moving near to us A fatal love both our souls possess. 

They speak of their sudden realization of the fact that they had both fallen in love at 
sight with the priestess, and fearing their friendship was in danger, they swore never to see 
her again. The comrades, now pronouncing themselves entirely cured of their infatuation, 
pledge anew their friendship and swear to be brothers to the end. 

A fisherman now enters and announces the arrival of the mysterious veiled lady who 
comes once a year to pray for the success of the fisheries, and whom the Ceylonese have 
adopted as their guardian saint. She enters and begins her prayer. Nadir recognizes her 
voice and realizes that it is the priestess Leila. The pearl fishers sing a chorus of appeal to 
Brahma for a blessing, in which Leila joins. 

Brahma gran Dio (Divine Brahma !) 

By Linda Brambilla, Soprano, and La Scala Chorus 

(In Italian) *68062 12-inch. $1.35 

Leila goes into the temple and the people disperse. Nadir, left alone, is agitated by his 
discovery, realizing that he still loves the maiden. He recalls the memories of his first 
sight of her in a lovely song. 

Mi par d^udire ancora (I Hear as in a Dream) 

By Enrico Caruso, Tenor {In French) 88580 12-inch, $1.50 

Leila reappears and the act closes with her prayer to Brahma for the good fortune of 
the fishermen. Just as the curtain falls she recognizes Nadir, and contrives to let him know 
that she loves him. 




SCENE— /4 RolntJ Tanplt 
Ai tke curtain ri*ea Ltila and Nourabad, the high priot, are 
■heltcT in the ruin* of an ancient temple. The high piieat, in a fine aii, remindi Ldla ol 
oath to renounce love and maniage and devote henelf to the welfare of the people. She 
ta.y that ahe will keep her piomiae and tell* him of a vow ihe made when a child to a 
fugitive who implored her to save hii life. Although his purauen held a dagger to her 
brea«t ahe refuted to betray him and he escaped to sofe^. 

Siccotne un di caduto (A Fugitive, One Day) 

By CiuMppins Piccoletti. Soprano {Plannacc.) (Ilallai^ *6S307 I2-iiieh, *1.3S 
The high priest sternly recites the punishment which will overtake her should she 
prove false to her vow. "Shame and death be thy portion 1" cries the stem priest. Left 
alone, the miserable woman broods over her unhappy plight. Bound by an oath which she 
now regrets^ and conscious oF her love for NaJlr, which may mean death for them both, she 
■inks down in an agony of despair. Nadli, arriving outside the Temple, con be heard sing- 
ing the beautiful love song, De man amie. 

De mon amie (My Love) 

By Enrico Ciruso, Tenor (In Fieneh) 87269 lO-inch. tl.OO 

He enters and asks her to fiy with him. defying Brahma and the priests. She at first 
repulses him, but love is finally triumphant and Uie lovers lapturously embrace, while a 
fearful storm rages, unheeded, outside the ruins. 

Non hai cotapreso un cor fedel (You Have Not Understood) 

By Giuseppina Piccoletti and Ivo Zaccari (/foAan) *6S062 12-iilch, tl.35 

The lovers are surprised by Nairatail, and Nadir flees; closely pursued by the priests. 
He is captured and brought back, while Zurga is summoned to pronounce sentence on the 
guilty loven. His friendship for Nadir moves him to mercy, and he spares their lives and 
bids them 8y the country. As they go, however, the high priest tears the veil from Ltila, 
and when Zurga realizes that it is the woman Nadir has sworn never to see, he is enraged 
and sentences them both to death. 



SCENE 1 — The Camp ofZurga 

ZuTtta is discovered alone, brooding over the impending death of his friend and the 
woman he loves. His mood of despair is interrupted by Leila, who appears at the entrance 
to his tent and asks him to dismiss the guards and speak with her alone. She asks mercy 
for Nadir in a dramatic aria. 

Temer non so per me (I Fear Not) 

By Emilia Corsi, Soprano (In Italian) *69994 lO-inch, $0.85 

She proudly refuses to plead for her own life, but begs that he spare the friend whom 
he loves. 2^rga refuses and summons the guards to conduct her to execution. 

SCENE l\—The Place of Execution 

The scene shows the wild spot where the funeral pile has been erected. Leila and 
Nadir are led in, and are about to mount the pyre when a red glow is seen in the sky, and 
Zurga enters crying that the camp is on fire, and bids the people fly to save their children and 


Zukga: Run ye, there is yet time 

The fire of Heaven has fallen, To save your children from death. 
The flame invades and destroys! (The Indians run out in disorder.) 

All run out except Leila, Nadir and Zurga, and the high priest, who, suspecting a plot, 
hides to hear what Zurga will say. The latter confesses that he kindled the fire in order 
to save the lovers. Unfastening their chains, he bids them escape, while Nourahad runs 
to warn the Indians, and Leila and Nadir, beginning the great trio, voice their gratitude. 

Terzetto finale — Fascino etereo 

By Linda BrambiUa, Soprano : Giuseppe Acerbi, Tenor ; Francesco 

Citfada, Baritone (In Italian) *68069 12-inch, $1.35 

The lovers pmise the generosity and greatness of 2^rga, who for the sake of friend- 
ship has committed an act which may cost him his own life. He bids them fly at once, 
ana they go as the voices of the enraged Indians are heard returning for vengeance. 
Nourahad denounces Zurga for the escape of the victims and for the destruction of the camp. 

2jUrga is forced to mount the funeral pyre, and as the flames mount about him a fiery 
glow reveals that the forest is ablaze, and sdl prostrate themselves, fearing the displeasure 
of Brahma. The curtain falls as the flames envelop the stage. 

68063 12-inch. $1.35 



12-inch, 1.35 


Del tempio al limitar (In the Depths of the Temple) 

By Giuseppe Acerbi and Renzo Minolfi (In Italian) 
Terzetto finale — Fascino etereo 

By Linda Brambilla, Soprano ; Giuseppe Acerbi, 

Tenor ; Francesco Cicada, Baritone (In Italian) 

>}on hai compreso un cor fedel (You Have Not Under- 
stood) By Giuseppina Piccoletti, Soprano, and 

Ivo Zaccari. Tenor (In Italian) ^68062 
Brahma gran Dio (Divine Brahma t) By Linda Brambilla, 

Soprano, and La Scala Chorus (In Italian) 

Siccome un di (A Fugitive, One Day) 1 

By Giuseppina Piccoletti, Soprano (In Italian) V68307 
Hermea — S'io t*amo By Melis and Taccani (In Italian)] 

Preludio (Prelude) By La Scala Orchestral 

Ebrea—Rachele allor che Iddio >62 1 OO 

By Gino MartineX'Patti, Tenor (In Italian)] 

Temer non so per me (I Fear Not) 1 

By Emilia Corsi, Soprano (In Italian) [63394 
Jana — Si dannato morro By Taccani (In Italian) J 

De mon amie (My Love) 

By Enrico Caruso, Tenor (In French) 87269 

12-inch, 1.35 

10-inch, .85 

lO-inch, .85 

lO-inch, 1.00 




{Palrl Ju Bnh-xeeF) 



Words by Gabriel and Sylvain Saint £denne ; music by F^licien David. First produced 
at the Th^Atre Lyrique, Paris, November 22, 1651. Revived at the same theatre March, 
1858, with Mme. Miolan-Carvalho ; and at the Op^ra Comique, 1883, with Emma Nevada. 


CWith the Original Cut) 

ZORA Mile. Duez 

LORENZ, her lover Soyer 


Sailors, Brazilians, etc 

The Pearl of Brazil was David's first dramatic work, and is the story of the loves of 
Lorenz, a sailor, and Zora, a young girl found by Admiral Salvador in Brazil, and who he 
intends to educate and eventually to marry. 

They set sail from South America, but Salvador soon discovers that Zora has a lover, 
Lorenz, a young lieutenant, who has disguised himself as a sailor and is on board in order 
to be near his sweetheart. A storm arises and the ship is compelled to seek shelter in a 
harbor of Brazil. The natives attack the ship and almost overpower the sailors, when 
Zora chants a hymn to the Great Spirit, and the Brazilians, recognizing their compatriot, 
make peace. In gratitude for the young girl's act, which saved the lives of all on board, 
the Admiral gives his consent to her marriage with Lorenz, 

The Charmant oiseau is, perhaps, the most beautiful number in David's opera. It is one 
of the most famous of colorature airs, and one of which sopnmos are very fond, as it exhibits 
to perfection the skill of the singers, showing to rare advantage the flexibility of the voice, 
especially in the duet with flute, with its difficult runs. 

Charmant oiseau (Thou Charming Bird) With flute obbhgato 

By Luisa Tetrazzini, Soprano (In French) 88918 12-inch, $1.50 

By Emma Calv^, Soprano {In French) 88087 12-inch, 1.50 

By Amelita Galli-Curci. Soprano (In French) 74552 12-inch, 1.50 

By Mabel Garrison, Soprano (in Frerxh) 74542 12-inch, 1.50 

By Marie Michailowa, Soprano (In Russian) 61190 10- inch, 1.00 

Delightful bird of plumage glowing 

With sapphire and with ruby dyes, 

'Mid the shade his rare beauty showing 

Before our wonderstricken eyes; 

When on the branch with blossoms trembling, 

He poises swinging gay and bright. 

His checkered pinions gleams resembling 

A many-colorea prism of light. 

How sweet is he, the Mysolil 

When dav appears his I'oyful 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 Dttaon edlttoo— Copj't 01lT«r DItMn C«. 





Text by W. S. Gilbert; munc by Sir Arthur Sullivan. Pint produced at the Opira 

Comique. London. May 26, 1678. FirM American perfonnance occurred In New York in 1876. 

but waa unautkorized, and wa« followed by ike firat important production at tke Boatoa 

Muaeum, in November, 1879. Succeaahilly revived in New York in 191 1 and again in 1912. 

RT. Hon. sir JOSEPH Porter. K. C B.. Tirat Lord of the Admiralty . . Baritone 

Captain Corcoran, Commanding "H. M. S. Pinafore" Baritone 

Ralph RACKSTRAW, able aeaman Tonor 

Dick DEADEYE. able aeanian Ban 

BILLY BOBSTAY. boatiwain'* mate Ban 

Bob BECKET. carpenter's man 

Tom Tucker, midahipmite 

Sergeant of Marines 

Josephine, tke Captain'* daughter Soprano 

HEBE. Sir Joaeph'a BrM couain Mezzo-Soprano 

Little buttercup, a bumboat woman COtttralto 

First Lord's Siatera, his Cousiiu and Aunts, Sailors, Marines 

Tlmt end Ptact .- Tfit tcent li laid on the quaritrdtck of ' 'H. M. S. Pinafon ' ' 
Time, the pretenl 


The pnxluctian of this little opera motked die tampo- 
rory retirement oE opera boafft in America ; ita dainty music 
and the aparkling wit of ita dialogue being grateful to a 
public which was becoming satiBted by the productions of 
German and French composers. Gilbert's satire was keen, 
but the wit wa* always delicate without a single touch of 
the coaraeneas which frequently marred the opera bmfffe 

Pinafore haa an inexhaustible fund of this Gilbertian 
wit, and never fails to please an audience. When first 
presented in London, however, so little interest was ahown 
that the management decided to withdraw the piece, but 


The story of Pinafore la so generally known that it is 
like repeating an old, familiar tale to outline the plot. The 
rise of the curtain shows the deck of Hia Majesty's Ship 
IHnafim. The Captain ia in a mournful mood because his 
daughter does not favor his plan to marry her to Slrjoitph 
Porter, and confesses that she loves an ordinary sailor. Soon 
after she meets Ralph, who tells her of his love; but U 
haughtily repulsed. In desperation he threatens to shoot 
himself, and Jotephint then confesses that she cares for him. 
Their plans to get ashore and be married are overheard by 
Dlcl[ DtaJtye, a sort of comedy villain, who threatens to 
prevent their elapemenL 


In the second act Uldt Bulttrcup naively reveals her affection for the Capt^n, but he 
tells her he can only he her friend. Tliis angera her, and she prophesies a change in hia 
fortunes. SlrJoMeph enters and complains to the Captain that Jiacphim has disappointed him. 
Corcoran tella him his daughter ia probably dazzled by the exalted station of her suitor, and 
suggests that he plead his cause on the ground that love levels all rank. Sir Jaaeph accepts 
his suggestion, but only succeeds in strengthening his rival's cause, as Jetephine becomes 
even more firmly resolved to wed RafpA. DitJc Deadeyt now reveals the planned elopement, 
and the Caplain stops the couple as they are stealing away, demanding where they are 
going. Ralph confesses his love, which so angers Corcoran that he swears. Sir Joatph over- 
hears him and orders him to his cabin, but on being told the cause of the excitement, 
orders Ralph also to be confined. LlllU Buttercup, interrupting, reveals her secret and tells 
how the Captain and Ralph were accidentally exchanged when both were infants. Where, 
upon Sirjoicph, revealing the crowning absurdity of Gilbert's plot, sends for the seaman, gives 
him command of the ship and nobly consents to his marriage with JatephliK. The Caplala, 
who now automatically beconies a common sailor, moirie* the happy LlUle BuUercap, 

Gemsfrom'H.M.S.Pinaforc,*' Part I Victor Liffht Opera Co. 

OpEoins Chorus. "WeSui the Oc«n Blue "—Air, Ralph and Chonii, 
■■A M«d=n Fair to See"— Sons, ■■CapoOn, I Am ihe Monsrch oE ihcS™'' 
—"I'm C.1W Utile Biillen:up''— '*C^«Uin of the Pinafore "— Finale, 
Ad 1. "Hii Foot Should Sump. " S9386 12-i 

Gems from "H. M. S. Pinafore." Part II Victor Light Opera Co. 
" TTie GaUanl Captain of the Pmafort "— ■■ When I Wa. a Lad*— ■■ The 
Mvrj Maiden and the Tar"— "CarefuUr on Tip-toe SlealLaa: "— " B^ 
Faitnins"— "Farewell. M» Own"— "FoiHciaaB Eosliahmw.." 
Pinafore Selection— Part I Victor Concert Orchestra 

Ncrw Give Three Cheer* for the Saiior'a Bride "-"A Maiden Fail lo See" 
-"We Sail the Ocean Has "—"I'm Called Little BuMercup"— "Ailmlral'i 

«na "— "When I Waa a Lad" 18176 lO-in.. 

Pitufore Selection — Part 11 Victor Concert Orchestra 

"Fair Moon"— "Carefully on Tin-toe S<ealin«" — "Refrain, Audacic 

Tar-'-'-He ia an Eadiahaian" 

Fair Moon By George MscFsrlsne, Baritone 60136 tO-in.. 



(Peek Dahm) 




Text by Modeste Tschaikowsky, the composer's brother, taken from Puschkin's novel 
of the same name. Music by Peter Utitsch Tschaikowsky. First production at St. Peters- 
burg, December, 1890; in Vienna, under Gustav Mahler, 1902; at La Scala, Milan, 1905-6; 
Berlin, 1907, with Destinn, Goetz, Griswold and GrUning. First American production at the 
Metropolitan Opera House, New York, March 5, 1910, in German, under Mahler, with 
Destinn, Slezak and Akna Gluck. This was the first production in America of any of 
Tschaikowsky 's operas, an odd fact in view of the great popularity of the composer's concert 
music, although "Eugen Onegin'* had previously been given in concert form. 


THE COUNTESS (Piaue Dame) Mezzo-Soprano 

Lisa, her granddaughter Soprano 

PAUUNE Contralto 

Hermann, a young officer Tenor 

TOMSKY, his friend Tenor 

Prince JELETSKI, betrothed to Lisa Baritone 

Time and Place : St. Petersburg ; eighteenih century 

The story of "Pique Dame'* is a melodramatic one, full of 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 granddaughter, Lisa, be- 
trothed to Prince Jeletski, is deeply in love with Hermann, a young officer, who is seeking a 
way to make a fortune that he may marxy 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 pleadings and 
orders him from her apartment, but 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 appears, 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 deter- 
mination 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 Courttess appears, and 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 numbers here presented — the delightful duet for Lisa and Pauline in the 
second scene of Act I, which reminds one somewhat of the lovely Tales of Hoffman " Bar- 
carolle*'; the solo of Lisa in Act 111, given as she waits on the banks of the Neva for her 
lover Hermann ; and the duet from the Carnival Scene, Act 11, sung by Daphnis and CMoe 
in the little pastoral given for the amusement of the guests. 

Es dammert (It is Evening) Act I, Scene II 

By Emmy Destinn and Maria Duchdne (/n German) 891 17 12-inch, $2.00 

Es geht auf Mittemacht (It is Nearly Midnight) Act III 

By Emmy Destinn, Soprano {In German) 88518 12-inch, 1.50 

O viens mon doux bertfer (My Dear Shepherd) Act II 

By Emmy Destinn and Maria Duchdne (In French) 89118 12-inch, 2.00 

By Maria Miehailowa and Mme. Tutfarinoff (Russian) 61 136 10-inch, 1.00 



Comic Opera in two acta] text by Sir W. S. Gilbert; munc by Sir Arthur SuUivan. 
First performance on any stage New York, December 31, 1879, tinder the ■upeminon of 
the autbon. Produced at the Optra Cbmique. London. April 3, 1660. 

Character* and Oritfiail Cast 

MAJOR^ENERAL Stanley Baritone (J. H. Ryley) 

Pirate King Baas (Brocolini) 

FREDERIQ the pirate apprentice Tenor (Hugh Talbot) 

SERGEANT OF POUCE Ban (Fred'k Qiftot.) 

Mabel General Stanley'* daughter Soprano (Blanche Rooaevell) 

RUTH, a pinte maid.o(.«II-work Contralto (Alice Bamett) 

Pirate*, Police, General Stanley'* Daughter*, etc 

TVdm and Place ; Tht m 

}> laid on Iht eeatt of Canmall : llmt, tht pretail 

The Pirate*, aa it i> familiarly called, i* one of the very few ofieraa of note to have it* 
first production in America. Gilbert's delightfully whimsical story tells of FrtJaic, appren- 
ticed when a child to the Pirala of Peniance, who were very gentle with orphan* for the 
rea*on that they themselve* were orphans I 

In Act 1 the Pirala ate celebrating the twenty-first birth- 
day of Fnderic, who, tiring of a piratical career, is about to 
'e them. Ruth, a "female pirate," begi him to marry her, 
as she i* the only woman he ha* known, he conaents, 
I after *he ha* aa^urea him that *he U "a fine figure of a 

Shortly afterward Frtderic meeta Gateial Slanlty'M 
I daughtera. who have come to this rocky shore on an outing, 
I and falla in love with Moid, the youngest. The Piralet cap- 
I ture Mabel and her sisters and propose to marry them, but 
I when their father arrives and tells them he also is an orphan, 
they relent and release the girl*. 

In the second act the General, with a highly exaggerated 

Ense of honor, i* lamenting because he haa deceived the 

Piralet by telling them he is an orphan. Fitderic, who is 

out to lead an expedition (composed of brave policemen I) 

exterminate the Pitaitt, comes to bid Mabel good-bye. 

The Plralt King and Ruth arrive and show FrtJeric the 

...prentice papers which bound him to the /^rafo until his 

I twenty- first t>irthday, and call attention to their discovery of 
the fact that, as he was born in leap 3rear on the 29th of 
, February, he haa had but five birthdays, and consequently 
^ is still a member oF the band until sixteen more leap years 
Di woLr HOPFBi have rolled aroundl Frederic 'i sense of duty influence* him 

AS TBI inGEANT Or FOLics to consent to return to the Pirata and serve out hia imex< 
piled term, and to tell them of the Gtntrat't falsehood. 
In an attempt to carry off the Genera/ for revenge, the pirates are captured by the pohce* 
men. but ask for their liberty on the ground that they are really English noblemen " gone 
wrong." On promising to give up their piratical career they are pardoned, and this release* 
FrtJerle, who is now free to marry Mabel. 

G«na from Pirates of Penzance 

Chorus of Pirate*— Solo. " Poor Wand'ring One"- 
Maiden Breast"— Solo and Chorus. "A Policenu 
Cadike Tread "—Finale 

By the Victor Light Opera Company 31806 12-inch. *l.O0 


Libretto by the compoaet and hia friend, Vladimir Stauoff, baaed on "The Epic of the 
Army af Igot, an old historical Ruraian chronicle, auppoaed to have been vrritten by a 
literary monk in the twelfth century. Music by Alexander Porphyrievich Borodin. Firtt 
producHon at Imperial Opera House. St. Peteriburg, October 23, 1890. First American pro- 
duction In New York. December 30. 1915. with the caat given below. 


Prince Igor SVIATOSLAVTTCH Paagusle Amato 

Princess JaROSLAVNA. hia wile Francea Alda 

VLANMIR ICOREVITCH. his aon Paul Althouae 


KOfJTCHAKOVNA, hia daughter Flora Pereni 

OVLOUR Pietro Audino 

SCOULA Andrea do Segurola 

EROCHICA Angelo Bada 

A Young QRL Raymonds £)elaunoi* 

Although Borodin haa written many aymphonic worka. Prince Igor waa hia only opera, 
and even that waa not finiaked when he died in 1687. although begun twenty years before. 
It waa completed by the composer*! frienda, Rimsky-Koraakotf and Clazounoff. The Italian 
veraion. written by Antonio Legs and Giulio Setti. waa used in the American production. 

In the Prologue, which takes place in a aquare in Poutivle. Prince Igor and hia expedition 
are about to depart for battle with an Oriental tribe. An eclipse occurs, which overawes the 
people, but Igor refuaea to heed the warnings of hia wife and departs with his aon VlaJindr, 
after entrustinK the care of hia wife to his brother. Prince GallUki/, whose ambition it is to 
usurp Iger'i place, and who bribes the rogues, Samta and Erochka. deserters from Igor't 
army, to give him their aupporL 

Act I shows B scene of feasting and carousing in the courtyard of QaSlU^s't bouse. A 
group of young girls bewail the fact that one of their number haa been abducted and is kept 
a prisoner in Galltxks'* house. They ask for her return, but the Prina, who is actually the 
abductor, frightens them and they run away.' Jaroilavna, brooding over the absence of her 
husband, is appealed to by the young girls, but on the appearance of GatlUks they flee in 
terror. JamJama reproaches her brother, but he debes her. Worse troubles are in store 
for her, however, as a delegation of Boyards appear and tell the Prineat that Igor is 



together witli hia a 


I woumled and a priaoner, 

I enemy's camp. Diatant ( 

I ciy lliBt the enemy hal craiied the Run; 

I ia advancing. 

Aa the curtain riaea on the aecond act it ia evening 
he enemy'a camp, where Prince Igcr and Vladimir 
priaonen. A chorui of girl* ia ainging, among 
I them Ktmlchak^ona, daughter of Kanchiil(, the Oriental 
I chief. "Prince yiaJimli, who haa fallen in love with 
I Konlchaltpena, entera and tclli the young girl that 
I Iger diaappiovea of his attachment to the daughter of 
I his enemy, but ahe aaya that her father vrill conaent 
1 to their union. Iger appeara. lamenting hia predica- 
I ment, but when Ovhar, who ia on guard, oflera him a 
ic aa a mearta of escape, he refuses. KontchaJf treats 
I Prince Igor more aa a guest than aa a priaoner, and 
1 promises him hia freedom if be iirill promise never to 
I fight again. TbesUvei are ordered to dance (or hi* 
I diveraion, and iho act enda with an elaborate ballet. 
The third act shows another part of the enemy's 
.mp, where Konlchali'i triumpha over the Russians 
e being celebrated. This act waa omitted in the re- 
■ KITO ah:> jkLDA A9 THE riiHCE AND Cent Metropolitan production. Igor is supposed to 
riiflciiE make hia escape, while Konlehalt ordeia hia aoldiers 

not to pursue. 
The last act shows the ci^ walls and pubhc aquare in Poutivle. Jarodatna, grieving for 
her abaent husband, suddenly sees two horsemen approaching, and is overjoyed to recog- 
nize her husband and Otloar, Jamdaoria and Igor go into the citadel, while the raacau, 
Samta and ErocUfa, who have been drinking, enter and aing a song ridiculing Igor and prais. 
ing Galllila/. Suddenly they perceive Igor in the door of the citadel, and tremble (or fear of 

[lUiuahment. "Ring the town bell," aaya the resourceful £caufa, and they pull the i 
lutily. This brings the townspeople, who greet their king with t ' 
curtain falls on a joyful tableau. 

1 rejoicing, i 


Coro di donnc 
Coro eDanza 

(Chorus of the Tartar Women, Act II) 

(Choru.ofSl.v«.AetIl) *'*" 
C/n liable) By MetropoUun Opera Chorus 


• 1.00 



' , i 

;'• ^fiJf^i'L'i^ 


t ^ 

-* ^ vi^'^o^J^S 








^m. .iMUsU^^i^ 

i i 






(tHllu) (FnBch) (En(liih) 


(Etl Pn-Mf-fKl (.Lth Pro-fih-f) 


Text by Scribe. Mudc by Ciacomo Meyerbeei. First proented in Paiii, April 16, 
1649. Fi»l London production July 24, 1649. Pint American production at Oie New 
Orlean* Opera. April 2, 1S50. FirH New Yoik production November 23. 1834. Revived 
in 1896 at the Metropolitan with Brema. de R«zke and Utunann : in 1903 with Alvarez and 
Schumann-Heink -, in 1909 at the Manhattan Opera with d' Alvarez. Lucas and Walter- VUla ; 
and in 1918 with Caiu», Muiio, Matzenauer and DiduT. 

John of LEYDEN (Lv'-Jhi). the Pn^het choMn leader ai the Anabaptist* . . Tenor 

BERTHA, hi» sweelheait Soprano 

FID£3 (Fa^-ianz), mother oF John oF Les^den Mezzo-Si^rano 

COUFiT OBERTHAL, ruler oF the domain about Dordrecht Baas 


Jonas, Vthree Anabaptiat preachers {Tenor 


Nobles, Citizena, Peaaant*, Soldier*. Prisoner* 

Scene and Ptriod: Holland and Gtrmait}); In 1 543, at iht Umt of the Anabaptltt aprltlng 

Meyerbeer's great work is certainly entitled to 
be called a grand opera. For it is grand to the ulmoal 
in theme, character and acene* ; and with its brilliant 
and impressive music, at the time of its production 
sixty years ago "was a model oF its kind, as opera-goers 

mded melodran 

neFul n 

opportunity For ballet; and all these requirements 
are fully met with in Le IVophite. 

The plot is based on the Anabaptist fanaticism 
of the sixteenth century, which agitated a large part 
of Germany and f-Iolland, and the leader oF which 
was one Bockelson. commonly called John oF Leyden. 


SCENE— .4 Sahurh of Dcrirechl, Holland 
The story Furnished by the librettist* describe* 
John a* the son of the widow Fidia, an innkeeper of 
Leyden. At the opening of the opera he is about 
to wed Bertha, an orphan. She, being a vassal of 
the Count ObcTlhal, is obliged to aak his permission 
before marrying and goes with FtJii, John'i mother, 
to beg the Count's consent. The Count. *truck wiui the young girl's beauty, covet* her 
for himself, refuses his consent and orders Fldii and Btrtha into the caatle. 
SCENE— rAe Inn of John in tht Suburbi of Uyden 
Three Anabaptists enter and being astonished at the lesemblaace of John to the portrait 
of the guardian saint. David, at Munster, they try to induce him to become their leader. He 
reFuses, but tells them oF a strange dream he has had. 

The Anabaptists declare that Heaven has spoken in the dream, and proinise that he shall 
yet be a ruler; but /aftn 'j thou^ts turn to his beloved Btrtha, and he tells them that another 
and sweeter liFe calls to him. 


Btrtha, who Kna etcaped from the cattle, 
now runa in, uking John to ssve her. She U 
concealed hy him ■■ the Count's •oldien enter 
and thieaten to kill Fidii unlesa John delivers 
up the maiden. To aave his mother's life he 
is forced to yield, and sees his bride cAtried 
off to become the Count's mistress. FiJit, in 
her gratitude, sings this most dramatic and 
intense of Meyerbeer's airs. 

Ah, mon fils I (Ach, mein 
SohnI) (Ah. My Son!) 

By Ernestine Schumann- Hetnk. 
CoQtialto (Frenc/i) 68187 I2-in„ »1.50 

Thy loving moihcr lo th« w«> de«r»r 

Than was Bertha, who ciaiin'd thy hurt! 

Ah, my ton: For thou, slas, 

Thou dost give for thy nothrr more than life. 

For thou giv'Bt all the joy^ of thy >ou1! 
for^thM^ " " ' '" "^ "' " 

Mt nn. blessed be forever more! 

'"" "r s"K™,1*'TS;.*' 'itST'""' 

John, left by his mother to bitter thoughts, 
hears the AnabAptitt* in the distance, and re- 
solves to join them aa a meaiu of vengeance 
on the Count. The three conspiratora enter, 
the compact soon made and they depart, leav. 
ins some blood-stained gnrmenta to lead Fldlt 
to believe John has been (lain by the Count'* 


SCENE— Camp 0/ AnataplUlt In the 
WatphaUa Foral 
The city of Muruter is about to be 
besieged by the rebels, and before pro- 
ceeding to the charge, John, now the 
Prophet, and in command of the rebels, 
makes them kneel and pray for victory. 
They chant the Mfterert, and John sings 
his noble hjTnn. 

Re del cielo e dei beati 
(Triumphal Hymn, 
" Kin^ of Heaven") 

By Francuco Tama^no. Tenor 
{Plana ace.) (/n llailan) 

99005 10-inch, »9.00 
SCENE \—A Public Squen In Afantttr 
The insurgents have captured the 
city. TheProphetiareceivedwithmixed 
feelings, some denouncing him as an 
impostor. Fldh, reduced to beggary, 
meets BerlAa, who haa escaped from the 
Count and come to Munater to seek 
John. Fidit tells her John U dead, and 
Btrtha, thinkins the Prophet is responsi- 
ble, swears to have vengeance. 



' r^^ ij 








SCENE U—The Mansttr Caihtdtal 
Thii magnificent cathedral tcene u one of 
Meyerbeer's mori brilliant compocitions. It 
foims a striking contrast lo the rest of the 
opera, bo gloomy with religious and political 
(anaticism. and as a piece of glittering pag- 
eanliy with gorgeous decoration, pealing bells, 
■olemn chants, and (he itately Coronation 
March, has seldom been equaled. 

Coronation March if' 

By VcMcUa'* Italian Band 

*95610 12-inch. tl.39 
By Aithur Pryor'i Band 

'956S3 12-iach, 1.39 
The great symphonic march which iKcurs 
in this scene is by far the moat striking in- 
strumental number in Meyerbeer's opera. It 
is brilliant and powerful, with superb jnatru- 
menlation, and always produces a marked 
effect on the listener. 

As John passes into the church, FidU sees 
him, and in a transport of yoy greets him as 
her son. He declares she i* mad. knowing it 
ia death to both if he acknowledges her. She 
finally realizes the situation, confeases that she 
is mistaken, and is led away to prison. 

SCENE l~Tht Crypl of Iht Pelact el Mamla 
The first scene takes place in the prison 
vaults beneath the palace, where Fitlit, feeling 
certain that John will contrive to see her. 
patiently awaits his coming. She at first den 
that Heaven may lead him to repent. 


Prison Scene 

By Emotine Schummnn-Heiiik, Contralto 
Un French) S809S ll-ineb. *1.50 
FiDis (ahnt): 
Ol raj cruel deitinji Whither hsve you led 

Wbsl, the wslls of ■ priwol they arrest aj 

__ r."t 

Bertha swore my t 

~hy motber pardons 
fc). I >in .till ■ m. 

iow 1 would give 

■ death, he denied t 

the Prophet. 

Fidit then begins 

my Hfe, 

ly aoul exalted, will wait for lh« In 

:r enters and annotincea the BTrival « 

e second part of her great 

FiDii (loyMly): 

1 ■halt KB bim, delightful hopel 
Oh, tmtbr daughter of hesTen, 
Miv thy aame, like lighlniog. 
StrUK the soul af an ungrateful aon. 
Celestial flame restore to him calmnesir 
Restore, bless'd Heaven, hie guardian angel 1 
When John enters, Fliii denounces the bloody deed* of the Anabaptista and calls on 
her son to repent and renounce his false robes. 
But thou, whom ttie world detests, Tbou. wboie fell hand is reeldnx with blood: 

Yes, thou, braving Heaven's behests; Go thou, my son no longer now! 

John confesse* his sina and pleads for forKivenesa, finally kneeling and receiving her 
blessing, just aa a faithful oflicer enter* and informs John (hat the Anabaptists are plotting 
to deliver him lo the Emperor's forces, which are marching on the city. 

Bertha enters through a secret passage, revealed to her by her grandfather, who was 
once keeper of the palace. She has resolved la blow up the palace and the false Prophet, 
and is horrified to learn that John ia the Prophet She denounces him for his crimes and, 
declaring she has no longer reason to live, stabs herself. 

John, in despair, resolves to die vritk his enemies and. sending away his mother, plans to 
have the palace set on lite, and goes to the banquet hall. 

SCENE II— rAe Cnal Hall of (he Pelett 
After the EmperOr'a forces have entered, crying, " Death Id the Prophet," John order* 
the gates closed. An explouon occur*, carrying down lo death John and all hia enemies. 

You a 

are all my captiveil My n 

tiBtioa tain tlaer, flu imI^ fall and Fiots; 
ifrrad an tviry lidi.) Yes, i 


wilti me; 
Justice has i 




•eilti k, 

ri IkrouBh 

/Coronation March By Vesiella'a Italian Bandl-,. ,, 

t Cirtneft Ss/edton {Bbel) By Veaelh; HaUm BanJr^'*^' 

/Coronation March By Pryor's Band) 

I Wedding Manh (Seaia) Bu Soma't Band) 

2-iiich. *135 
396B3 12>inch. U9 




Book t>y Count Pepoli: music by Vincenzo Bellini. Fiiit pnwented at the ThiStrt 
Uallcn, Poria, Januaiy 25, IB35, with ■ famoui caat — Griii. Rubini, Tamburini and Lablache. 
Firit London production. King'* Theatre, MayZl, 1 835, under the title oF /^irifiini tdlOaalieri. 
First New York production, Febtuaiy 3, 1844. Produced at the New Orleani Opera, 
Match 3, I84S: and at the Metropolitan Opera in 1683 with Sembrich. Revived in 1906 at 
the Manhattan Opera, with Pinkert, Bonci and Aiimondi; i' 
and de Segurola; Galli.Curct at the Chicago Opera; and a 
BarrientoB. Lazaro and de Luca. 


Lord GAUTIER Walton. Puritan Baa* 

SIR GEORGE. Puritan ^mm 

Lord Arthur Talbot, Cavalier Tenor 

Sir Richard Forth, Puritan Baritone 

Sir Bruno Robertson. Puritan Tenor 

Henrietta of France, widow of Chatlea 1 Soprano 

Elvira, daughter of Lord Walton Soprano 

Chorus of Puritans. Soldiers, Heralds; Countrymen and Servants 

Scene and Period : England, near Pij/mouth, In the Reign of Chattel I 

Previous to Mi. hiammeiMein's revival in 1906. Purilani 
had not been given in America since the production of 
1863. with Geister as Belra. 

The action occurs in England in the time of the Stuarts, 
during the civil war between the Royalists and the FViritans. 
Lord Walton, the Puritan Governor-General, has a daughter 
Elvira, whom he wishes to marry to Richard Forth, a f^lritan 
colonel, but the young girl lovei an enemy. Lord Arthur. 

SCENE ]— Exterior of a Fartteu near Plymoulh 
At the beginning of Act 1, Forfh, teaming that Elolra 
loves Arthur, and that her father refuses to force her into an 
unwelcome marriage, is disconsolate. 

Bmno, a Puritan officer, enters and offers Sir Richard 
command of the army. He refuses, saying that his dis- 
appointment in love has unfitted him for so high an honor. 
SCENE II— Hrira'i Room In the Caille 
The next Sixene shows Etvlia'i apartment, where her 
uncle. Sir Gecrge, in a fine air, tells her that he has per- 
■uaded her father to consent to her marriage with Arthur. 

Efefm is overjoyed, and expresses her gratitude. Trump- 
ets are now heard, and Elolra 't surprise is complete when 
Lord Arthur arrivea, attended by squires and pages. 
SCENE \\\—A Vait Armors, «/ Gothic ArchUettnn 
cALLi-cuici AS iLviu Z,onf >(r<Aur enters, followed by pages bearing nuptial 

presents, prominent among which is a splendid white veil. Soon to play an important part 
in the events to come. Viltagers and soldiers arrive and toast the betrothed couple, after 
which S*lra, Arthur, Sit George and Lord IValton sing die famous quartet. A It o tara {Qfltn, 



By Veiielk'i Italun Bind •6841 

Arthuraov discovera that the widow of Chatkilia in the cartle unde 
and hia aenae of duty toward the late Queen impela him to contrive hei i 
ins her in Eleita't tcII, the guaids thinking it ia Uie bride. The 

12-inch, fl.35 

:ntencao{ death, 

ive liei eacape by conceal- 

eacape ia aoon diacovered 

of her bridal day, becomea 

haa deserted her < 
ear to be revenged. 
SCENE^ The Partian Camp 
Act II shows the camp of the Puritan forcea. Sit Ctargt announces that Parliament haa 
condemned Arthur to death for aiding in the eacape of the late Queen. Ehira enters, de- 
mented, and singa her famous air, much like the Mad Scene in Luda. 

Qui la voce (In S'weetest Accents) 

By Marcella Sembrich, Soprano {InliaUan) 88109 12-iflcb, *l.50 

By Amelits GaUi-Curci. Soprano (/n llailan) 74598 12-inch, 1.50 

She recalls her first meeting with Arthur and repeats the vowa he swore. 


npity I 


by A 


Elolra't father and Sir George try in vain to 
calm her, but she knowa them not and continues to 
call for her lover. 

BiBlra'i uncle, hoping that theaightof her lover 
will restore hei reason, begs Sir Richard to pardon 
the young man. Richard consents, provided he 
returns helpleaa and in peril, but if he comes bearing 
arma againat hia country he ahall die. Sir Ceorgt 
agrees to this, and they pledge themselves to light 
together for their country. 

SCENE — A Garden near Eldra i Home 

The rise of the curtain discloses Arthar, who is 
fleeing from the enemy, and has come to the casde 
in the hope of seeing Elvira once more before he 
[eaves England forever. She cornea from the castle 
and at the aight of Arthur her reason suddenly 
The lovers are reconciled after Arthur 

1 that il 

that he had fl< 

I from the castle. They si 

I Vieni fra queste braccia (Come 
to My Arms) 
By Maria Galvany. Soprano, sod 
Frsnceaco Marconi. Tenor 
{In llailan) 89046 12-incb. *2.00 
Forgetting their present danger, they think only of their love and that they are in each 

I heard, and Elolra again becomea delirious, which so alarms 

(Italian) (Eatfliih) 


{Rap-k^-nah dee Saf/^h) 


Text by Mosenthal, founded upon the Biblical mention of the visit of the Queen of Sheba 
to Solomon. Music by Goldmark. First production 1675, in Vienna, hi New York Decem- 
ber 2, 1865, with Lehmann and Fischer. Elnglish version given by the National Opera Com- 
pany in 1666. Given November 29, 1689, at the Metropolitan with Lehmann, which was the 
last New York production until the revival in 1905, with Walker, Rappold, Knote and Van Rooy. 


King Solomon Baritone 

High Priest Bass 

SULAMITH, his daughter Soprano 

Assad, Solomon's favorite Tenor 

Queen of Sheba Mezzo-Soprano 

ASTAROTH, her slave (a Moor) Soprano 

Priests, Singers, Harpists, Bodyguards, Women of the Harem, People 

Scene: Jerusalem and oidnity 

Mosenthal's story tells of the struggle of AsaaJ, a courtier of Solomon, against fleshly 
temptation, and of his final victory which involves the sacrifice of the happiness of his 
betrothed, Sulamith. 

For this text Goldmark furnished some of the most beautiful and sensuous music in the 
entire range of opera, and it is an interesting detail that after he had finished his opera and 
had submitted it to the Imperial Opera, Vienna, it was not accepted on the ground that it 
was too "exotic"! Later, through the influence of Princess Hohenlohe, it was presented 
and was a great success. 


The wisdom and fame of Solomon having reached even distant Arabia, the Queen of 
Sheba decides to visit him, and a favorite courtier, AasaJ, has been sent to meet her and es- 
cort her to the city. When Assad arrives with the Queen, his betrothed, Sulamith, is aston- 
ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses 
to Solomon that he had met a beautiful -woman at Lebanon and had fallen in love with her. 
When the Queen of Sheba arrives and removes her veil, Assad is astounded to recognize in her 
the mysterious woman who had captured his senses. Involuntarily he rushes toward her, 
but she coldly repulses him and passes on with the King. 


In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids 
her maid attract his attention with a weird Oriental song. Assad starts when he hears the 
mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his 
beautiful air. Magic Tones, 

Magiche note GMagic Tones I) 

By Enrico Caruso. Tenor (In Italian) 87041 10-inch, $1.00 

A lovely melody, sung at first in mezzo-voce, develops gradually until the intense and 
passionate climax is reached. 

The Queen and Assad soon meet and confess their love for each other, but are inter- 
rupted by the arrival of the night guard. 

ACT 111 

In the next scene the Court assembles for the wedding of Sulamith and Assad, but Assad 
insults his bride and declares his love for the Queen. He is banished from Jerusalem and 
finally dies in the arms of Sulamith, who is crossing the desert on her way to a convent. 











^.r.^v—, :it, V 



»-. JXtdJU 

•wn >......<» 

guim— ACT 1 

(Fmeb) (Radlah) 




La Rtint it Saba i« one of the (our openu which CouimkI compoaed betwean his Faa$l 
(1659) and Romm (1867). Text by Jules Barbier and Michel Calri. Music by Gounod, 
rirat performed at the Opert, Pans. Februaiy 28, 1 662. An En^iih version called /renc, by 
Famie, was given in London al the Concert Palace, Auguat 12, 1665. Firit American pro- 
duction at the New Orleans Opera, January 12, I8B9. 

Charaetera in the Opera 
King Solomon BaM 

BALKIS. Queen of Sheba So«>no 

ADONIRAM, a sculptor Tenor 

BENONI, hia aasiatant Tenor 

PHANOR. I (Baritone 

AMBU, [workmen { Tenor 


SARAHIL, maid to the Queen Contralto 

SaDOC Soprano 

Tht acUan tdett place In Jtmidan 


SCENE \—Thc Stadio ofAioninm 

The curtain liaea, disclosing the sculptor at work on an important group of statuary. 
Benonl enters and informs him that the King desires his presence, as the Queen <^ ShAa is 
expected to arrive at any moment. As Adoniram prepares to leave the studio hia workmen 
demand higher wage^ but he refuaea them and they go out muttering thrcata. 

Adonlrem, aaid 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. The works 
which earned for Solaman the surname " the Wise " are supposed in reality to have been 
executed by AJoniiam. 


SCENE II — Square in front of the Temple 

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 gready impressed by the handsome young 
sculptor, and begins to regret her engagement. To please her Adoniram, by sorcerer's signs, 
collects a vast army of workmen from every point in the city, and his great influence alarms 
even the Kirtg himself. 


SCENE — Moulding Room of Adoniram'* Studio 

King Solomon and the Queen have promised to come and see the final casting of 
Adoniram *s masterpiece, and he is preparing for this event when Benoni enters hurriedly and 
reveals the plot of the workmen, who have stopped the channels so that the melted bronze 
cannot flow. His information comes too late, and the molten mass overflows, apparendy 
ruining the statue. 


SCENE — Open place on the Feiche 

Adoniram meets the Queen of Sheha here, and she confesses her love for him. He is at 
first inclined to repel her advances, but soon falls under the spell of her fascinations and 
clasps her in his arms. He tells her that he also is of her race, the Nimrod. The faithful 
Benoni hurriedly enters in search of Adoniram, telling him that in spite of the plot of the 
workmen the moulding of his statue has been successful. 


SCENE — The Great Hall of Solomon's Palace 

Adoniram is received by Solomon and the Court and proclaimed the greatest sculptor of 
the time. All leave the hall except Solomon and the Queen, who gives a sign to her maid, 
Sarahil, to bring a draught which she presents to Solomon, He soon falls asleep at the feet 
of the Queen, who takes the ring from his finger and leaves the Palace. 


SCENE— rAe Valley of Hd>ron 

Adoniram and the Queen have planned to fly together, and are already approaching 
the meeting place, when three of Adoniram'* discontented workmen, bent on revenge, in- 
form Sdorrvin of the secret meetings of Adoniram and the Queen, and he decrees that the 
sculptor must die. As they set out together for Jerusalem they are overtaken by the mes- 
sengers 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 djring man otfers a last pro- 
tcafatian of his love for her and expires in her arms. 

Queen of Sheba Records 
£te-moi ton aide (Lend Me Your Aid) 

By Enrico Caruso, Tenor (In French) 88552 ll-inch. 

By Evan Williams, Tenor (/n English) 64096 10-inch, 

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 seal 


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 I 
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 aidt 


(Ocnun) (Enflifh) 


Woida and muaic by Richard Wagner. Fint produced at Munich, Sepiembei 22, 1869. 
First American production January 4, 1889. vrith Fiacher and Alvaiy. Annual performance* 
given at the Metropolitan in recent years with many (amoua aitista; Soomer, Rein, Jam, 
Goritz, Burrian, Ober, FrenHtod, RuyadaeU Witherapoon, Malzenauer, Homer, etc. 

Wot AN, (Va'jaiit) I fBaritone 

DONNER. (DoW-w) U. I Baa* 

FROa <f~A) P*" JTenoT 

LOCE, {LtJ-it) ) (.Tenor 

FAFNER. (F-V'-w) |Gi»au -^g^ 

ALBERICH, (Al^iaJt'k) 1 „-■. i ir' — ^ IBaritone 

MIME. (Af;'.™*} |N,belunB. (Caome.) [^^^ 

FRKXA. {Frik'-ck) I (Soprano 

FRElA, (Frv'-nA) [Coddeaaei {Soprano 

ERDA, {Alr'-iah) ] (Contrallo 

WOCUNDE, (l^<w-an'-<f'A) I iSoprano 

WEU-CUNDE, (K(ff-f>>gn'-rf'A]}Nymphi tA the Rhine {Soprano 

F1.CSSHILDE, (floH-M/l'-rf'A) | [Contralto 

RhdjoolJ !( not a "society" opera. Played in complete darkneH and with no inter- 
miadoiu during the two houia required (or its pieaenlation, it is a work only for real rousic- 
lorers who understand something of the story and appreciate Wagner's wonderful music 

This first part of the Ring is an introduction to the Trtlegji proper, and a full under- 
standing of its incidents is necessary to properly appreciate the other Ring operaa. 
SCENE \—The Botltm t4 Iht Rhiitt 
The stage ia in semi -darkness, repreaenting the murlq' depths of the Rhine, and the 
light glimmering on the surface of the water above show* hut faintly the three EUiine 
maidens guarding the Rfilnegold, 

They ling their quaint song, as they float about the treasure rock: 



Jitbtrick,ptiace<^thc Nlbtlangt, 
■ stnnga race of dwarfs who dwell 
deep in the earth, obaeives the 
beauty of the maideiu and Iriei to 
make love to ikem. They laugh 
at him and evade with eaae hia 
clumay endeavori lo catch them. 
Stlddenly, as the sun riscB.the gleam 
of the RtUnegotd is seen. A^erlch, 
dazzled by the splendoi of thia 
glow, asks what it is, and the maid- 
ent foolishly inform him that who- 
ever can secure this treasure and 
- form it into a ring can become lord 
of all the world. One fzondition, 
however, is that the posaesaor can. 
not wield thia power unless he re- 

Albtrich, having failed in his 
BiDoroua attempts towards the Nal- 
adt, now conceives an ambition for 
power. He cries, *'Then love I 

to the rock, he tears the gold from 
■Is place and flees, while from the 

cornea the dwarf's mocking laughter 
and the wailing of the maidens who 
are moaning for their lost treasure. 

SCENE 11—^ Moanlatn Top. Show- 
ing tht CiulU af Walhalla 

Ouring this darkness the scene 
changes and as the stage becomes 
lighter we see Walhalla, the abode 
of the gods, > ^tfonderful castle 
built for Watan by the giants. 
Wotan and bis wife are lying asleep 
on a flowery bank, but soon wake 
and see the castle which has been 

W sU_ ... „ _ _ . 

Fricka reminds him of the price which he had agreed to pay the gianla for this godly dwell- 
ing ; this being the surrender of Frda, goddess of youth and beauty. Wolan tells her that he 
never intended to keep his agreement, the god Lege having promised to show him a way to 
evade payment 

Fnia now hastily enters closely pursued by the giants Fateli and Fqfner, who call upon 
tVolaa to deliver the goddess to them as agreed. Wolan repudiates his promise, saying that it 
was made only in jesL 



Qly ii 

D.Ukc for 



This bell 
What u« 

light snd bright, 

Freh and Donncr, Fiicka'a brothers, enter, also Logt, and a long argument ensues, IValan 
finally realising that he must give up Fnia to the giants. Logt, however, tells them of tlie 
Rfdntgold, saying that if this treasure could be stolen from Alhtrich by Wolan. it might be 
accepted by the giants in place of Frda. Wolan refuses to entertain this plan and the 
giants seize Frela and carry her off, declaring that if the Rhtntgold is not in their hands by 
night the original bargain must stand, and Fnia be lost lo the gods forever. 

Left alone, the gods realize the serious predicament ihey are in, especially as it is seen 
that, deprived of their youth goddess, they arc suddenly aging. Wolan thereupon decides 
to secure the Nibdangt' gold, and goes with Loge in search of A&trich. A vapor arises 
from the earth, conceaUng the stage, and when it disappears the scene has changed. 


SCENE m—AlbtHdi-, CiM 
Alhtrich, aince He hai acquired the RhlntfM, 
has become more airosKnt and cruel than ever, 
and compels Mimt and the other Nibtlangi to con- 
tinually toil end slave to bring him in more gold. 
At the beginning oF the scene he i> berating 
Mlmt for loitering ovei his task of making a 
Tamhelm, or magic cap, fashioned from the Rhine- 
gold, and which gives the weaier the power Iq 
become invisible. Wolan end Lege now enter on 
this scene and are rudely greeted by Alberich, 
who demands theii business, and holding out the 
Ring bids them tremble at his power. They at 
&rst craftily flatter him, but he is surly and saya 
that naught but envy could have brought them 
here. Wolan is angry and is about to voice his 
wrath when the cralty Lage make* him a sign to 
be quiet and begins to taunt Alherich, doubting his 
power. Alberich is so enraged that he offers tn 
change himaelf into any shape required to p 
the magic of the " ' ' " ' " '^ 

' nLBE>icii~scENE III human shape again. The god then cunningly asica 

him to change to a toad, which shape he has no 
med than Logt puts his foot on the toad and seizes the Tamhebn, thus robbing 
his power. His natural form returns and they bind him and start for the upper 
scene changes again to the n 


tVolan and Loge enter, dragging the heloleas AlteHck, who is beside himself with lage. 
They demand that he give them his hoarded store of gold as the price of his freedom. Ha 
reluctantly obey* and summons the Ntbdangi, who instantly swarm up from below carrying 
the hoard. He then asks to be set free, but lyotan demands also the Ring. Albalch U 
horrified, but is finally compelled to add it to the pile of gold. He then sings his bitter and 
ironical air, Bin Ick nun /ref P 

He laya a frightful curse 
on the Ring, predicting that 
it will bring misery and death 
to each possessor until it is 
restored to him again, and 
then vanishes. 

Wotan, who has paid 


ing, dons the Ring 
at it in admiration. me 
giants now return for their 
pay, and demand that 
enough gold shall be piled 
around Fnia to hide her 
completely from sight. This 
is done, but when all the 
gold is piled up Fufntr says 


is still o 

B visible, and insists that it 
be filled with the Ring. 
Wolan refuses, and the giants 
are about to seize Frejo again, 
appeal to H^olan. 




Wolan Bt Uit yielda and throws the Ring on (he heap o( gold. The 
gianU. ■■ if to prove the cuite. immediately begin to quarrel about its 
poMeuion, and Faioll a killed b/ F^f^tr; aftei which the murderer coolly 
proceeda to collect the gold and then depart!. 

Daimer, the god o( thunder, dow calla up a itorm and cause* a magic 
rainbow bridge to form, making a passage to the castle. 

Abendlich strahlt der Sonne Auge (The 
Evening Light) (Wotan's Invocation) 

By Marcel Jouraet.Baia {InCtnnan) 74268 12-inch, ILSO 
Wolan then sings tbe famous invocation to the caatic of Valhalla, 
which gleams with great brilliance, illumined by (he setting sun. llie 
god. absorbed in contemplation of the castle, sings; 


See how st eve tbe eye of Bun- From morning til] evening 
ligfal thro' migbly ills 

Witb glorious touch sildi tur- I won no way to its wondem! 

ret snd loir'rl The night is nigh; from all 

fui ind gladT ' Shelter it shows us now. 

acroas the bridge to Walhalla 
L«as pauses, looking after them, 
and finally follows them acioss 
th« bridge. 

rish fan 

' doth VI 

Forth ii 

The voices of the Rhine 
maidens can be heard from be- 
low, atill bewailing the loss of 
their gold. 


ligbt bu' 

s {fro 


Wbsl is of worth d 

{At the godt Joalji ereu the, 
bridge to Iht eatlle, (Ac curtain 



Text by Piave, adapled from Sector Hugo'a drama Lt Rot i 'Amatt. Miuic by Giuaeppe 
Verdi. Finl produced in Venice, March II, 1651. Pint London producdon at Covent 
Gaiden, May 14. 1653; at the Ilaltau, Pari., January 19. 1857. Produced al the New Orleans 
Opera March 19. 1660. and in New Orleans on February 6. 1861. Patti sang in the opera (or 
the first time. First New York producbon November 2. 1637, and since that time the opera 
ba* aeldom beeo absent from the American stage. Clara Louise Kellogg made her d6but in 
opera. Febniaiy 26i IB6I, as GllJa, at the old Academy oE Music. New York; Maretzek was 
the conductor and Theodore Thomas played Ist violin in the orchestral A notable perform- 
ance occurred November 23. 1903. at the Metropolitan Opera House, when Caruso made 
bia Amencan d^but. November 4, I91Z, Ruffo made his d«but in the United State* at the 
Metropolitan Opera House, Philadelphia, a* filgekth. 


RlCOLETTO, a hunchback, jester to the Duke Baritone 

Duke of Mantua, a titled profligate Tenor 

QLDA UcJ-iai), daughter of Rigoletto Sopratio 

SPARAFUQLE (StoAr-oA-ZnuW-M'), a hired ananin BaM 

MADDALENA lMaJ-JiihW-~l,), his sister Contralto 

Count MONTEKONE {Maa^-eli -mv) Baritone 


Coartiers, Pagesk Servants 
Sctne and Period : Mantua and Bldnllu ; thdtaith ccnhnjr 

The stoty lells of the gay and unprincipled Duk* of Manilla, who is assisted in his 
crimes by his jester, Rlgolello, a hunchback. The father of one of the Dukt'' victims is 
mocked by RjgoltHe and launches upon him a father's awful curse, which stuns and sobers 
the jester, as he, too. has a daughter, Cllda, unknown to the count. 

On his way home Rtgalttto meets a professional assassin, Sparrfadle, who offers, for a 
price, to kill any enemy he may have. Rlgolello says he may need him later. The Duki, 
in the guise o( a young student, has already met Cllda. not knowing who she is, and the 
TOung girl has fallen in love with him. When Rlg^ttfo has left the house the Dulte't 
courtiers abduct Gllda and take her to the Palace. The father's rage is terrible to witness, 
and he goes to the Palact^ but loo late to save his daughter. She pleads (or the 


Du^'i Kfe, but Rjgeitilo •wean to kilt him. and 
arranse* with the aauMin, SpanrfadU, to accompliik 
the deed. The Duke i* lured lo ■ lonely inn by 
SpartffiidU't attiactive •itier. Maddaltna, and ii 
about ta be murdered when MadJaUna, who hai 
taken a fancy to him, bega (or hi* liFe. Sparqfuclle 
con*ent> provided a lubctitute (hou Id happen bIodk 
before midnighu QIJa, whom I^golcllo httd brought 
hither (di«guiaed ai a page) in order that ihe might 
wiraeaa the fickleneaa of her lover, baa been liaten- 
ing to the conversation, and now reaolve* to save 
the Duke', life at the c«t of bet own. She enters 
the hut. ia itabbed by Sparafacilc. who delivers the 
body to Rigoitllo according to agreemenl. Rigoltllo 
i» about to cast the body into the river when he 
heanthe Au^'ivoiceinthedistance. Thewretched 
man opens the sack, sees his daughter and falls 
•enseleiH on her body, 


SCENE I— Ballroom In Ihe Duj^'j Palact 
As a fCte ia in progreas in the ducal residence, 
the Dukt confides to one of his courtiers that he is 
about to make a new conquest. For some months 
he has seen a young and beautiful girl at church, 
but knows nothing of her except that she ia viaited 
often by a man who is supposed to be her lover. 
The Dale then singa his first air, Qaala o ijatlla. 

(Icalisa) (Fmah) 

Questa o quella Qu'une belle 

By Enrico Caruso. Tenor 
By John McCormack. Tenor 
By Giovanni Mardaelii, Tenor 
By Leon Campagnols, Tenor 

('Mid the Fair Throng) 

{Inllallan) B7016 lO-inch, 11.00 

(hUalian) 64344 10-inch. l.OO 

{In llallan) 64286 10-incb, 1.00 

(In French) *491ia 10-inch, l.OO 

This melodious number is perhaps the best of the Duk*'' solos, though usually cast 
somewhat in the background by the popular La donna i moblU. In it the Duke announces 
himaelf as a man of pleasure, sets forth his code of morals, and boasts of his conquests. 

ThoUKb ■ sweet i 
A gTsnce froi 

Dni that sparkle sroui 
y heart holds (wst: 

Yet. i 


: their wile 

After making another enemy, in [he peraon of 
the Cnnf Ccprono, by his marked attention to the 
latter'a wife, the Duke departs. Marullo enters and 
eagerly announces to the courtiers a rich discoveiy. 
Rlgoleao, the Duke's jester, is in lovcl The couftieia 
refuse to believe this, aa Rigdtllo is known as a 
confinned woman-hater. Marallo insists that the 
jester makes frequent visits to a young girl. Tlie 
nobles, who all hate Rigolello for his cruel tongue, 
are eager to turn this knowledge into a means of 
revenge, and agree to meet CEproiw the next even- 
ing for a rare adventure. 


The voice of the aged Ciunl Monleront, whoae 
daughter U one of the recent victitiu of the Dakt, 
]» now hcBid outnde demanding admittance. He 
throw! aside the guardB who seek to atop him, and 
entenng, denounce* the Dul^e for hia Crimea. 

Ch'io le parli (I Will Speak to Him) 

By Francesco Cifada. Baritone: AriModemo 
Sillicb. BaMS La Scala Chonu 

{h Italian) '68190 12-inch. 11.35 

Rlgoldto ridkulea and mi>cka the old man. who 
call* him a "vile bufloon," and then, in an awful 
rage, utien ao terrible a curae upon him. — the cune 
of a father, — that all are horrified. 

fUgoletlo ii stunned and lobered by thii bitter 
malediction, for he, too, haa a daughter, unknown to 
the count ; and love for hi* child and reapect for her 
dead mother are the aole redeeming traita in hi* cruel 


upon him. He i* accoated by Spanifadte, a prol 

enemy if he ha* one. Rtgolello look* at him thoughtfully 

■ervice* he will inform him. Sparafudle depart* and Rlgaletlo delii 

Monolo^o — Pari siamo (We Are 

By Tins Ruffo. Baritone 

{In Italian) 92041 1 2-ineb. « 1 .90 

Slab men by diylighi; 

(He lAinJtj of Monlirotii'l c 

He laid a father's curse on a 

the Palace of Ceanl Cefirano 

which had been laid 

iSera to rid him of an 

id Bay* that if he ha* need of hi* 

hi* famou* moitologue. 

And tie their lauahing slockl 
Yonder the Duke, my mister. 
Youthful and brilUinl. rich >n< 

Oh life accursed! How I hate re. 

Race of vile and fawning courtiers! 
The jester enter* the court.yard and i* affec- 
tionately greeted . by Gllda, who comea from the 
house. She note* hia aniious looka and beg* him 3f;mi;i 

to confide in her. She oak* him about her mother, 
who she but dimly remembera. RlgoUlbi avoid* 
her question and *ing* a pathetic air, in whidi he heg* tier 
garding their past life. 

Deh non parlare al miaero (Recall Not the Past) 

By Sra. Pcreira. Soprano, and Giuseppe Matftfi. Baritone 

{Inbttlan) 'tTlSS 10-inch, *0.85 

refrain from question* n 




yout rightftil name. 




At lea 

rourKlf ;ou will not apeak. 

Recall not the 

Her angel lo 
Who lov'd me 

one whose lost to thee 

hoan could ne'er reatore: 
rm methinks I see, 
thoDgh deform'd sad poar. 



lill"'ii"l ™ h'reat. ' 

The g 





n the 

votid (here are who fear m 

Ah! if happiei 

ould make joa 
Eart it woufd b 

He embrace* her tenderly, then, recalling 
~ "l(~>n/one here knocks, you must not openl" the curie, (olemnly enjoina her to keep within 
the bouae and never venture into the town. 
ClUa aaya ahe haa only been to Maaa each Sunday, but doea not tell him of the atudent 
with whom she had exchanged fond glance*. RlgoltHo lummon* the maid, Gleoanna, and 
queation* her, beginning another lovely duet, full of pathoa. 

He wanu the maid to alwaya doaely guard her miatreaa from any danger. 

SafelT guard tbi> tender bloumn. Ah!* such lelr for me (erealing. 

Which lo thee I now conhde: Father dear, why thug display? 

In her guileless heart and bosom One from whom there's no concealing 

May no Ibougbt of ill betide; Guides me ever on my way. 

From Ibe arts of vice prolect her. From on high my mother's spirit 

May its snares be laid in vain; Uads me on with lender care. 

Her father will from thee expect her While this heart bears life within it. 

Safely brought to bim again. 'Twill defy each anful snarel 

Rigolella bida kia daughter farewell and lakea kia de> 
paiture. The Dukt, «SB>n dreaaed aa a atudent, now enter*, 
having previoualy purchased the silence of Gloeanna. 

Cilia ia alarmed, not thinking her innocent flirtation in 
the church would lead lo thia, and bid* him begone, but he 
a her, beginning the love duel. 

E il aol dell' inimi (Love is the Sun) 

By Sra. Perelra. Soprano, and Franco de 

GretfoHo. Tenor (/fn/fon) *67135 lO-inch. *0.85 
He aoothe* her fears, telling her he love* her with* pure 

Love is the sun by which passi 
Happy the mortal who feels i 
Each pleasure once prii'd wi 

With it we heed not what fate 

depaited. In rapturoua aalUoquj 

i* name i* Waller Malde. 


ivcnl Ev'iy ^ond. I 

Caro notne (Dearest Name) 

By LuiM l^t^azziai. Soprano 

(laltaBan) 8S399 12-meh. *1.90 
By Marcella Sembrich. Sppnoo 

(/n AoKan) 88017 12-itich. 1.50 
By Nellie Melba. Soprioo 

(hltaUan) 88078 i2-iach. 1.90 
By Amelitt Calli-Curci, Soprano 

(hllaUan) 74499 12. 
By Marie Michailowa, Soprano 

(InRualan) 61141 10-Inch. 
Then the lovely ait, Can nemt, begina. 

Thine ihall be tr 

ich. 1.50 


<Sh4 ditatfari, h»t tan tHO b* k*ard.) 

Oh I namt beloved! 


Ev'rr thoushl lo tb« will Bj. 
Thine gbsll be my pariiag ti|l 

Oh Waliei 

Nif^t hu now fallen and the courtiera, W by Ctprano, enter, wearing maaka. Rigo- 
Mfo rehimi and i> muck alarmed to tee them in thia neighborhood, but hia feaca are 
allayed when they announce that they have come to carry off CcpKino'i wife, aa he ia 
well aware that the Dakt haa had deaigna on that lady for aome time paat He tella them 
Cepraita't palace ia on the oppoaile side and offeia to help them. They inaiat that he 
mUBt be diaguiaed and contrive to give him a maak which covera hia eyea and eara, and 
lead him in a circle back lo hia own balcony, giving him a ladder to hold. Cilda ia aeized, 
her mouth gagged with a handkerchief, and ahe ia carried away. 

RSgolrito, suddenly finding himself alone, becomea suapicioua, tears off his mask and 
finda himself al his own balcony. Frantic with fear he rushes in, Gnda hia daughter gooe^ 
and falls in a swoon as the curtain descends. 


SCENE-.4 Hall It, Iht Dah'- Po!ace 

Partni veder le lagritne 

(Each Tear That Falls) 

By Enrico Caruao. Tenor 

(/n AoAon) B8429 12-inoh, *1.90 

The DuJft, after hia tender parting with Qtlda, in the 
previoua act, had again returned to the Jater'a house, only 
to find it deserted and the young girl gone. Not know- 
ing that his courtiers had carried her off under the very 
nose of Rlgtjello, he bewails the unhappy Fate which has 
robbed him of hi* latest conquest As we hear him sing 
his pathetic lament, we forget his real nature and almoat 
■ympalhize with the unhappy lover I 

This melodious number ia usually omitted in Amer- 
ican performance* of the opera. 


No aid could I afford titt: 
Yet, could mj life thj won ._. 
Gladly excbang'd it sfiould be. 

angcia' bl^wd abode 

Each sad sifb Ibat boiom heaving 
Pining within iome dreary walla. 
Fills me with erief there's no relierln 

Ahr vainly didst thou cry to ine, ._ 

"Help me. dear Waller, help!" If from thee apart. 

The courtier* enter and tell the Dake that they have captured ■Rigoletlo'i mistceta. He 
eipreues hia appreciation of the adventure, not knowing they had abducted the j'ouns girl 
he had )u«t left, and aak* (or particuUn. They tell him of the huge jok« they have pUyrEd 
n Rlgoletlo by making him auiat in the capture of hia own miatreai. 


When sbadei of CTSDing were 

ul^lil our''Mme we''*^eTaMM 
With timid footsteps sbe sotcc 

ling fasi 

And thai Ibe joke migbt be all the madder. 
We said Ceprano-i wife should be our prey, 
We then desir'd him to hold the Udder; 
His eyes were bandag'd, he did obey. 

When Rigoletto just then came by us, 
When the Duke leama that Gitda ia in an ad; 
diat her feari will be loothed when ahe diacovei 
Then occura one of the moat dramatic acene 

In the 

Povefo Rigoletto I (Poor Rigoletto I) 

By Paaquale Amato, with Bads, Setti aad Chonu 
RlgoUOo 'i Toice ia now heard outaide, singing a careleaa ail 
' It trying to find aome clue to Gllda't whereabouts. 

8B340 12-inch. *1.90 

He enters, affecting in- 

aage for the Duj^e and the 
listen*, hia fears becoming conlin 


Ah. she must be here then I 

In yonder chamber! 
CouSTlBis: If a sweetheart tou'tb 

Go somewhere else to seek herl 

tell him their n 

led, and he 


Yes. my' daughterl 
The mud whom yoo 

iRmhti iQward llit door, but thr cmrtim bat 
Uive me my dauanicr: Hit pattaat and a ttrriblt ttnoalt ecc%ri.') 

CouiTiEis (>.< astaxiihrntnl) : She is there! stand back. I tell ye! 

What, his daughter! 
Hi* rage, i)ow terrible to witness, ia expressed in the second part, CorOgfaid, of/ nuia. 

Cortitfiani, vil razza dannata (Vile Race of Courtiers) 

^ Psaqiule Amato, Baritone {In Italian) 8B341 IX-ioch. *1.90 

By Tina Ruffo. Biritone. and Ls Seals Chorus (llallan) 92066 12-incb. 1.90 
By Renzo Miaolfi. Baritone (/n/fa/Jon) *16573 10-inch. .85 


He at fint denouii 

labductaraatid a. 

m, then breaking down, aalo for pity. 

leep heCore ye. Mam 

Where is ahe? do not rouse me to madne 
Though unarm'd, of my Tcngeance bewar 

For Ae blood of some traitor I'll pourl 
MesiB maanB for tht door.-) 

Thal"do^r rmuBt"e"«!"' "" " 
(He ilruogU, again wilh (*, t«rti^ 
u refuhtd and atytt xp in dtipatr.) 

it— all a 
Tbia affecting « 

Gil da. my daughti 
Uj I0.1 «•" — ™v 

La endetl hy Gtlda, who now enter*, in tear*, and emhi 

._._ 'IwM bM jeMiiuf 

(To tkt courtitri.) 

(To Ci™)*"" "' "'"" ""■ 
But why art thou weepinif 
Cjlda (kUi7,e htr fact) : 

Dishonor, oh my father I 
RicoLiTTO: Horror! whal ur'st thou? 
Gild*: Father, oh hide me from eT'rr e 

but Ihine! 
RtcoLino (intptriatnly. te tht fonrfuri) 

The courtiera, new aomewbat aihnmed, obey, and 
GlUa begina her pitiful confeMion. 

Tutte le feste al tetnpio 
(On Every Festal Mornin;) 

fuet. Soprano 
*620B3 10-iAch, *0.S9 

Though not a word he aaid to me. 
My heart his meaning well did knml 
Ust nighl he slQod before me, 
Fondlv he low'd to love me. 
And I gave him vow for »ow. 

;iC0L!iTO (dtipairi«(,ly): 
Ah! thai thou be spared my mfamy 

I've wearied Heaven with praying. 
That every good may light on ihee. 
Par from the world's betraying. 
Now in horror ami anguish here : 

, „... 


Daughter, come, lei me comfort thee 


in thy 


Piantfi fanciulla CWeep, My Child) 

By Maria Galvany. Soprano, and Tltta Ruffo. Baritone 

ilnhalian) 92902 12-inoh. *2.00 
Following the dtiel Rigoltilo exclaims: Gilda: 

I think what remains yet for me to accoiDpliah: Oh. how all our fale hath been changed in 


\t now paaae* through the hall under guard. He pauaea before t] 

Ihee! to strike Ihee. (Exil, gnardtd.} 

RitoiellQ, gazing after Moniennt, giimly aay* that vengeance will not be long delasred. 
He in turn gazes on the Dui^t'i portrait and singa fiercely: 

Ym, to vengeance fierce I doom 1 
Thou ihall leel a fatber'a wrath I 
Oh, forgive him! 
Ah. migbl I avert llie wrath ot h. 


SCENE \—A Lonely Spot on the Rleer Mlnclo 

A hoaie, half In wins, al one ilJe. The front of the hoait, open /o the tpe^alor, tham 

rustic Inn on Ihe ground floor ; a bn^tn ataircate leads from thii le a loft, lohtrt ilanJt a nuih 

jch. On the side towaiiU the street Is a door, and a low u>att extends bad^aanis from Oie 

The Mlnclo Is seen In the baekgroand, behind a ruined parafiet; btsond, the UMers of 

Manhia, It la night. Sparqfuclle li 
of mhat It spoken oulslde. 

Rlgolello and Cllda, the latter in male an 
aaks hia daughter if .he atill love, the Duke. 

a loble polithing hh belt, ancorueloiu 
. Rigoleito pityingly 

lICBB, WOuldtt t 

ou Mill tbea love limi 

love mel 

lardi Iht kouiti: 


La donna i mobile CWoman is Fickle) 

By Enrico Cariuo, Teaor 
By Giovioiu Msrttnellt, Teoof 
By Leon CampagiioU, Tenor 
By Gtiucpp* Acerbi, Tenor 
TKia familiar 

(InltaUan) SIOl? lO-Jnch, *1.00 

(/nAoAon) 64382 10-inoh. IJOO 

(laFrtneh) 4511S 10>iaob. 1JX> 

ih ItaUm) *6Z0BS 10-ineb, .85 

WoDun ii fickle, fdie 
Mots like > futhcr tx 

Wotnaa with gulling ■ 

Often can crieve yoa, vet e'er ahe pleue*. Who of ji 

Her he«rt'j unfeefmg. (»1m dtotetheri 

Mdv« like a feather bome on the brceie, .nu-i> i<u • naiuEi. 

At the close at the Dulct 't eong Sparafutil* entere with the wine. 

Wretched Ihe dupe ii, who when *he Ic 

Truiti 10 her blindl/. Thus life ii wmned 
Yel be muit lurely be dull beyond meuun 
' ' — 's pleuure never h«B Listed, 
^kfe, ftlie *ltogether. 

.. . - _ . , Ho knocks twice on 

iling and a young girl coroo down. The Da^ trice to embrace her but she Imighingly 
eecajiee him. Now occurs the great Queitet, one of the moM famoui of concerted piecea. 

Quartet — Bella fi^flia dell'aniore (Faireat Daughter of the Graces) 

By Bessie Abott, Soprano; Louise Homer, Contralto; Enrico 

Caruso. Tcnot; Antonio Sconi, Baritone (in hallan) 9600O 12-inch. *3J>0 
By Mar cells Sembrich. Mme. Severina. Enrico Caruso 

and Antonio Scotti (In UaUan) 96O01 12-ineh. 9JM 

By Amelita Galli-Curci. Flora Perini. Enrico Caruso 

and Giuseppe de Luca (la Iltdian) 99100 U-inch. 2XIQ 

By Luerciia Bori, Soprano; Joaephinejacoby. MczzO'^Sopraao i John 

MeCormack. Tenor; ReinaldWerrenratb. Baritone 89080 12-ioch. 2.00 
By Victor Opera Quartet 

(InHalian) •99066 12-inch. (1.50 
By Victor Opera Quartet 

(/n Ac/fan) TOOrS 12-inch. US 
By GiuBcppina Hu^et. Enuna Zaccaria, 

Carmelo Laaiirotti and Francesco Cigada 

{inllallm) *6806r 12-inch, ' " 

By Kryl's Bohemian Band 

•35239 12-inch. 
By Pietro (Accordion) *39367 12-inch. 
By Brown Bros. Saxophone Sextet 

*l8ai? lO-inch. 


Amoag the muaica] gema with which the 
Rigoletto abounda, this is undoubtedly the most 
and muaicianly. and the contrasting emotiona — thi 


tnd coquetiv on the one aide, and the heart- 
broken aobs of GfUa and the cries for vengeanceof her father 
on the other — are pictured writh the hand o( m geniua. 

The situation at the opening of the act is a most 
dramatic one. The Etukt, gay and careless, is making love 
to MadJ^ena, all unconscioua that the aasaasin hired by 
RigoltHo ia waiting for his opportunity. 
He sings, begiiming ihe quartet: 



Dtt»: Witfa one lender word to jor restore me, 

Fmirest daughler of the irmcel. End the pangs, the pangs of unrequited lonl 

I thi humble slsve implore Ibee. M*dd*L£»a {rtpuliing Aim) ! 

Wilfi one tender word to jov restore me. I appreciate you nghlly. 
End the psngs. the pangs of unrequited love. All vou say is but tn flatter, 

or my anguish see the traces. Ah, 1 liugh to Ihinli how manv 

Thee I treasure all above. Yet your tender Ule may move! 

Words inie these 
He ii ■ ■ 

(mik fiirct ,oy.) 

Thy avenger I will prove 


will n 

fail n 

g will not (vail tbee, That I vow ti 

The DiAfi now goea to hia bedroom and ia aooD aaleep. Rigolttfo bida hia dsughteT go 
to Verona with bII apeed and he will meet her there. She reluctuitly departa and Rl»>- 
iello paya Sparafudle half hia price, the remainder to he paid on the deliveiy of the 
body of the Duite at midnight. Rlgettllo goea away juat aa CilJa, who kaa diaobeyed her 
father, retumi and triea to lee whet ia going on inaide the houae. Sparafucilt enter* the 
house and Maddalena, who baa talcen a fancy to the Dui^, bega her brother to apare hia 
lifev delicately auggeating that he kill RlgoltUo and take the money from him. ^arqfucile ia 
indignant and pruteita that he kaa never yet failed in hia duty to hia emplo3reta. MaJ- 
daUna pleads with him and he finally aaya if another gueat ahould enter he will kill hiro 
instead of the Dtdce. 

During thia diamatic acene a alorm ia raging, and in addition to the atage eSecta of 
thunder and li^tning Verdi baa th« chonia bumming in chromatic thirda to iliuatrate tb« 
g of the wind. Thia acene ia given here in a moat impreaaive 

Tempesta — Somiglia un Apollo (He's Fair as Apollo) 

By Linda Brambilla, Soprano; Maria Cappiello. Mezzo-Soprano; Ariato- 

demoSilUch, Bat*-, and LaScalaChorua (In Ilalianj *68190 ll-jnch, tl.SS 
Gllda heara thia terrible agreement and the broken-hearted girl rcaolvea to aacrifice her 
own life to aave that of her falae lover. She knocki at the door, i* aeized and atabbed by 
the bandit and her body wrapped in a aack. RlgoltUo aoon retuma, P^'a the remainder of 
the price Bgieed upon, and receives the body. SparafuciU, fearing that Rigolello will diacovef 
the aubatitution, oftera to throw the body into the river. The Jeater aaya he will do it him- 
aelf and bida the bravo depart. 

Left alone, the Jeater gazea on the body with a horrible latiafaction, aaying: 



He is there, powVless! Ah, I must see him! Yes, my foot is upon him I 

Nay, 'twere folly! 'tis he surely! I feel his M^ grief has vanishM, 

spurs here. 'Tis turned to joy triumphant; 

Look on me now ye courtiers! Th^ tomb shall be the waters. 

Look here and tremble, This coarse sack thy shroud and grave cloth! 

Here the buffoon ia monarch I Away, nowl 

He is about to drag the sack towards the river, when he hears the voice of the Duke 
leaving the inn on the opposite side. 


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

That voice! Am 1 mad? What fiend deludes me? 

No, no, no! here I hold him! 

(Calling to the house.) 

Hola, thou thief, thou bandit! 

Then begins the wonderful final duet, a fitting end to such a noble and powerful ¥rork. 

Lassit in cielo (In Heaven Above) 

By Hu^et and Minolfi 

RiGOLBTTO : (Kneeling. ) 
Tis Gilda! 

Child of sorrow! my angel, look on thy father! 
The assassin deceived me. Hola! 
(Knocks desperately on the door of the house.) 

(The Duke's voice dies in the distance.) 

Then whom have I within here? 

I tremble — the form is human! 

(IVith utmost horror, recognising Gilda.) 

My daughter, oh, Heav'n, my daughter! 

Ah, no! Not my daughter! She is in Veronal 

Tis a dream! 

No answer! despair! my daughter! my Gilda! Gilda (feebly): 

(liidimi) *68067 12-tneh« $1.35 


Father, oh ask not, 

Bless thy daughter and forgive her. 


Child, in pity, oh speak not of dying. 

Oh, my daughter! 
Gilda (reviving): 
Ah, who calls me? 


Ah, she hears me! She lives then! 
Who was't that struck thee? 
Oh. my father, for him that I cherish, 
I deceived thee, and for him I perish. 


Heaven's avenging wrath has undone me. 

There we wait, my father, for thee! 


Ah, no, no, leave me not! 

Ah, no— forgive my betrayer, my father. 
From yonder sky—there we wait— my father, 
for^ (She dies.) 


Gilda! mv Gilda! Fve lost her! 

(He recalls the curse.) 

Ah! 'twas a father cursed me! 

Speak, oh speak to me, who hath bereft me? (Tears his hair and falls senseless on the body.) 



Paraphntse de Concert (Lifxt) de Paelunanii, Pianiat 74261 

Ritfoletto Quartet By Victor Opera Quartet (In /to//an}\^^^. . 

Luda Sexieiie By Victor Opera Sextette (in Italian)r^^^^ 

Ch ^io le parli By Citfada. Sdlich and Choruf (Italtan) \ 

Tempeata— Somiglia un Apollo (He*f Fair aa Apollo) ^68190 

By Brambilla, Cappiello, SiUich and Chorua 
Quartet— Bella figlia dell* amore (raireat Daughter) 

By Hu^et, Zaccaria, Lanzirotti and Cigada (in Italian) 
Laaaii in cielo (In Heaven Above) By Giuaeppina 

Hu^et, Soprano, and Renzo Minolfi, Baritone (In Italian) 
'Quartet By Kryrf Bohemian Bandl 

Trocatore SdeeUon (Home to Our Mountairu) Vendla's Band] 

/Quartet Accordion By Pietro I^^o\^g.^|. - 

\ Ught Caoalry Overture Accordion By Pteiro Ddror^^^^ 

/Quartet — ^BeUa figlia By Hu^et-Zaccaria-Lanzirotti-Citfada\^,.^,.|. 
1 TrtfMAore-Miterere Bp GiacomdU, Martlnez-PattI and Cho (It^an) r^^^^ 
fCortigiani, vil razza dannata By Renzo Minolfi (In ^'^<'''<"')li A573 
1 Lakme — Fantaiste aux dhins By M. Rocca, Tenor (In Freitch)} 

fTutte le feate By Giuaeppina Hutfuet, Soprano (In ^l^l*"''\\^20S3 
iLa donna ^ mobile By Giuaeppe Acerbi, Tenor (In Italian) ( 
itfoletto Quartet By Brown Brof. Saxophone Sextettel 1^21 7 

Paadon Dance (C. M. Jones) Brown Broe. Saxophone Sextette} 

a §o\ dell*anima By Pereira and de Gregorio (In ^'^^''^l^vi «< 
IDeh non parlare By Pereira and Maggi (In Italian)!^* 

fComme la plume By Leon Campagnola, Tenor (In Pf^'^)\A^iiu 
\Qu*une belle By Leon Campagnola, Tenor (In French)!^^^^ 


1 2- inch, $1.50 
12-inch, 1.50 

12-inch,. 1.35 

68067 12-inch, 1.35 

35239 12-inch, 1.35 

12-inch, 1.35 

12-inch, 1.35 

10-inch, .85 

10-inch, .85 

10-inch, .85 

10-inch, .85 

1 0-inch, 1.00 



Text by Adam Hill ; Italian text by Rossi, founded on the episode of Rinaldo and Amdda 
in Tasso's Gerusalemme Uberata, 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 writ- 
ten by Handel in the amazingly brief time of fourteen days, and first 
performed at Queen's Theatre, February 24, 171 1. The work was put 
on to signalize the coming of Handel to London, and was a magnificent 

Production for that period. Only the year before the composer had 
een induced to leave the Court of Hanover for that of England ; and 
upon his arrival in LondoA Mr. Aaron Hill, the enterprising manager of 
the new Hajrmarket Theatre, engaged him to supply an Italian opera. 
Hill planned Rinaldo, Rossi wrote the Italian libretto, and Handel hur- handsl 

riedly dashed off the music 

The opera ran for fifteen consecutive nights — ^an unprecedented feat for that age — ^and was 
mounted vrith a splendor 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 in the Opera 

RINALDO, a knight Soprano 

Armida an enchantress Soprano 

ALMIRENA Godfrey's daughter Soprano 

ARGANTE, a Pagan king Bass 

GODFREY, a noble Bass 


The action takes place in Palestine at the time of the Crusade 

Rinaldo is a Knight Templar who loves Almirena, daughter of Godfr^. 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, complicates matters by himself 
falling in love with Almirena, Rinaldo finally rescues Abndrena, 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 Lasda ch 'to 
filanga, 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, 1 795, the com- 
poser then being only nineteen years of age. Later, the melody was used in *'ll Trionfo 
del Tempo,** and finally as "Lascia ch*io pianga ** in another opera, *' Rinaldo.** 

Lascia ch*io pianga (*Mid Lures ! *Mid Pleasures !) 

By Giuseppe de Luca, Baritone (/n Italian) 74572 12- inch, $1.50 

Almxrbna: Armida, thou enchantress. But grief with bitter tears! 

With thy craft, dark and fiendish, *Mid lures, 'mid pleasures. 

Hast stolen from my sad heart Hopeless I languish 

The bliss of Heaven; Vainly deploring my freedom lost! 

And here a doom eternal Heaven, who canst measure 

Suffer I ever. My pain and an^ish. 

The prey of pow'rs infernal 1 Thee I'm imploring 

Alas I naught's left to me By ill fate toss'tl 




Open in five ocU: wordi by Scribe; music by Meyerbeer. Fint preaented Paru, 
November 22, 1831; in London, in Ejigliah, at Drury Lane. 1832; in Italian. May 4. 1847 (BrM 
appearance of Jenny Lind). Fint American production. New York, April?, IS34. Revived 
at the Aitor Place Theatre, ISSI.and 1837, with Formea in the cart; and in 1675 with Unw 
di Muraka. The only Metropolitan production occurred in the 'SOa under Heitfy E. Abbey* 


Robert, Duke of Normandy Tenor 

BERTTIAM, the Unknown Baaa 

ISABELLA. Princeaa of Sicily Soprano 

AUCE, footer aiater of Robert Soprano 

Knighta, Courtiers, Heralds, Pilgrim*, Peaaanta, Chaplains. Priests, Nuns, etc. 

Raktrl, Dul(e c/Normaady, 
who waa called Reierl iht Dtell 
because of his courage in 

love, is baniahed by his sub- 

t'ects and goes to Sicily, where 
le continues to atruBile with 
an Evil Spirit, which aeems 
to tempt him to every kind of 
excess. Alice, his foster sister, 
suspects that his supposed 
friend Batram it in reality thi* 
evil influence. At the doae 
of Act I Rahert. led on by 
Bertram, gambles away alt hia 
poaaeaaiona, and failins to 
attend the Tournament, toaea 
the honor of a knight and 
greatly displeases the Lajg 
l$abdla, whom he loves. 

The second act shows the 
entrance to the Cavern of Satan, and a company of Evil Spirits. 

Valse Infernal. "Ecco una nuova" (I Have Spread My Toils) 

By Marcel Journet and Chorus (/n French) 74262 12-in«h, *1.90 

Bertram promises the Demons that he vrill complete the ruin of Reierl and the fiend* 
rejoice at the prospect of adding another sou] to their company. 

Alice, who haa come to the vicinity of the cave to meet her lover, overheara this infernal 
bargain and determinea to save him. Roterl, dejected over the loss of hia honor and wealth, 
meets Bertram, who promises that all shall be restored to bim if he will have the courage to visit 
the ruined abbey and secure a magic branch, vrhich can give vrealth, povrer and immortality. 

The ncKt scene shows the ruins, where Berliam invokes the aid of the buried nuna. 

The apectrea ariae, and when Rotert appeara they dance around him and lead him to 
the grave of St. Roaalte, where he it shown the magic branch. Overcoming hi* fears, he 
grasps it, and by its power defeats the multitude of demons who ariae. 

In the oeit scene R/)iierl uses the branch to become invisible, and goes to Lady hi^Ua't 
room to carry her off. 

But moved by her entreaties; he breaks the branch, thus deatroying the apell. 

In the laat act Bertram renewa his efforts to induce Robert to sign an eternal contracL 
Tired of hfe, he is about to yield when Alice appears and tells bim of the last words of his 
mother, warning him againat the Fiend, who ia in reality RiAelt't father. The clock strikea 
twelve, and the baffled Fitrtd disappears, while ^e cathedral door opens showing the 
/VfnccN waitiag for the reformed Riitrl. 



Libretto br Hany B. Smith; muaic by F^ginald de tCoven. Fint perfor 

ChicdBO, Jutie 9. 1690, by the BoMoniana, who lang the opera more than four ihoiuand lii 
Recently revived at the New Anuterdam. New York, by the de Koven Opera Company. 

Character* and Orif ioal Cast 

Robert of Huntington, known aa Robin Hood Edwin Hoff, Tenor 

Sheriff of Nottingham Henry Cloy Bamabee. Baai 

Sir Guy of CISBORNE. hU ward Peter Lang. Tenor 

LTTTLE John ] f W. H. Macdonald, Baritone 

WILL SCARLET L, ,, I Eugene Cowle* Baas 

ALLAN-A-DALE P^""*" IJcMie Bartlett Davifc Contralto 

Friar Tuck I t George Frothingham. Baaa 

Lady Marian, aflerwardi Maid Marian Marie Stone, Soprano 

Dame DURDEN, a widow JoMobine Bartlett. Contralto 

ANNABEL, her daughtet Carlotta Maconda. Soprano 

Villagera, Milkniaida. Outlawa. King'a Foreatera, Arckera and Peddlera 

'Hme and Place : NalHngham, England, In Ihe tiodflh centuiy 

At the beginninB of the opera a menymaking ii in progreai at the marketplace in 
Nottingham. The three outlaws, UUh John, tVitt Starltt and Friar Tuck, enter and sing of 
their free life in the Forest of Sherwood, and finally the handnme, dashing Robin Hood 
appears, declaring that he is the Earl of Hantlngton, and demanding that the Sheriff AitW so 
proclaim him. The Sheriff, however, protests that the youth has been disinherited by his 
own father, who before the birth of Roiln Hoodvat secretly married to a peaaanl girl, who 
died when her child was an infant The child is Sir Gay of Clibome, the rightful heir to the 
earldom and the Sheriff') viarA, whom he is planning to many to Lad^ Marian, ward of the 
Crown. However, the young girl and Rciln Hood are already deeply in love and ex- 
change vowa of eternal hith, much to the indignation of Sir Gay. Lady Marian protests 
against her marriage to 5'r Gujf. hoping that on the return of the King from the Crusades she 
will be released, while Roklit Hood plans with the help of the KlngXa prove bis right to the 
earldom. The outlaws sympathize with the pair and invite R<Aln Hood to join them, 
promising bim he shall be their king and rule them under the Greenwood Tree, to 
which proposal Robin Hood at length agrees. 


In the la«t act the daahing lung of the outlaws brinsi ihi 
which (avei Maid Marian from the hstetl marriage vrilh Sh Qay, 
the opera endi amid general rejoicing* at the triumph of RMn Hood 
and the gentle Marian over the platting Sheriff "«) his ward. 

Gem> ftom Robin Hood — Part I 

"Her, for die Meiry Cr 
„ 1 ■' ■■— -CooM 

Oooljw All 

— "Tinkori" Choin."— "Oh, Proi 
—"Come Awv u ihe WdoA" 

Victor Lifht Opera Co. 
Garu from R^ln Hood^Parl II 
"Ho. Hg. Jhen _(or Jollitr"— "Ye Biid.,u 

HunliinW?lito"— "AhM Do LoIeY. 
— "SwM«h™rt, Mi C 
"Low No» "'-"--- 

39413 12-inch. *1.39 

w W« Ncrer More WkU Put" 
Vlclor Ughl Opei 
By Louiie Homer BI29S 
rOh, Prombe Me Elate Baker, Contralto) , 
\ /n (Ac Gloaming ByEide Balter.Contnlloj 

nic CroH Bow By Imperial Male Qt' 
WoyDoutn Yondt ~ ■ -- ■ - 

rOh. Promijc Me 

17806 lO-inch. 

IrCiS.^}'"" ■»-•"'«■ 

'mptiial Male I 

By Harry Macdonoutfh. Tenorll6I96 
Sing Me lo Siup Eltle Baker. Conlralla) 

lOh, Promiac Me 

Neapolllan Triof' 
By Pry. 

II816 10-inch. tO.89 

{Favorite Air> from the Opera 
Prince ofPilien Selecllon {Ludtn) 
/Armorer'* Soaf By W^ilfred Glenn. Baaa' 

\ TlUlht Smdi of the DtMtrt Cn» did Bs WKfnd Gh 

'aJ^'. w}'«" '°-'-''- •" 



Opera in three acta and five tableaux ; text by Edouard Bleu ; mumc by Edouard Lalo. 
Firat production at the Optra Comique, Paria, May 7, 1688. The opera made a great luccen 
and was awarded the Acddtmit prize. It had ita hundredth repreaentalion in 1689, and ia 
atill in the repertory of the Optra Comique. First, and probably only American productioii, 
at the New Oilcans Opera, January 23, 1S90, with Furit, Balleroy. Gcoffroy. Roooi, Leavinaon 
and Beretta. 



MARGARET: ROZENN. hia daughters 

MYUO, a Knight 

Prince of KARNAC, at war with the King 

People, Soldiers, Gentlemen of the Court, Ladies, Honemen, Retainefs 

Tlmt and Plact : Aimorfca (Anelenl Brlttann) ; Middle Aget 

After a life of constant struggle, Lalo, at the age of sixty-five, succeeded in having his 
Le Etoi d'Ya produced in Paris, where it met with much succeu: but it was only in recent 
yeara that this compoaer'a worth has been recognized, A bust was recently erected at Lille, 
hia birthplace, and at the foot of the pedestal are represented Raienn, Margani and Myllo, 
the three chief charactera in Le Roi d'Ys. 

Blau's libretto ia baMd on an old legend about the flooding of the ancient Armorican 
city of Is, or. aa Blau called it, " Ys." Tlie King of Ys is at war with his neighbor, the Prince 
^f Kamac, His daughters, Margani and Rozenn, both loved a Knight, Myllo, but he is sup- 
poaed to have died in battle. The King ha* bargained with Kamac, proposing that he shall 
wed Margani, and thus end the exhausting war. The Princess does not relish the thought of 
this alliance, and when Myllo provei to be still alive she decides to wed him even at the coat 
of her father's kingdom. Kamac is enraged at the insult and challenges Myllo to a duel. 
The Kins agrees to give his other daughter, Roitnn, to the victor. Myllo wins and Margani, 
fuiioua that her sister should possess Msih, induces Kamac to flood the city by openingthe 
aluice gates which keep out the sea. When the water begins rising the King and hia family 
Bee to high ground, Kamac taking the reluctant Margaret with him. Aa they watch the Roods 
begin to destroy the city and drown the inhabitants, the Princess, remorseful, confesses her 

Sill and precipitates herself into the flood. Her sacrifice saves the city, however, as Saint 
rentin rises from the sea and commands the waters to recede. 

Vainetaent. ma bien aitn£e (In Vain, My Beloved) 

By Edmond Clement. Tenor (/n Frtiteh) 74264 ll-iach, *1.S0 




i ^TO^B 


If ! 





. 'J' . IHBi^^^Bk>i 

^K H 




Words by Batbier and 
Cair^, after Sbakmeare's 
dnuna. Muaic by Chaflea 
Couaad. Fint produced at die 
Thatrt Lyrtqae, Pari*. April 27. 

1867. Fine London production 
July 11,1867. FiritMiUnpro. 
duction Bt La Scala, December 
14.1867. Pteaented in America, 

1868, with Minnie Hauk. 
Some famoui American 

production* occurred in 189Q. 
with Pant, FUvelli. del Puente 
andPabriiin I S9 1 , with Eame* 

gibut), the de Renkea and 
pouli in 1898. with Melba, 
SalezB. de Reazke and Planfon; 
and more recently with Galli- 
Curci u Juha. 


JUUCT (/AhlMf'), dauKhier ai Capulet . . Soprano 
STEPHANO {Sk^-alniel,). page to Romeo . . Soprano 

Gertrude, Juliet'* nuru Mezzo-Soprano 

Romeo Tenor 

TYBALT (TtUmht), Capulet'i nephew Tenor 

BENVOUO {Ba--Kh' -kt-^) \ friendiof J Tenor 
MERCUnO {Mei-kn'-ilm-eh) [ Romeo \ Bantone 

Paris (n>A-iw'). Capulet'* kinamsn Baritone 

GREGOREO. Capulet'i kinaman Baritone 

Capulet ICap^-kh'}. a Veroneae noble Bauo 

Friar Laurence Ba** 

The Duke OF Verona Bb» 

Cue*!*; Relative* and Retainer* of the Capulet* 
and Montague* 

Romeo and Juliet overflowa vrith charming 
music. Gounod having written (or the loveta aome 
of the moit emotional paasage* ever composed, 
and the opera has even been called "a love duet 

not another Fauat,— 


it beautiful letting of the atoty °^ ^^ iU-Eatad Italian lover*, and 


Several o( the Shaketpotean perMmages have been 
omitted from the opera ca*t by the librettuta, and a new 
character, that of the page Sitphane, ham been added. 


SCENE— BaHnMBi In Capultt't Hoate, Vtnma 

The curtain ruea on a (cene of festivity. CapaUl, b 
V«R>iie*e noble, ii giving a maiked (Me in honor of hi* 
daughter Juliet' t entrance into society. 

Jalitl ii preKnted to the guests by her father, and 
Capuitt, in a rousing air. c«Us On his guests to make roeny. 

When the guests have gone to the banquet hall, 
Juliet lingers behind and gives expression to her girlish joy 
in the famous waltz. 

Valse (Juliet's "Waltz Song) 

By Luis* Tetraixioi, Soprano 

{In ballon) 86302 12-inch, tl.SO 
By Amelita Galli-Curci. Soprano 

(/n Fnncb) 74512 12-iiKh. 1.90 

a fiirrlmi 
' bend. 

Forever would tl 

> gladnti 

Shine on mc brightly ■ 
Would that never sec 
Threw their ihade o er 

JalM ii 

I - - - ^^'" - - - 

„ a speak with her, asks her to remain a moment They sing the first of their 

duets, the opening portion of which is full of aiiy repartee. Aa the number progresses a 
mysterious attraction seem* to draw the jrouth and maiden toward each other, and the duet 
become* an impassioned love scene. 

Akote adorable (Lovely Angel) 

By Geraldine Farrir and Ectmond Clement (French) 891 13 12-iDch, *2,00 

RoHso: RouEo: 

Angel that wearert k'>»> the fairest, Then grant "T PWr, de*» taint, ot faitb 

Forgive, if lo touch I dare. may else be driveii. 

Tybalt, a hot-headed member of the Capidet family, recognizes Romeo through his mask. 
and threatens to kill him for hi* presumption in coming to the house of hi* e 
CapuUl restrain* Ty&o/f and the dancing ti 



SCENE— Copu/ef't GaiJati Jullet'i AparbnaiU Ahoet 
ThU KCDC U taken almcwt literallv from Slwketpeare, the only variatiDn beios the 

entnnce ot Gngorio and the lerrants, wKich lervea merely to divide the long love duet 
Romto, who a bravins the di*plea9ur<r of 

hi* enemiel in the hope of (eeing fulitl again. 

appears, and gazing ■>' the haiconj-, ihus solilo- 

RiM. faireit iud la heaven! 

Quench the >t>ri with tb; biightnc^, 

ThBt o'er the v»ult it even 

Shine with a feeble lightneo, 

Br her belutr'B brilliint ny, 

JulM appears on the halcony and Roj 
conceal* himself. She speaks to thv stars 
her new-found happiness. 

Ah. I 

-and aim I 

nomro, way ari iDou Homeoi 
DoS then thy name, for it i 

Mr'l^«.'o' theel What row 

By other name would smell a^ 

Thou'rt no foe, 'til thy name 

lovera is interrupted by GrtgoHo 
and some retainers, wlio ate 
searching for Romeo, He hides 
himself again, and on their dc' 
parture the duet is resumed. 

O nuit divine, ie t' im- 
plore (Night All 
Too Blessed) 

Night all too blessed! 
Being in night. Ibis it 

LoVe of minel 

12-ioch, *1.&0 
vhen will be per- 

t thy feet I'll lay: 

If in honor me for thy wile thou lakest. Ah. my gweetl Doubt not my alTection, 

Then (o-morrow. my love, send a raestaga For, >o thHve my soul. I do lore thee! 

They ate interrupted by/D//ef'j nurse, calling her to come in as the hour is growing 
late, but Romeo restrains her, and the second part of the duet follows : 

Ne fuis encore (Linger Yet a Moment) 

By Berthe C^ssf and Leon CampstfnoU {Fnnch) '5S08S 12-uieh. tl.SO 


s fond sood Dighl 

Sofl be thj npoH till n 

ACT 111 

SCENE I— The Cdl of Friar Laurtnct 
Romeo and Juliet meet by appointnient in the 
FHor'i cell to Bik him to nuiry them. He at tint 

Erotesta but Rnslly conientB, hoping the union will 
ring the rival house* together in friendihip. The 
roamBBe ulce* pUce, and Jullel retuma home with 
her nune. 

SCENE 11— ,4 Slntl In 

Sitphaito oaten, aeekiitg 
hia maaler. Observing the 
leudence of Cafalei, he de- 
cidei to (inK a (ODS, thinking 
Romeo may itill be lingering 
near the houie. 

Gregorio appean, angry at 
being waked up, and icold* 
the noisy ]^>uth, finally rec- 
ognizing him aa the compan- 
ion of Romeo on the previous 
night. They light, but are 
intenupted by Merailio and 
Tyball, who begin to quarrel 
with GregoHo, Romeo enters 
and tries to act as peace- 
maker, but is insulted and 
forced to fight, killing Tyball. 
The action comes to the ears 
of the Duke of Vaona. who 
happens to be passing with 
hi* suite, and he banishes 
Romeo from the Itinsdom. 
Tlie unhappy youth yields to the decree, but 

•a to see /ubd again. 


SOENE-Zuflef. F 

lade his w«y into Capideft house 

risk of death, and baa 


He deparU after a tender farewell, juit ai CapaUl and 
Friat Laantitt enter to tell Jutitt that it was Tyball i dying 
wuh ike aliould niarry Parlu Left alone with the good 

Sriest ahe lell* him she will die rather than be aeparated 
■mn Rximea. The Frfarcounaela patience, as he has a plan by 
which they are to be reunited. He then gives /uif el a potioD, 
commanding her to drink it when her marriage with Partt 
seenia imminent, and tella her she will go into a death'like 
trance. He continues: 
FiiAi Laiiuhcs: 

'"Julierii deall JuLiet'ji deadl" For w 
Sball Ibey deem lb« rcpoiins. But 
Tbe angels above will reply, ^'Sbe bul slcepsl" 
For Iwn-Hnd-forty bours tbou ibali lie in 
death'! seeming. 

The good priest leave* her and ihortly afterward, 
ing her father and Part* approaching, she drinks the ' 
tents of the phial and growing faint, apparently expi 


SCENE— rfcr Tomi oZ/u/W 
The curtain rises, shovring the ailenl vault of the 
Capidtli, where JalitI is lying on the bier still in her trance. u«ij.i-tuiiti a* 

Ammo, who has failed to receive Friar Laurtna'i message, 
and brieves /uAsI is dead, now forces the door with an iron bar and enter*. 


Julict: Roueo: 

Ah! methought Ihat I hear.l . Come, lei's fly hence! 

Tones thai I loy'd, soft ffdlingl Juliit: 

RouBO: Happy dawnl 

■Tia I! Romeo— ihine own- Rouio aho Juliet; 

Who thy iluRiberB have Btirr'd. Come, (he world i) all before ua, 

Led by my hearl alone, Two heart, yel one! 

Thee, my bride, unto love Grant that our love— 

And Ihe [air world recalling! He now and ever 

Unlitl falls I'nlo Au armi.) Holy and pure, (ill our life shall end. 
Suddenly remembering iKe fatal dmu^t, Romce crie* out in horror : 

""' e dead. Ii 

happy diEger, behold Uur aheilh: 
ilabt kerirlf. H-ilh a nfrrmr tffort 
Hio half raiai Ivimitlf to frninl frr.) 

1 drank of this draught! Romio half 

tShoai Iht phial.) Koueo- 

Tuliet: Holdl Hold thy handl 

Of tbal dtaugbtl It Is deatbt Tultet- 

jrflWjj(^J*»^M«/.> J Ah. happy moment. 

To" drfnk 'arn No friendly drop Ihou'at Th'us"io d^e.''love,''w"£'th«.'* 

tall Iht dai 

re, , 

So 1 may die with thee! ,„ „„^ cmurati i lovc incci 

iSht tingi llu fkitl anay. Ihm rtmtmbtr- ,j-j„ ^,f ^, ,„ ,o,j, atlur-i arnu.) 

■ HIT tht daggtr dram U on!.) ^ hfav'n grant — ■'■ • 

Ahl bere'a my dagger atiltt iTKtj di't.) 


(O nuit divine, j'e t'implore ) 

Ne fuia encore By Bcrthe Ce«ar |SS0S5 12-iiich, f 1^0 

and Leon CampafnoU {In FTtnch)] 
I Romeo and Juliet Selection By Arthur Pryor*> Band] 

IntrodDaioB to Acl I, "The Capulet'i Ball "— Interlude, Acl IV— t«rl^->l i l_J_,|, < •■ 
Cpule('iScdo."niBA]tari>Pr*pued"—B.UM — Nuptial PiDceuion PO^S* la-iOCB. IJS 
Samton and Dtlllah Sdtcthn {S<ilnl-Satm) Arihar Ayor'i Banjj 



h_ '// 


^K ' 



TeM b3t Ferdinand Lemairci tnuaic by Camille Saint-SBeiu. Pint productkraiBt Weimar 
under Liail, December 2, 1877. In France at Rouen, 1890. Performed at Covent CardeD 
in concert (arm, September 25, 1693. Fir«t American production at New Oileana, Januanr 
4, 1893, with Renaud and Mme. Mouuier. Firet New York production Febniary, 1895, with 
Tnmagno and Mantelli (one performance only) . Revived by Oacar Hanunentein, November 
13, 1906, and again in 191 1. with Gervil1e-R«Bche, Dalmaiea and Dufianne. Produced «t 
the Metropolitan in 1915 with CaniM, Matzenauer and Amato. 

Crm of Character* 

DEULAH MencbSoprano 

Samson Tenor 

High Priest of Dacon Baritone 

ABIMELECH. Satrap o[ Gaza pint Bon 

AN OLD HEBREW Secmid Baai 


Chorua of Hebrew* and t^Kili*^^ 
TlmeanJPUm: II50B.C.1 q^^ |n PalotlM 


Samien el Dallla may be called n biblical opera, almi 
beautjr and grace of this great compoaitian ha* caused ii 
maaterpiece. The religious and militant Savor of the Ji 
in the score, and the exquiaile love music is more or less 
ance on the conceit stage. 

■t an oratorio, and the polished 
to be pronounced Saint-SaCna* 
wish nation is finely expressed 
Familiar by its (lequent perform- 


SCENE— ^ Paillc Squait In Caa 
The opera has no overture. The first scene shows a 
square in the city of Gaza, where a crowd of ffebrews 
are lamenting their misfortunes, telling of the destruction 
of their cities and the profanation of their altars by the 

Sanuoa speaks to the people and hid* them take 

Sausob {cvmitta cut /mm tht throng): 

The Hebrews are cheered by ^onuon's words, btit 
their mood soon changes when a number of Philistines 
enter and revile them. A fight occurs, and .Sonuon wounds 
Ablmelech. The High Priest of [)agon comes out of the 

From the Temple now comes Dtlitah, fallowed by the Priestesi 
flowers and singing of Spring. DeHlah speaks to Sonuon and invites I 
she dwells. 


Je viens celebrer la victoire (I Come to Celebrate Victory) 

By Enrico Caruso, Louise Homer and Marcel Journet 

[In French) 89088 12-inch« $2.00 

"I come to celebrate the victory of him who reigns in my heart,*' sings Delilah to the con- 
queror of the Philistines — soft words on her lips and guile in her heart. He prays for 
strength to resist her fascinations, but in spite of himself he is forced to look at her as she 
dances with the maidens. An old man from among the Hebrews warns him of the fatality 
which must follow if he gives himself up to the Philistine woman, but in her hands Stmmon's 
will is as water. The three voices, each pleading its own cause, Delilah and the old man with 
Sanuon, and Samaon with his God, blend in wonderfully rich harmony in this splendid trio. 
As the young girls dance, Delilah sings to Sanuon the lovely Song of Spring. 

(.French) (.German) 

Printemps qui commence — Der Fnihling er^^achte 
(Delilah's Song of Spring) 

By Ernestine Schumann-Heink, Contralto (In German) 88417 12-inch, $1.50 
By Gerville-Reache, Contralto {In French) 88244 12-inch, 1.50 

Delilah : * Spring voices are singing, I weep my poor fate ! 

Brignt hope they are bringing, (She gases fondly at Samson.) 

All hearts making glad. When night is descending. 

And gone sorrovirs traces. With love all unending, 

The soft air effaces Bewailing mv fate. 

All days that are sad. For him will I wait 

The earth glad and beaming, Till fond love returning, 

With freshness is teeming. In his bosom burning 

In vain all my beauty: May enforce his return! 

Samton shows by his hesitation and troubled bearing that Delilah has shaken his 
resolutions, and as the curtain falls he is gazing at her, fascinated. 


SCENE— Ddilah's Home in the Valley of Soreck 

Delilah, richly attired, is awaiting the arrival of Samson, and muses on her coming 
triumph over his affections, and the plot to secure his downfall. In a fine air she calls on 
Love to aid her. 

Amour viens aider (Love, Liend Me Thy Might) 

By Louise Homer, Contralto {In French) 88201 12-mch, $1.50 


O Love! in my weakness give power! Could he only drive out the passion 
Poison Samson's brave heart for me! That remembrance doth now preserve. 

'Neath my soft sway may he be vanquished; But he is under my dominion; 

Tomorrow let him captive be! In vain his people may entreat 

Ev'ry thought of me he would banish, 'Tis I alone that can hold him — 
And from his tribe he would swerve, I'll have him captive at my feet! 

After a scene between Delilah and Dagon, who urges her not to fail in her purpose, 
Samson arrives, impelled by a power he cannot resist. 

Delilah greets him tenderly, and when he bitterly reproaches himself for his weakness, 
she sings that wonderfully beautiful song of love and passion. 

Mon coeur s'ouvre a ta voix (My Heart at Thy Sweet Voice) 

By Louise Homer, Contralto (In French) 88199 12-inch, $1.50 

By Schumann-Heink. Contralto {In Germatt) 88190 12-inch, 1.50 

By Julia Culp, Contralto (In French) 64490 10-inch, 1.00 

By Alma Gluck, Soprano {In French) 64592 10-inch, 1.00 

By Michele Rinaldi with Vessella's Band Comet *17216 10-inch, .85 

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! 

(Copj't 18K, O. Sehlrmer.) 



Ddllah now ailca that Samtan confide to her the 
•ecret plana of the Hebrews, and when he refuse* she 
calU the I'hiliatutes, who are coocedleil, and Samton ii 

ACT 111 

SCENE I— A Priton of Cua 

Sightless and in chains, his locks shorn, the mighty 
Samton ii seen slowly and painfully pushing a heavy 
mill which is grinding com for the Phibatines. Near 1^ 
is a group of Hebrew captives. Out of tikci depths of 
his misery. Samton calls upon the Lord to pity him in 
his distress, offering his "poor, bruised soul" to the 
Almighty whose mandates he had disregarded for the 
sake of the dusky Dtlllah. His prayei is echoed by the 
woe- begone prisoners, but some of them upbraid 
Samton for his fall. 

Voia ms inisire helas I (Sore My 
Distress, Alasl) 

gallt and anguiih, 

<A« III) 


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. 
My poor bruised soal 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 18 my soul steeped in bitterness and gall. 


Samson, why hast thou betrayed thy brethren? 

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 Thv favor. 

Deign but once more, Lord, Thy people to aid. 

Withhold Thy wrath, though Thou hast been 

Thou art our God and Thy love doth not waver. 

God, still in Thy strength we confide. 
Be Thou yet our prop and our guide! 
Samson, why hast thou betrayed thy brethren? 

SCENE l\—A Magnificent Hall in the Temple of Dagon 

The High Pf i et U and Philistines, with Delilah and the Philistine maidens, are rejoicing 
over the downfall of their enemies. 

Chorus of Philistines: 

Dawn now on the hilltops heralds the day! 
Stars and torches in its lifi[ht fades away! 
Let us revel still, and despite its warning 
Love till the morning! 
It is love alone makes us bright and gay! 

The breeze of the mom puts the shades to flight, 
They hasten away like a mist- veil light! 
The horizon grows with a rosy splendor; 
The sun shines bright 
On each swelling height, 
And the tree tops tender! 

(Copy't 1892, G. Schirmer) 

Coro y Bacanal (Chorus and Bachanal) 

By Bsnda Real de AUbarderos de Madrid *62660 10-inch, $0.85 

They have sent for Samson to make sport of him. Delilah approaches him and taunts 
him with his weakness. 

Dklilar {approaching Samson with a wine cup in 
her hand) : 
Ry my hand, love, be thou led! 
Let me show thee where thy feet may tread! 
Down the long and shaded alley 
Leading to the enchanted valley, 
Where often we used to meet, 
Enjoying hours heavenly sweet! 
Thou hadst to climb lofty mountains 
To make thy way to thy bride. 
Where by tne murmuring fountains 
Thou wert in bliss at my side! 
Tell me thy heart still blesses 
All the warmth of mv caresses! 
Thy love served well for my end. 
That I my vengeance might fashion 
Thy vital secret I gained. 
Working on thy bunded passion ! 
By my love thy soul was lured! 
'Twas I who hath wrought our salvation! 
'Twas Delilah's hand assured 
Her god, her hate, and her nation. 

(Copy't 1892, G. Schirmer) 

He bows his head in prayer, and when they have wearied of their sport Samson asks 
the page to lead him to the great pillars which support the Temple. He oflfers a last prayer 
to God for strength to overcome his enemies, then, straining at the pillars, he overthrows 
them. The Temple falls amid the shrieks and groans of the people. 

Samson and Delilah Selection Pryor*s Band] 

"The Breath of Cod." Act I— Chorus of the Pkilittines. Act HI— "My U<'>^^ 
Hewt at Thy Sweet Voice. ' Act 11 ^^^2^4 

Romeo and Juliet Selection (Gounod) PFyor'sBand) 

/My Heart at Thy Sweet Voice Comet Michele Rinaldil, -^ . . 

\ Faremell to the Forest (Mendelssohn) By Victor Brass Quartet)^ ^^^ 

{Chorus and Bachanal By Banda Real de Alabardero8\>- ,>. >. ^ 

Minuet from 2nd Sifmphony (Haydn) By Banda Reair^^^^ 


12-inch, $1.35 

10-inch, .85 

10-inch, .85 



Text by RoMJ ; muiic by Gioachino Antonio RoMuii. It i> fouadeJ on Voltaire'a 
tragedy Sanlraaiti. pint produced at iKe Fenice Theatre. Venice, Februaiy 3, 1823; in 
London at the iCing'i Theatre, July 19, 1624. In French, ai Semlramli, it appeared in Pari*, 
Julv 9, 1S60. Fint American production occurred in New York. April 25. 1826. First New 
Orleant production May I, 1837. Some notable American revival* were In 185S with Ghii 
and Veatvalli : in 1890 with Adelma Petti aa Semlrrnnlde: and in 1B94with Melba and Scalchi. 

Cast of Character! 

I SEMIRAMIDE. or SEMIRAMIS. Queen of Babylon , . .Soprano 
_. .. ^^^^^^ AR5ACES, commander in the Aiayrian army, aher. 
f^ ^^^^^^^1 ward the aon of Ninui and heir to the throne. .Contralto 

I The Ghost of Minus Baa 

OROE. chief of the Magi BaM 

ASSUR. a Prince of (he blood royal Baa* 

AZEMA, Princess of the blood royal Soprano 

IDRENUS, of the royal houaehold Tenor 

I MrniANES, of the royal household Baritone 

Mail, Guards, Satraps, Slave* 

Seminunide is perhap* the fineM of Elo**ini'( serioua 
operas, but althouKh it was a great succes* in its day, its 
|l 1 ^ W^^H ■pl'fdid overture and the brilliant Btl ragglo arc about the 

ffTj ' 11 ^^H o»ly reminders of it which remain. 

■ ' L' H ^^^1 The story is based on the classic aubject of the murder 

. illttU' » of Agamannrm by his wife, called Semlramli in the Babylonian 

*^'"'* It is a work which the composer completed in the 

lingly short time of one month, but which shows his 

_ ..e action takes place in Babylon; Semlramlde, the Queen, 
asmted by her lover Aaur, has murdered her husband ATlnf 
Mfiui, who, in the second act, rise* in spirit from the tomb 
and prophesie* the Queen's downfall. 


By Polieo Band of Mexico City *39I67 12-inch. >l.35 

The Bd ragglo, a favorite cavatina with all prima donna*, and a brilliant and imposins 
air, occurs in the first act. 

The scene shows the Temple of Belu*, where a religious festival is in proEres*. Stml- 
ramlde is about to announce an heir to the throne and haa secretly determined to elect 
Anaca, a young warrior, with whom she haa fallen In love, unaware mat he is in reality her 

Bel Tiggio lusin^hier (Bright Gleam of Hope) 

By Mircetla Sembrich. Soprano (.In Italian) 88141 12-inch. >1.»0 

Siuiiauide; Bui ere while with Brief I dropp'd mv head. 

Ileie hope'9 consoling ray Now once more beams my smile! 

Bids lorrpw hence away. Hence all my doubli have fled. 

And joy calls from above! No more 1 feel the sway of grief and anguish 
Arsaces to my Iotc soon will return dejected, dreadl 



\ Marchc Slave (,Op. 3 1) (T, 

rT ^''.^"'if^ ^jS"**^^! Mexico ^i^\5516T 12-inch. »1. 
(TKhaUtowsks) By Aithai Pfyorj Baadi 


Second Oper* of the Rhtn«<old Trilofy 
Words snd muiic by Wagner. First produced at Bayrcuth, Auguit 16, 1876. It waa 
given in French nt Bnuael*, Tune 12, 1891. and lubKqucntly at the Op<irB in Pari*. In LiMi- 
don (in Engliih) by the Carl Rosa Company, in 1698. First American production in New- 
York. Noveinber9, 1B87. with Uhniann. FiKher. Ahraiy and Seidi-Kraua. 


Mime (M>c'.imA) Tenor 

The Wanderer (Wotan) Baritone 

ALBERICH (,A/if-teT-ik'h) Baritone 

FAFNER (f.W-wr) Ban 

ERDA iAl/.Ja],) Contralto 

BrUNNHILDE (Brmo-full'^'li) MezzO-Sopnno 

There i> little of tragedy and much of lightnen and the joy of youth and love in thia 
moat beautiful of the Ring Cycle, which tella of the young iteg/Wei/.^impetuoua, brave, joy- 
ful and handsome ; and BrOnnhilde, the 
god-like maid, who finds she is but a 
woman after all. 

After Sitgllnde had been laved 
from the wTBdi of (fofan by BrannMdt 
(reUted in die laat nait of WalkOrt). 
she wanders through the forest and 
dies In giving birth to the child Sitgftitd, 
who is found and brought up by Mime, 
the Nihlang. 

In the first two acts of Siegfried the 
hero ia shown in his forest home, where 
he mends his father's sword, and with 
it slays the dragon. Having accidentally 
tasted the dragon's blood, he becomes 
able to understand the language of the 
birdsw which tella him of Briinnhllde, the 
fair maiden who sleeps on the fire- 
encircled rock. He follows the guidance 
of one of the birds, cuts through the 
spear of iVotan, vrho endeavors to stop 
him, and penetrates the flames. On 
the top of^ the rock he beholds the 
sleeping VaUn/rit covered with her 
shield. He removes the armor, and 
BrtlnnhlUt lies before him in soft, worn, 
only garments. She I* the firat woman 
he has ever seen, and he kneels down 
and kiswa her long and fervently. He then starts up m alarm Btilnnhllde has opened her 
eyes. He looks at her in wonder, and both remain for some time gazing at each other. She 
recognizes him as Slegfritd, and hails him as the hero who is to save the world. This part 
of the trilogy ends in a splendid duet. 

SCENE— ^ Foml. At One SlJt a Cane 

The opera opens with an air by Mime, who is discovered at the anvil in his forest 
•mithy trying to forge a sword for Siegfried. He complains of the drudgery which Slegfiled 
has forced on him. 

Zwan^oUc Plage I (Heartbreaking Bondage) 

By Albert Reiss. Tenor {In Gtmm) 74299 la-iooh. *I.SO 

Sieffried and the 



SitgfritJ. in foiest dreu, with a honi 

•round his nsck, bunts impetuously 

from the woods. He ia driving a great 

bear which fiightens Mbne, who bides 

behind the forge. Taking pity on the 

dwarf, SitgfHtd drives the bear back 

into the wood, and seeing the sword, 

breaks it over the anvil, a« he has 

broken all o( the others. He questions 

Mfmt about his childhood, and the 

dwarf tells him reluctantly about his 

mother and about the sword his father 

had broken in his last GghL SitgfHtd 

demands that Mime shall mend his 

father's sword without delay, and goes 

back into the foTesL 

iVclan now enters and in answer 

to Mbne'j questions says he is the Waa- 

Jtrer, and speaks to Mime of the sword, 

telling him that only he who knows no 

fear will be able to forge the broken 

weapon. After the IVanJ^tr has de- 
parted, Siegfried returns, and Mime, who 

is now begiiming to be afraid of the 

youth, tells hiip that it was his mother's 

wish that he should learn fear. "What 

is this fear?" says Siegfried, and Mime attempts 
MiHs: Feltest Ihou nt'ir in forMt dsrk, 
FelLcM [hou then, no grisly grueaomeneu grow 

o'er Ihy Isncy? 
Sle^ried regretfully admits that he ha* nev 

then tells him of the Dragon which dwells near by. Siegfried eagerly asks Mimt tc 

duct him hither, but says he must have his swoid mended first, and, when Mime retuses. 

he forges it himself. When it is finished, to try the blade, he strikes the anvil a mighty blow 

and splits it in half, while Mime falls on the ground in extreme terror. Siegfried brandishes 

the sword and shouts with glee as the curtain falls. 

ACT 11. SCENE— 7^ Dragan'i Case In Ihe Feml 
Fafaer, who has changed himself into a dragon, the better to guard his gold, dwells 
within B cave, keeping constant watch. Alberich is spying near 
by, hoping to regain the treasure by killing the hero that he 
knows vrilT overcome the Dragon. 

The Wanderer enters and warns ^/icr<cA of the approach of 
Siegfried, Alberich wakes the Dragon and offers to save its life 
in return for the Ring. Fafrter contemptuously refuses, and 
makes light of the hero's prowess. Wolan departs, laughing at 
the discomfttted Alberich. who hides as Siegfried and Mime ap- 
proach. The latter is still trying to terrorize Siegfried with awful 
descriptions of the Dragon, but Siegfried laughs at him and 
finally drives him away. 

Tlie young hero, left alone, sits down under o tree and 
meditates about his mother, whom he pictures as gentle and 
beautiful. His dreaming is ended by the song of the birds, and 
he regrets that he cannot understand their language. He answers 
their song with a blast of his horn, which disturbs Fafner and the 
Dragon utters an awful roar, which, however, only makes the 
youth laugh. The Dragon rushes upon him, hut &et fried 'yxrap% 
aside and buries his faithful sword in the reptile's heart. 

Having accidentally tasted oE the Dragon's blood by carrying 
his stained hand to his lips, he finds to his astonishment that he 
is able to understand the song of the bird, which tells him to go 

{Siegfried. Act 1.) 
I describe it. 

Bslefullcst abuddtri Bfaike thy whole bod 

Beat iby himmer^ing Lsrt? 
' felt any such sensation. Mime, in dea 

Mar f lh"n**aken 

'^'"Bfrwd. Act 11) 


into the cave and (ecure the Ring. Siegfried thanka the warbler and goe* into the csTem. 
Mbm come* back and, aeaing the dead Fafna, ia nhout to enter the cave when Albtrleh 
■tops bim and a healed argument occurs about the posieanon al the Ring. 
M[Mt (briidt himiilf): ALinicn: 

\yilt not bargain? Wilt not barlcr? The Tarnhelm he faoldll— 

IvUk OH *i 


Let hi 

MiUE C/iiriomJj): 

Nought ulk Kt of share]! Auaaics: 

Sicgfned. the caualic bar. And yit to its Ir 

Shall cruih thee, brother of minel Shall it alone b> 


, ; is again heard explaining ita hiatoiy, and r 

intended treachery of Mimt. When the dwarf approachea, Sletfrltd ia able, by the magic of 
the Ring, to read his thoughts. Horrified to learn that Mime is planning to kill him, he 
strikes down the dwarf and throws his corpse in the cstc, rolling the body of the Dragon 
before the entrance. 

Wearied by his adventures. .Si^/nW reclines under the tree and asks the bird to sing 
again. This time the aongater reveals to him that BrOnahllJt lies sleeping, waiting (or the 
hero who is able to reach the fire-encircled spot. 


ied ha, sla 

in now 



9ter dMrd 


for him no 





Fire d 


ler the 

O'eritepped be tli 
Waited^ the b. 

le b]a» 

BriinnhUde then 

would be hi! 

D Istartiaa 


Ail l„ty. 

Ob lo' 

ll^y songl 



Ho* 1 , 

mtm \ti ae 



ring 1 


.wiftly o'e. 


and »en»es? 

S«T tQ 

> me, deacei 

rt frien. 


But at 


e then' 




The bride ia won. 

Brunnhilde awaked by faint- beirt ne'er: 
But by hirn who knowg not fear. 
He laughs with delight, saying, "Why, this stupid lad 
who knowi not fear, — it is [ I " and (ollowa the bird, who 
flies ahead to guide him to BrtlimMde'i fiery couch. 

ACT in 

SCENE— ^ tVlld Region df the Foot of a Rocki/ Mountain 
The act opens with a long scene between ErJa and Wotan, The god summons his 
earth goddess wife and tries to consult her regarding the coming deliverance of the world 
through Sleg/rieJ and Brannhllde. The goddess, however, is confused and bewildered by 
fValan'i eager questions and (ails to give counsel, aaking only to be allowed to return to her 
aleep. Wolan, wearying of the atruggle against fate, renouncea hia sway over the world, 
realiziog that the era of love must supplant the rule of the gods. 

Siegfried approaches and Wotan attempts to bar his way as a final trial of his courage. 
The youth, however, makes short work of the weary god. shatters his spear at a single 
stroke, and continues on his way singing: 

! Heavenly glow! brightening glare! Through f 

ads are now opening radiantly round mel Oho! Oho! Ahtl Aha! Gtilvl i 
In Sre will I bathe. Soon greets me a gloiioui fiie 

Roads are now opening radiantly round me! Oho! Oho! Ahtl , 
In Sre will I bathe. Soon greets me a 

As the hero plunges fearlessly through the lire the flames gradually abate, and v 


her helmet. He U apeechleM with Bdmira- 
tion, and naively aak* if the strBiiBe emotion 
which he feeU can be fear. Finally, when he 
preaaea an ardent kiaa on her Up*, the awakes 
and greets him joyfully aa the hero Sitg/rttd 
who ia to save the world. After a long scene in 
which SlegfrieJ't ardent wooing is gently re- 

Eresaed by BrtlimfilUe. he at length seizes her in 
iaaims. Frightened, she repulses him, crying; 

DesihJeu hu 1, dr*tblc» 

Deathless lo tweet sway 
But deithlesi for Ihy go. 
O Si'^ntd, happiest hop. 

It upnn 

face in crystal aao3i7 

gladden thy glance 

Thy face M. 
Nought bul 
•So disturb n 

iBBsy surface bTal«n and fliwed. 

Siegfried \ Siegfried I 
estroy not thy faithful 

But the impetuous hero 
wooing, and love finally cooqui 

Light of my aaul: 


' o'P 

I glow . 

all l_ 

Gladly love 
Gladly yielc 
Gladly glid. 

Gladly go d_ „ 

Far hence. Walhair It 
Let fall Ihy ■ 

r lottv and vast, 
ure of Btstely tcw'ni 





Texl by Ostrovaky, baaed on the old folklore tale ol the Snoa Maiden. Muaic by 
Nicolsi Andreyevich Rimaky-Korukoff. Fint production St. Pelenburg, March, 1882. 
Produced at the Private Opera. Mo«:ow. 191 1. In Paria. at the Optra Omlqut, June, 1908. 
The work haa not yet been given in America. 


SNEGOUROTCHKA. the Snow Maiden Soprano 

M15GUIR, her lover Baritone 

SHEPHERD LeHL Contralto 


BOBY Baaa 

BOBYLYCKA, hia wife Soprano 

KOUPAVA betrothed to Miaguir Contralto 

lali b 

fmaginaty pncmce tf Ruitia 

Thoae who have enjoyed Mme. Cluck'a beautiful inter- 
pretation of TTit Smm Maiden air will like to know aomething 
of this Ruaaian opera, and we therefore give a brief akelch of 
the plot. 

The opera ahounda in pictuieaque acenea, repreaenting 
Winter and Spring, and the poetic little atory ia auppo«ed 
to lake place in the happy country of Berendey, an unknown 
province of an imaginary Runia, ruled fay a benevolent 
old Czar who has devoted hia life to the happinen of hi* 
people, governing hia kingdom by the law of love. 

The beautiful, unknown Sntgouroiclika, daughter of old 
fVlnler and the fairy Spring, ia found one cold morning by 
■ome villagera, abandoned in the foreat, and the old drun^rd, 
Bei^, and hia wife, BtAylycka, adopt her without knowing 
her parentage. MUgair, a merchant, falls !n love with her, 
abandoning hia aweetheart Koapaea, but SnegoarotdJ^a, aa her 
name indicalea, la made of ice, and her coldness and indif- 
ference discourage all the young men who are infatuated 
with her faeauly. Even the handsome Shepherd Lthl, who 
ainga such wonderful aonga, gives up in deapair and offers 
hia heart to Koupava. The old Czar ia grieved that thia cold- 
nest baa entered hia kingdom, and onera the hand of the 
Snem Maldtn attd a handaome gift beaidea to any one who 
ilchka finda it impoaaible to love, 
' e fairy Spring, who invokes the 

. ___ ion lending ita grace, the rose ita 

heart and the jaamine ita languor. This influence gradually 

touchea the heart of the Snow Maiden, and ihe finda heracif 

fallinginlove with the handsome Mlvu'r. They both attend the fealival of lovera and present 

themselves to the good Czar as a betrothed couple. But, alas, at the first kisa from lier lover 

the little anowftake meltaand disappears, while Mligulr, in despair, throws himself into the i ~ 

and appeals to her mother, thi 
aid of the flowers— the 

Sonff of the Shepherd Lehl 

By Alma Cluck, Soprano 

{In EngUih) 64209 lO-inch. »ljOO 



Librotto bj Felice Romani; muuc by Vincenzo Bellini. F*rodace<l at the Tenlre Canano, 
Milan. March 6. 1831: Paiu. October 26, 1831; and at the King's Theatre. London. July 26th 
of the «ame year. At Drury Lane in Engliah, under the Italian title. May I, 1833. First 
pei^omiance in New York, in English, at the Park Theaire, November 13, 1835, with Brough, 
Richings. and Mr. and Mia. Wood. First New Orleans perbnnance. January 14. 1640. 
First periormance in Italian in New York. Palmo's Opera Company, May 1 1. 1844. Revived 
in 1905 at the Metropolitan with Caruso, Sembrich and Planfon) at the Manhattan Opera, 
1909, with Tettazzini. Trentini, Parola and de Segurola. 


Count Rudolph, lord of the village Bass 

Teresa, miUeres* Mezzo-Soprano 

AMINA, orphan adopted by Teresa, betrothed to EKrinO Smiacto 

ELVINO, wealthy peasant. , Tenor 

Lisa, inn-keeper, in love with Elvino Soprano 

ALESStO. peasant, in love with Lisa.. Bass 

Peasants and Peasant Women 

Tht scent It laid In a Sieiu otllage 
How our giandfathen and grandmothers doted on this line old opera by Bellini I In 
the '30b it was a novelty by a young and gifted composer: by 1850 it was part of every 
opera season and shone through a halo oE great casts — Malibran, Pasta, Jenny Lind. Gerstet, 
Campanini, Grisi — and in the 'We and '70s it continued to be popular. Then came the 
Wagnerian era, and the pretty little pastoral work was all but forgotten until the recent 
revival, which greatly delighted Metropolitan audiences. 
SCENE— .4 Villagt Gutn 
The peasants are making merry in honor of the marriage of Amina and Eldno. LJia, 
die hostess of the inn. enters and gives way to bitter reflections. She also loves Elolno, and 
her jealousy finds expression in a melodious air, Sounii So Joyful. Alatio, a villager who 
fancies LiMa, tries to console her, but she repulses him. Amina and her friends enter, fol- 
lowed soon after by Eiotno, and the marriBge contract is signed. Elolno places the ring on 
his bride's finger, and they sing ■ charming duel, Tekt Nom Tlil* Ring. 


Prendi I'anel ti dono (Take Now This Rin^) 

By Emilio Perei. Tenor (In Italian) *62092 lO-ineh. *0^i 

The nuptial celebration la interrupted by the •cnind of horaea' hoofi, anil a handtoroe and 
diadnguiahed itninger enter*, inquire! the way to the caitle, and learning that it ii aome 
distance, decide* to remain at the inn. He look* around him, appearins to n 

Vi rawiso (As I View These 


By Perello d« SeguraU. Ba** 
(In llalhin) *ii2091 10-ineh. 10.89 

Soft e 

Oh ho 

>n3 bim'sh'd, 
ily glided, 

rhe *trBnKer inqu 
(MtivitieB. and i* presented to the pretty bnde, 
in whom he ia much intereited. He Eella the 
peasant* that in hi* childhood he Hved with 
the lord o( the caatle, and now bruiK* newa 
of the lord's only *on, who di*appeared some 
rears since. 

■* that a* 

anger i* told 
n of late, and 

Amina't mother, TeieKt, m 
nil^t ia falling diey mu*t go 
phantom may appear. The 
diat a apectre hu been often 

he acoS* at the tale, but the 

effective choru*. describe the appearance of the ghoat. 

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

By La Scab Chorus (/n llallan) *62642 lO-inch, (O.B» 

The stranger now deairea to retire and ia ahown to hia room. Amina and Eldno remain, 
and the latter reproaches hia bride for her interest in the guest; but at the sight of her teauv 
he repents his suspicion*, and the act closes with a duet by the reconciled lover*. 

ACT 11 

SCENE— The Apaiimtnl of iht Sirangtt 
The sue*t muses that he might have done worse than *top at this little inn — the people 
are courteous, the women pretty, and the accommodation* good. Liia enters and asks if he 
is comfortable, calling him "my lord," the villagers having suspected that he ia Counl 
RaJelph. The Count, although somewhat annoyed that hia identity is revealed, takes it good- 
naturedly, and even flirts a little with the buxom landlady. She coyly run* away, dropping 

and entreats Eldno to beLeve that she 
El deep sleep. The Count is somewhat 
Lve the young girl in possession of the 

here Liia peeps into the room, and seeing Ami 
dream, again goes through the marriage ceremon; 
loves him, finally throwing herself on the bed in 
puzzled at the situation, and finally deciding to 1< 
room, goes out by the window. 

Etoim and the villagers, who have been summoned by LUa, now enter and are aston- 
ished to tee An^na aaleep in the Count's room. She wakes at the noiae, bewildered, and 
runs to Elvlno, who repulaes her roughly. She is met with cold looks on every hand, and 
•inks down in despair, crying bitterly. lousing herself, she begins the duet, D'nn pciuhm. 


Amzma: Elvino: 
Not in thought's remotest dreaming, Hcav'n forgive ye, this guilt redeeming; 

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

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

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

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


SCENE 1 — A Shady Valley near the Castle 

Amino and Teresa enter on their way to the castle to plead with the Count to clear the 
girl's good name. Seeing Eloino, Amino makes another effort to convince him she is still 
true, but he reproaches her bitterly, takes the ring from her finger, and rushes away. 

SCENE U—A Street in the Village. Tereaa's mill on the left 

The villagers enter and inform Lisa that Ehino has traiisferred his affections to her. He 
enters and confirms the good news, and they go toward the church. The Count stops 
them, and assures Eloino that Amino is the victim of a dreadful misunderstanding. Eloino 
refuses to listen to him and bids Lisa follow him to the church, but they are again inter- 
rupted by Teresa, who has learned of the proposed marriage, and now shows Lisa's veil 
which she had found in the Count's room. "Deceived again," cries Eloino, and asks if any 
of these women are to be trusted. 

Rudolph assures him again that AmitM is guildess, and Eloino desperately sajrs. *' But where 
is the proof >** "There,** cries the Count, suddenly pointing to Amino, who in her night 
dress comes from a window in the mill roof, carrying a lamp. All watdi her breathlesny, 
fearing to wake her lest she falL She climbs down to the oridge over the wheel, and de- 
scends the stairs. The first of the two lovely airs for Amirni in this act now occurs. 

Ah I non credea mirarti (Coiild I Believe) 

By Amelita Galli-Curci« Soprano (In Italian) 74538 12-meh« $1.50 

By Alma Gluck, Soprano (Inltaliati) 74263 12-inch, 1.50 

Ah I non credea is sung by the sleeper as she descends from her dangerous position* 
while her lover and friends watch in terror, fearing to awaken her. It <^ens with a beauti- 
ful caniahile in the key of A minor, its pathos being fully in keeping with the plight of Amina, 
who, being discarded by her lover and doubted bv her friends, weeps over her short-lived 
love and happiness. Regarding the flowers which her lover had given her, she exclaims: 

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 Ditaon Idlilon 


Ah! must ye fade, sweet flowers. 
Forsaken by sunlight and showers. 

As transient as lovers emotion 
That lives and withers in one short day! 

Eloino can restrain himself no longer, and rushes to Amina, who wakes» and seeing 
Eloino on his knees before her, utters a cry of delight and falls in his arms. 

The opera then closes with the joyous, bird-like air. Ah / non giunge, which is a fitting 
close to this charming work, with its graceful and tender music and peaceful pastoral scenes. 

Ah, non giunge (Oh, Recall Not One Earthly Sorroiv) 

By Luisa Tetrazzini, Soprano (In Italian) 88313 12-inch. $1.50 

By Marcella Sembrich. Soprano (Inltaliari) 88027 12-inch, 1.50 


Do not mingle one human feeling Ah, embrace me, and thus forgiving. 

With the rapture o'er each sense stealing; Each a pardon is now receiving; 

See these tributes, to me revealing On this oright earth, while we are living. 

My Elvino, true to love. Let us form here a heaven of love! 


fWi rawiso By Perello de Se^rola, Bass 

IPrendi Tanel ti dono By Emilio Perea, Tenor 

f Ah ! fosco ciel t By La Seals Chorus 

\ Lohengrin — Coro Nuziale By La Sctda Chorus 


S/i±")}**«*^ lO-inch, »0.85 



Libretto adapted from Bonnet-Bourdelet's Histoin de la Musique ef de sa EfftU, published 
in Paris in 1715. Music by Friedrich von Flotow. First written as a lyric drama, Stradella 
was produced at the Palais Royal, Paris, in 1837, but was subsequently rewritten ana 
given at Hamburg, December 30, 1844. Slight changes were made in the English version by 
Bunn, and the opera brought out in London, June 6^ 1646, as Alessando 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. 


ALESSANDRO Stradella. singer Tenor 

BASSI. a wealthy Venetian Tenor 

Leonora, his ward Soprano 

BARBARlNOji^^jjJ Tenor 

MALVOUO i I Baritone 

Pupils, Peasants, etc. 

Time and Place : Venice and the vicinity of Rome ; about / 658 

Stradella was a musician of the seventeenth century about whom very little is known, 
but he has been variously described as a composer, a singer, a violinist and a harpist. 
Nearly one hundred and five of his compositions are extant, and these include six oratorios 
and six dramas. Students of musical history know Stradella more as a composer who 
displayed a remarkable skill in the treatment of large choral effects. He was involved in an 
elopement with the bride-to-be of a Venetian nobleman, who hired assassins to slay the 
musician, and this incident has served as a subject for Flotow's opera. 

In the opera Stradella, having come to Venice to write music, takes for a pupil the ward 
of a rich Venetian. The composer falls in love with his fair pupil, and finally elopes with her. 
Batsi, the girl's guardian, intending to marry her himself, is furious when he discovers the atfair. 
Bent on revenge, he secures the services of two bandits, Maloolio and Barharino, These 
vrorthies 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. 

Bassi, however, when he learns that his rival is still alive, calls them cowards, and by 
increasing the amount of the reward, induces them to consent to carry out the plot The 
three conspirators 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 hjmm 
that they are overcome with repentance, and fall at his feet imploring forgiveness. When 
Leonora appears Baasi blesses their union, as the people arrive to pay homage to Stradella. 

The Overture is one of the most appreciated vrorks of Flotow, and seems to have taken 
a permanent place among the "standards." 

Stradella Overture By Vessella^s Italian Band] 

Morning, Noon and Night in Vienna Overture {von Supp6) [35276 12- inch, $1.35 

By Veasella '« Italian Band) 

/Stradella Overture By Pietro, Accordionist!^ Aaj< lo •« u i <»* 

\ Bridal Rose Overture {La\>all6e) By FHetm, AccordionistP^^^^ IZ-mcH, 1.35 


(Fnaeti) (MUlith) 


Text t>y Julea Barbier. Muaic by Offenbach. Fint peiformaiicB in PorU, February 10, 
I6SI. Fint United StBtei production October 16, 1882, at Fifth Avenue Theatre, by Maurice 
Crau'a French Opera Company on their fint appeanmce in America. Revived at the Man- 
hattan C^xra Houae, New York. November 27, 1907, and by the Metropolitan Opera Com- 
pany in I9tl, with Heropel, Bnii, Ftenutad, de Segurola, Ruyadael and Kothiet. 



NlCLAUS, hii friend Soprano 

OLYMPIA. QUUErTA.\the vaiioua ladies with whom 

ArJTONlA. Stella. ; Hoffman (all* in love Sopranoa ■ 

g9^^|yj^„ \ hi. opponent. (Theae three rfile. 
Nb^LE/^ I are uaually aung by the aame artial) . . . Baritone 

Luther, an innkeeper Bea> 

SCHLEMIU Giulietta'* admirer Baaa 

SPALANZANU an apothecary Tenor 

COUNQLLOR CRE3PEL, father of Antonia BaM 

Offenbach*! delightful and fantaatic opiia comlqat, lirat pro- 
duced at Paria in 1681, haa been s aucceaa wherever performed, 
although it waa tabooed in Germany for many years after the 
diaaatrou* Gie at the Ring Theatre in Vienna, which occurred 
during the pieaentation of (he opera at thai houae. Its American 
aucceaaea are familiar to opera-goeri, eapecially the brilliant and 
altogether admirable Hammerstein production, which drew large 
and delighted audiences (or aeveral yean. 


SCENE— /nfcrtor of Ihe Martin Lutha, a Caman Inn 
Thia introductory acene occun in Nuremberg &( Luther'm tavern, a popular Mudent 
lort. Hoffman, the favorite of all, enten with hia ftt>nd N'^'o'''' ""<^ ioin* in the merry. 


■ingi ilie : 

I tong, Hoffm 

L^tfende de Kleinzach (Legend of 

By L^n Beyle, Tenor, and Chonu 

(InFroK/i) *69I11 lO-ioch, tO.M 
He then valunleen to relate liu three love aSair*. 
This propoaai ii greeted with enthuaiann, and at 
Hitman begina by laying " The name of my firrt waa 
OlymDia," the curtain (alia. When it riaea, the fint 
tale of Hoffman U (een in actual performance. 


SCENE— .^ Phyifdan't Room, rieUn fanJihtd 
SpaiaiaanI, a wealthy tnaa with a mania for 
BUtoroatona, haa perfected a marveloaB mechanical 
figure of a young girl which he calla (^mpla, pre- 
tending it iahU daughter. Hoffman and Nitholai call 
upon turn, and during SpalanxanI 't abaence, Hifffman 
diacovera Olympla, and (bU* in love at light. Unable 
to take fail eyea from the doll'like perfection of the 
figure, he ezpraaaea hia infatuation in a beautiful air. 

C'efltelle C'TisShel) 

By Charlei Dalmorei, Tenor 

(In French) SZOB9 lO-ioch, tl.OO J 
Nlcholat trie* in vain to prevent hia friend fron 
making a fool of himaelf, but Hoffman, owing to tht 
magic glaiiei SpalantanI haa induced kim to wear. 

automaton. O^fmpfa ii preiented to the gueata, who marvel at heraccomplia 
ahe preienrea a fixed immobility of countenance and her geaturea are decidedly automatic 
However, with the magic apectaclea he haa been beguiled into purchaaing from the raacally 
SpalanxanI, Hi^manctJi aee nothing vrrong with the lady, who, on being wound up, can move 
atiffly, and apeak a few wordi. She can ling, too — ling moat charmingly- — and the poet com- 
pletely loaea hia heart. Thia graceful waltz, lung by the doll, ia an exceedingly brilliant num- 
In the cadtnia an amuaing bit of by-play oixura when the clockwork run* down and 
o fail. The winding-up ii quickly attended to, and the aong ia n 


Doll Song— L«8 oiseaux dans la charmille 

By Mabel GirriaoD, Sopnno 

{InFnnch) 74482 12-iacb. tLSO 
By Lueette Kortoff. Soprano 

(/nFrencA) '69111 10>inch. .89 
However, Huffman is undeceived when he dance* with the figure 
and ahe begin* to (all to pieces before hi* aitonithed eye*. 
SC£N£ — /ft Vtnlct, a Anmr In a Palace eft (Ac Grand Canal 
This adventure concern* the Laig Giallella, who reaicle* in Venice. 
Among her many friend* are Hermann and Nalhardd, and the latter, [ear- 
ing the power or the lovely coquette, trie* to get //ennann away, but he 
iiuiat* that he i* proof again*t her fascination*. DapettaUe, the real lover 
of the lady, hearing thi* boa*t induce* QlalleUa to by her art* on the 
young man. She nicceed*, and Huffman, madly in love, challenge* 
Qhillitla'i protector, Schlemll, and kill* him in a duel. Hoffman rushes 
back to his charmcr'a residence only to End that she ha* fled with her 
cho*en admirer. 

Thi* *econd tale introduce* that lovely gem. the Banamilt, with it* 
languorous, (atcinating rhythm and charming melody. 

""'"'"* Barcarolle— Belle Nuit COh. Night of Love) 

By GerUdine Farrar and Antonio Scotti (In French) 67902 iO-incb, tl.50 

By Ainu Gluck and Louise Homer (In Frtnch) B7S32 10-inch. 1.50 

By John MoConnsek and Frits Kreisler (In EngUth) 87951 10-inch. 1.50 

By Lucy Marsh and Marguerite Dunlap (/n Engllih) 60096 lo-inch. .IS 

By Maud Powell. Violinist 64497 10-inch. 1.00 

By Victor Concert Orchestra '1731 1 10-inch. .85 

Thi* popular Offenbach number, which i* given a* a duet in the Venetian scene and 

afterward* a* an inatrumental intermezzo, is one of the best known example* of the taitan>lU. 

A* the name implies, it was originally a sons or chant used hy the Venetian gondolier*. 

The mu*ic, in 6.8 time, portray* admirably the swaying of the boat and its dreamy 
melancholy suggest* the calm of a perfect moonlight night 
O Nifht of Love 
Bisuteous night, O niahl of lovi 
Smile thou on our enc^antmenl; 
RadiBnt night, with .tars above 
O beauleoui night of love! 
FlHting time £i(h ne'er relum 


ACT in 

SCENE— /n Munich at Ihe Home of Anlorda 
The third adventure of Huffman introducea ua Co an humble CenoBn home where 
Anlonla, a young singer, hu become the victim of coiwumption. She is forbidden to nng 
by her father, but a Dr. Miracle, who is the secret enemy of the family, urges her on. ana 
Hcffman, who knows nothing of the poor girl's affliction, sees her literally sing herself to 
death, and she dies in hi* arm*. 

Romance — EUe a fui (The Dove Has Flown) 

By Luerczia Bori. Soprsno (In French) 8S925 12-inch. »]. SO 

This is the pathetic air sung by the unfortunate young singer, ^nhnla, whose life is 
finally sacriBced to her art. 

SCENE— ^ome n ^d I, ihe tariaa chaiactttt In aamt potlUon mat end iff Act I 
The epilogue showi again the tavern of the prologue, where H<^man is apparently 
just concluding his third tale. Having tried three kind* of love — the love that is inspired 
Ly mere beauty, the sensuous love, and the affection that springs from the hear^4ie says 
he has learned hia lesson, and will henceforth devote himself Co art, the only mistress who 
will prove faithful. He bid* farewell to another oE his flames, Sidia, an opera singer, and 
as the curtain falls is left alone, dreaming, while the Muse appears and bids him follow her. 


iGems from Tales of Hoffman By Victor Opera Company 
Chonu. "Our Goad HikI"— Solo, "Sooa of Otympis"— Choru*. 
"Hmt Him Hi. T Jet IK«lo«"— Solo, "Ali. Now Witkin My H™?" 
— Bucuolle. "Oh. Nij^l DiTise"— Cboni*. "S« She Duces '— 
Fiasle. "Fill Up Our GUno" 
Gamfmrn Migmm Bg Vklot Light Optra Company 

Barcarolle— Wa/(* (ForDandng) By Victor Military Bandl, ,,-„u , ,. 

Paulng of Salome— WalU By yiclor MiUlaiD BandP^^^^ 12-iilch. 1,35 

barcarolle By Victor Concert Orchestra\,-., , ,„ -. . _- 

3S937 ia.inch, *1.3» 

\ Ca*aUerla RutHcana — Inltrmtxio Bg Victor Concert Orchealra) 

IDoUSonj F ' " " '• ., r- ,,. 

iL^eadc de Kleinzach 
'Venetian Scene -with Barcarolle 
Slaoonic Danct (DeoMk) 


1 i 



Wordi Biiil muaic by RicharJ Wagner. First pr«»ented at the Rmal Open. Dreaden, 

October 19, I&45: at the Opira, Pari^ March 13, I86l! in Italy, at BoloEna. 1872. Firat 

LoDilan production at Covant Garden, in Italian, May 6, 1876. Fint American production 

at die Metropolitan Opera, April 4, 1859, in German. Fint production in Italian at the New 

Orleans Opera in 1877. 


Hermann, Landgrave of Hiurinsia Ba** 



Walther von DER Vogelwejde. Im;„.»..i if»i^« J Tenor 

BlTEROLF. JM.nMrelKn.ghla i g^ 


Reinmar von ZWETER. J I Baa* 

Elizabeth. Niece <rf the Landgrave Soprano 

VENUS Soprano 

A Youna Shepherd . Soprano 

Four Noble Page* Soprano ancl Alto 

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

Scene and Perhd ; KlcM^ of Eiitnaeh ; beginning ^ the Ihlrleenlh cenlmy 



The •toiy of TannhSuaei telli of conflict between two **"'ll!!,if'ivJnJr *''"'*"*■ 

kintli of love ; true love of [ho hi^eat human land u dutin- ' "•■-".''- •- " "" 

suuhed from mere Benmoui peawon; and relates how the ' i£fllin6dllfft 

higher end purer love triumphed in the end. J. 

TannfiSuia, a knight end minitiel, in an evil moment, ttr6iaflfr[hffl mf ffiarfliirg. 
■uccumba to the wilee of Vtnai and dwella lor a year in **~"'^'*",T,f.1'7 '"""'■" 
the Venuiberg. Tiring of theu monotonoui delighta, he ] ^i]^J^^~^ ' f ^ 
leBvea the goddess and returns to his home, where he i« g^ji'j" |-»~ e^ 
warmly received and told that the fair EUtahtlh, niece of -"-tj]"' „ ,,}, eS"— 
the Landgnne, still mourn* for him. He is urged to com- ^^Z' 

Ce in the Tournament of Song not far distant, tlie prize ^_. , '::' "n: ,. ^ 

ng the hand of EiUiAtlh. The theme of the contest is „^. ■-■':".:■"'_; ■';y:/Jr-^ 

The Nature of Love, and when TannhHuter'i turn arrives '"' ""';r,7.^,i.,W.'.i ^- 

tbe evil influence of the Venusberg is apparent when he -- - ^V'^.^r~ ■ i'-** 

delivers a wild and profane eulogy of passion. Outraged g^-^'^^g~" i_ 

hy this innilt the minstrels draw weir swords to slay him. DuJi ^r^ j i 

Coming to his senses, too late, he repent*, and when a - — ."SC. ^— ■ _.^.-— 1;. 

company of Pilgrims pass on their way to Rome, he joins rrs'SS.^^S.T^S^*''"" ~ 

them to seek piardon for his sin. In the last act we see ■ - -jiSr- j- ^i^ .^_. -rif^^^ 

E&roidA, weary and worn, supported by thenoble H^ot/yani, , !^r7^t-|^i. ^.VtXZlg ] 
who also loves her, watching (or the Pilgrims to return. ' r,,s^ fbocbau of lAHNHiusn 
but TannhSiaer is not among them. Elbtabtih is overcome 1845 

with disappointment and feebly returns to her home. 

Tannhauia now appears, in a wretched plight, on his way to re-enter the I-lill of Venus. 
He tells Wolfram that he appealed to the Pope for pardon, but was told that his redemp- 
tion was as impossible as that the Pope's staff should put forth leaves. If'o^niini remon- 
strance* are in vain, and Tajmhaata is about to invoke the goddess, when a chant is heard 
and the Pilgrims appear, announcing that the Pope's staff had blossomed a* a sign that 
the sinner was forgiven. Taimhaater kneels in prayer a* the mourners pass with the 
body of Eilzabtlh, who, overcome by her bitter disappointment, had suddenly passed away. 

By L* Scala OtcheaU^y 



This oTcrture, with ill sombre openins chorua, it* weird muiic of the Venua Mount, and 
the finid return of the penitents, when the chant ia accoropuiied by a itriking variatton for 
cUrinets, is one of the greatest works of Wagner. It iiaa become quite familiar by its fre- 
quent repetitions in orchestra and military band concerts, and no concert piece i* more 

The overture depicts the struggle between good and evil, and a* Liazt ha* said, i« • 
poem on the same subject as the opera and equally comprehensive. 

The sombre religious motive appears first; 



a foiUtdmo. Then, as it is dying away, i 

with it* rising tide of sensual sound*. Thi* motive continues with terrible persistence, lead- 
ing into TannhHtati'i hymn to Venai, after which the enchanting Venus motive returns and 
i* developed with various changes. The tide now changes again and the maje*tic pilgrim 
theme predominates, finally reaching a climax in the final hymn of triumph. 

SCENE \—Tht Hill nf Vaiat— Nympkt. Sitaa. 
NalaJi and Bacchania dandng or ncllntng 
The rising of the curtain discloses Vcaat 
reclining on a couch gazing at TatmhOaaa, 
who is in a dejected attitude. The god- 
dess asks him why he i* melancholy, and he 
tells her he is weary of pleasure and would see 
the earth again. She reprove* him thus : 

how thy heart Wi 

not thy harri be ailen 

Recall the rapture — ting t 

E-Ie rouses himself and sings the Praix to 
Vtnm, but it is a forced effort, and throwing 
down his harp he exclaim* : 


Venut, in a rnge, then telb him to go if he will, but predicta hU return. She diaappean 
witb all her train, while the acene instantly change*. 

SCENE II— -4 Vattta 

Tamhaaiei suddenly finds himself in n beautiful valley neai the Wanburg. On the 
peaceful scene there break in the notes of a shepherd's pipe, and tinkling sheep belU 
sound from the heights. A company of Pilgrims pass, singing their chant, while the litde 
shepherd pauses in his lay. and begs them utter a prayer for him in Rome. 

Shepherd's Son^ and Pilgrims' Chorus 
/Part I By Gertrud Runge and N«b« Qtwrtetl,.,., ,- .. .. ,, 

\Part II By Gertrud RunBe and Nebe Quirtet/**'" »2-">ch. »1-3S 

Pilgrims* Chorus 

By PryoT's Band 

By Pryor'* Band 

By Victor Braas Quartet 

By Victor Male Chorus 

Almighty, praise tp Tbcs! 

Great are (h< '- " ""- --- 

•31160 12-iiich, »1.00 

* 16537 lO-inch, ^9 

■17133 10>inch, .65 

(Engllih) '11563 lO-inch, .85 

id seveial minstrels n< _ ..„ . --„-.. 

amazed and delighted to see that it ii the li _ 

-, brother knight. They question him, but he gives evasi' 
I replies. The knights urge hira to return with them, ai 
speak the name of Elixahtlh. tVolfnan hinting that he 
beloved by the Landgiate 't fair niece. 

Our songs anon Ihy viilorj, suspending. 
One kIoHous priie was won by itee aloDel 
Was'l magit, or a pow'r divine. 
That wrought Ihro'^thee the vnoadroui lign. 
Thy harp and song in blissful hour 
Rnthrall'd of royal maids the ftowerl 
For ah. when Ihou in scorn hadsl left ui, 
Htr heart was elosed lo ioy and song. 

bold, r 

>t Ihee, 

TannAAuer joyfully conaenta to return and promlaes lo 
compete in the forthcoming Tournament of Song, the prize 
focwhich iatabethehandof£JJn£elA. The remainder of 
the hunting train of the LanJgiaoe now amvea, and as 
Tannhaiatr is being greeted by hia friends, the curtain falls. 

SCENE— rAe Great Hall In Iht fVaritarg 
Elitabtih enters, full of joy over the return of TannhSuser, i 

Dich. teure Halle (Hail, Hall of Song) 
By Louise Voigt 

I the Hall in a 

i) '6B4r3 12-inch, *1.39 

Oh. > 

e by h 

and Deei 

Thy e. 


Bui now the flame of hope is lighled. 

5 afar! 

Tannhoum enters and kneeU at the feet of EilaAelh, who in 
bluthins confuiion bids Him liae. 

A long M:ene between the loven is intemipted by the 
entrance of the Landgraoe, who greet* TannhSiatr cordially and 
welcomea him to the contetL 

When the company ii leated, the Landgraoe rises and makes 
the address of welcome. 



■ssembled berr 
within itaese 

E, I giv. 
iails y 

! yoi 





wisdom, or in 
r. gladdened, e 
■ains inspinni 

mirthful m- 




the gallant minsCrel 
1 our land too long w< 
we owe his presence hr 
ge, mysterious dark 






ig shall 



^al it, 



t^i, love, by 

what 1 



II we 



your theme. 

Who ■ 




Fout paieai who have drawn lota from a Kold cup. now announce that fVoffram ii to 
bcKui the conteat. He rl*ei and givet hia canceptiDn of lore, which he detcribea u pure 
and ethereal, comparing it to a cryatal apring. 

TannhHaier, who ha* ahown aigna o( impatience during thia recital, now jnmpa to hia 
feet, fluahed and eager, while the company looLa at him in aatoniahment 

Tahmhausii: (Ardinlly.-) 

Ob, minstrel, if 'tis tliui thou singest. But what can ndd to soft careuei. 

Thou ne'er hasi known or iMiled love! And, Iran'd with me in mortal mould 

If Ihou desire sn unapproaehed perfection— Gentle persuasion's rule confesses. 

Behold the aurs— adore their bright reflec- And in these arms I maT unfold— 

lion— This is for jov. and knows no meanire. 

They were not made to be belov'd: For love's fulfillment ii its pleasure! 

At thii definitiiin of love, (trange for aucli on occa- ^^^^^^^^^^^^^^^^ 

■ion, Biterolf, a hotheaded Imight. riaea and ehallengea ^^^^^^^^^^^^^^^^^H 

TomAdiuer, who excitedly retorti that such a grim wolf ^^^^^^^^^^^^^^^^^| 

aa BUcro^can know nothing of the delighta of lovel Ha ^^^^^HS^^^^^^I 

then, in wild exultation, ainga hia blaaphemoua Pmlit of ^^^^^^^IS^^^^^^^^I 

F'enuj. At thia the knighia. horriCed, ruah toward hiro ^^^^^^H^^^^^^^H 

drawn ^^^^^PC^^^^B^^^^^I 

EiUabtth throwa henelf in front of the unhappy ^^^I^J^^^^^^^^^^^I 

Taanhihaet, who Mand* u if in a trance, and bega tor ^^^^^^^^^^^^^ft^^^l 

hia life a touching plea. ^^H JB^^^^^^k^^l 

The Landgraoe pronouncea judgment aiKl decJarca ^^B^'flH^^^^^^B'^^H 

TannAdiuer baniahed, luggeating that he join the band of ^^^K ^^^^^^^^J^^| 

Pilgrima about to start for Rome. In the diatance ia heard ^^^K. ^H^^' .^l^^l 

the Pilgrima' chant, and the atraina seem to bring the ^^H WhW^^H^I^^I 

erring knight to hia senaei. He criea, "To Romet" and ^^^B ^BHhI^^^H^^H 

daahea from the ^^H' H^^^^^^H ^^| 

ACT m ^l^^^^^l^l 

SCENE- Tht Vallta htneoth tht IVaributg HU^^^^I^H 

Al ona tide a ihHnt "-• -'■"* 

A. the curtain riaea Eilxahlh ia aeen kneeUng at the w.THa.sPooH « th. lahdcu,™ 

ahrine in prayer. IViJfram cornea down by the path, 

and obaerving her, aadly noticea her twanged appearance, and muae* of his own hope- 
leaa love. The aong of the Pilgrim* is heard in the diatance, and Ellzabtlh eagerly riaea 
and scans the approaching band. TennhSiutr ia not among them, and the despairing 
maiden kneela again at the ahrine, and oflera her prayer to the Virgin. 

Elisabeth's Gebet (Elizabeth's Prayer) 

By Geraldine Farrar. Soprano {tn Gtrman) 88053 H-inch. *1.50 

"He will return no morel" criea the unhappy girl, and falls on her knees. 

Oh, blessed Virein, hear my prayer! 
Thou star of alory, look on met 

Before thy blessed feel I lay: 
I'll wrestle with the love I cberi 

Here in the dSst Ibend before thee^ 

Until in death its flame halh peri 

If of my sin thou will not shrive 

Let me, a maiden pure and while. 

Yet in Ihi) hour, oh grant thy ai 

Enter into Ihy kinRdom briiht! 

If vain desires and earthly longing 

Till Ihy eternal peaee thou give m 

I vow to live and die thy maid. 

Have turn'd my heanfroi theTaisT. 

And on Ihy bounty I will call. 

hronging. That heav'niy gra< 

She remains for a 
Wolfram, who ia approi 
that he may eacort her. 

Eilxaiclh Signin eipreaaes to him by geature that she thanks him from her heart for 
hia faithful lovei her way, however, leada to Heaven, where she haa a high purpose to 
fulfill; she vriahea him not to accompany or follow her now. She slowly ascends the 
height and disappears gradually from view. 

Woifiam gazea aadly after her for a long time, then aeats himself at the fi>ot of the hill, 
begins to play upon hia harp, and finally sings the noble and beautiful ode to the evening alar. 


O du mein holder Abendstem (The Evening Star) 

By Emilio de Gogorx^. Baritone 

By Maurice Reoaud, Baritone 

By Marcel Journct, Bmi 

By Reinald Werrenrath, Baritone 

By Alan Turner, Baritone 

By Victor Sorlia. 'CeUijt 

(/n German) B8154 12-inch, 

(In Fttmh) 91067 lO-inch. 

(/n German) 74006 12-inch. 

{In German) •^ilbO 12-inch, 

{InEnglhh) •17446 1 0-inch, 

*I68I3 lO-inch. 


Like Death's daili 
H«. sable wing o". 
The soul thst long 

s ID tiead Ton path of ligb 
the gate of Ftar and Nigh 

irkncss is by thee 
' "f/holy iiB^l" 

Greet tTXn "^ 
When parting (roi 
She rises to an an 

n tiiir ligiit reposed; 

• pl-!y. 

nnAduaernow appears, weturingn ragged 
Pilgrim'a dren, his face pale and drawn, and 
■uppoTting himself with difliculty by meant of 
a atad. Wolfrtm greets him with emotion and 
leama that he ia (till unforgiven and hai re- 
solved to re-enter the Venusberg. 

The unhappy TannhHuaer tells of the Pope's 
lef uaal of a pardon : 

tVol/ram, in horror, urges him to remain, 
but TarmhUaatr ref uiea until Wolfram mentioni 
the name of Elizabeth. The unhappy nun. In 
sudden repentance, tinka to his knees, while 
in the dittance is seen the mitutrela bearing 
the bodyof £Azaie/A, who has suddenly paaaed 
away. As the procession approaches, a com- 
pany of Pilgrims return and announce that the 
stalf of the Pope had put forth gleen leave* 
as a sign that TannhHaser was pardoned. 
The Minstrel, supported by Wolfram, gazes on the saintly face of the dead Ellxaielh, 
en expiree, white the Pilgrimi and minitrels with great emotion exclaim: 
The Lord Hinself now ihy bondmge luth riTCa— 
Go, enter in with the blest in His Heaven! 




iLicd und Chor der Piltfer (Shepherd's Song and PilKrims* 
Chonu) (Part I) Gertrude Ruose and Nebe Qiurtete 
(/n German) 
Lied und Chor der Piltfer {Part II} 
Gertrude Runfe and Nebe Quartete 
iO du mein holder Abead*tera (The Evening Star) 
By Reinald Werrearath 
Treat Llttt — Ach, lele U '« moglleh dam Emll Muench, Tenor 
/Overture— Part I By La Scala Orcheatra) 

lOverture— Part II By La Scala Orchestral 

Selection from the Opera I 

Madamt Butitrfiy S*ltetlon, 
[The Evening Star 
I Laat Rait of Summtr 

rie Evening Star 
The Rotav {Netln) 
|Pil{rima' Cborua 

{In EnglUh) By Alan Turnerl , _ . ., 

'66352 I2-inoh. *139 

'35160 12>iiieb. 1.35 

'69205 12>ineb. 1.35 

12-inch, I.3S 

lO-ineh. .85 

ItUinch. .85 

By Pryor'a Band) 
(Bridal Omia) }lfi^3T 10-incb, 

I <f» llallan) By U Scala Chonu] 

jPilffrinu' Chorua By Victor Braai Quartetl,-,,, 

t Don Cariet-Gtand March (KerJi) £^ Soum '. Bonrfr 

rPiltfrima' Chonu (In EngUih) By Victor Male Chofual, _.- , 

\ frooalofe^AnvIl Chenu {In EnglUh) By Victor Male Chotuir""' 

Dieh.teure Halle (Hail, Hall of Son^) Louiae Voitft. Soprano 
(In Cernian) 
Frelichatx—Ltlte, Ititt, fmnmt Wdte (Agalha'i Piayer) 

Bg Lealie Volgl, Soprano (In German) 
Fantasia on TaDnhauser (Dream of Warner) Pryor'a Band 
Pnloda, Ad II— Air f« Vmiu, Ad 1-Diwi. Elii^ieth ud Ti 
' - r. Act II-B.C ' . . -^ - ■ 

RemlnliceiKei c/ KeriA 


t Vmiu, A 

lis. Atxtt-: 

Soiaa't Band 







35230 13-inch, 1,39 




Libretto by Louia Gnllet, bBsed on the novel of Anatole France: rouaic by Jule* 
Mauenet. Fint production at dieOp^ia Comique, Pari*. 1894. and the opera haa since b^n 
given in nearly every music capital or Europe. First American 
production November 23, 1906. at the Manhattan Opera House. 
New York. Revised at the Metropolitan Opera House. 1917. 


Thais, actress and courtesan 

ATHANAEU a Cenobile monk 

NICIAS. a wealthy Alexandrian Tenor 

PALEMON. an aged Cenobite monk Bass 

ALBINE. an abbess Mezzo-Soprano 

CROBYUE. \ , . , - 

Monk*. Nuns, Citizens, Servants. Dancers, etc 

T^me anJ Piece ! AlaanJria and ihi EgsffMan Jaat L_ . 

Eerlg ChrisUan tra 

TKob the Egyptian, a woman of wonderful beauty and a cc 
hj Pafiiado andled by him into the righteous path, is the subject of this lytic opera. The 
librettist has given the name of Alhanati to Pafitado, who is a young and handsome monk 
living with an assemblage of holy men. called Cenobiles, in the desert of Thebes. 
SCENE 1— rAe Camfi of the Ctnobftet near the Nile 
At the opening of the opera Alhanati has just returned from Alexandria, haunted by (he 
stoiy of the famous courtesan. Thali, whom he feels it his duty to save. Against the advice 
of the head Cenobite, Patemon, he calls his brother monks together and announces his 

SCENE II— 7^t HtHM (tfNida at Alexandria 

AlhoAoel arrives and is warmly greeted by Nitia*, 

who knew the monk years before. The traveler tolls 

f y^^^^^^^^B his old friend he ha* come to the capital to teach 

I ' i^l^^^^H Thau the better life, but Niciaa only laughs at him 

and scoffs at the idea. However, he has his slaves 

dress the monk in rich robes, and when That* arrives 

she is soon curious about the handsome stranger, whose 

severe demeanor arouses her interest. The monk tdls 

her he has come to Alexandria to leach her salvation 

and the life everlasting, but she says she believes only 

in jay and love and pleasure, in horror at the revelry 

which is planned for the evening, Alhanati leaves. 

declaring he will see Thalt at her home and show her 

the true light. 

ACT ri 
SCENE l—ThaTi Afiartmenb 
The second act takes place in the luxurious home 
of ThaU. ^lAonoeJ enters. Bleebng himself against th« 
seductive charms of ThaU, and eloquently pleads with 
her for the new and higher love and the life to come. 
T^oTj i« at £rst frightened and then defiant, bul 
Alhanati declares that she will yet repent, and that he 
will await her coming. 


SCENE [I— ^ Street lit Alaundria 
The next acene is in the squaie at <lawn, where Thala comem to Alhanael, renounce! 
her life of pleiuure, and tells him she will follow wherever he leads. He urge* her to put 
a torch to ail her earthly poHeuioni, and ihe pennit* him to act lire to her palace. Nklat now 
appears with his joyous companions, singinB and danciiiK. In the midst of the revelry they 
discover Thah in her sombre garments, and becoming infuriated over her departure, and the 
firing of her house, threaten to hang Alhanael. Nldai, realizing the seriousness of the situa- 
tion, divert! his followers by scattering 
g<^d coins among tliem, and in the 
scramble which follows Thah ^dAlha- 
nati make their escape. 


SCENE I— A Dttert Oaib 
in Act 111 the pair are seen on their 
way to a convent. TTtah is almost ex- 
hausted with fatigue, and Alhanael ten- 
derly supports her. Saint Alblne and 
the While Slalen come to meet them, and 
the monk delivers Thalt over to them to 
remain with them till the end of life. 
Thah is happy with b greBt spiritual 
peace, but Alhanael, who has grown to 
love her with an earthly love, is troubled 
at the thought of parting with her forever. 

SCENE II— Tie Cenotlle,- Camp 

Alhanael, relumed to his retreat, 
no longer finds there the peace of former 
dasrs, and endures mental torture, con- 
bnually thinking of ThalM. He has a 
vidon in which she appears to him. iirst 
as the courtesan and then as a nun dying 
in the convent. Awakening in terror, he 
rushes out in the darkness and makes 
his way again to the retreat of Thah. 

SCENE \\\--The C>F>w/if of the Wldtt Sitttn 
That*, worn with repentance and penance, is looked upon as a dying saint by the White 
Sister*. Alhanael arrives, and in a frenzy of love implores Thah to return to the earthly life, 
but she has a vision of heavenly bliss and is deaf to his entreaties. She sees Heaven o| 
before her and keaia the rustle of angels' wings and dies with a etow of happini 
face. Alhanael, bereft of his faith and hi* love, falls to the ground in deqiair. 



Voili done 1« terrible eiU (That Awful City I Behold) By Clarence Whitehill. 

Baritone (In French) 74364 12-incb. tl.50 

D*acqui aspergimi (With Holy Water Anoint Me) By Mme. Janni. Soprano. 

and Matti* Battistini, Baritone (In Italian) 69133 12-inch. 2.00 

Intermetzo (Mfditation Religicuse) (Te sauvient-il du lumineux voyage) 

By Geraldine Farrar. Soprano {/n French) 88994 12-inch. 1.50 

By Maud PoweU. Violinist 7413S 12-iach. 1.50 

By Frits Kreisler T4I83 13>iAcb. 1.50 

By Muchi Elman 74341 12-inch. 1.50 

Meditation By MaximUUn Pilter Humoretque {Dfcfdlt) PlUa 3$30ii 12-inch. 1.3S 


Text by [llica and Giacou Bftei Satdau'i diamn. Muaic by Ciacoroo Puccmi. Fint 
pioducecl at the Conatsnzi Theatre. Rome, January 14. 1900. First London production at 
Coveiit Gacden, July 12. 1900. Given in Conatanlinople and Madrid in 1900. Dunng 1901, 
brouEht out in Odetwi. January lit; Liibon, January 29th: Santiago, July 29th i Cairo, Novem- 
ber 26th. First inCermany al Dresden. October 21. I902i in Fiance, 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 production in the Americas al Buenos Aires, 
June 16. 1900; in the United States. February 4, 1901, at the Metropolitan, the cast including 
Temina, Cremonini. Scotti and Gilibert. Alao produced in English by Henry W. Savage. 
The opera has become a fiiture in the American opera repertoire, and more than fifty 
performances have been given at the Metropolitan since 1906. besides those by the Chicago 
Opera Company and various traveling companies. 


FLORIA TOSCA. {Fhtf-ne-ah Tb^^K) a celebrated tingei Scmrano 

Mario CaVARADOSSI, {Malf-nc^l, C<B.<>-r.UiW«) ■ pamter Tenor 

Baron SCARPIA tSa/.ttt-tlit chief of the pobce Baritone 

CESARE ANGELOTU CS»jal,/jm/llut-)JJof-lH> Basa 

A Sacristan Baritone 

SPOLETTA iSp<>-le/4ali> a police agent Tenor 

SCJARBONE. a gendarme Bass 

Judge, Cardinal, Officer, Sergeant, Soldien^ Police Agents. Ladies, Nobles, Otizens 

Scene and Period : Romt, Junt, ISOO 


The Story 

ToBca U Puccini'i Rfth opera, and by for 
the moM popular, next to Mme, Butterfly, which 
probably hold* £i>t place in the affectiong of 
opeta-goen. The opera is ■ remarkable example 
(H Puccini'i skill in adjusting both inatrumental 
and voice effect* to the sense of the story, in- 
terpreting both the characters and the BJtuBtions. 

The plot is gloomy and intensely tragic, fol- 
lowing cloaely the Sardou melodrama, but is re- 
lieved aomewhat by the beauty of the musical 
•etting, which conRrmed Puccini's place in the 
first rank of modem operatic composers. The 
three acta of the opera are crowded with sensa- 

The work has neither introduction nor over- 
ture. The first scene occurs in the church of 
San Andrta, where the painter, Marie Cavaradoasl, 
ia at work on the mural decorations. Here he 
has been accustomed to meet his fianc6e, the 
beautiful Floria Toaea, a singer. While awaiting 
her, he contemplates the Magdalene he is at 
work on, the (ace being that of the unknown 
beauty who had frequently prayed at the altar. 

Suddenly a political refugee, AngtloUl, who 
has just escaped From the castle, appears, rec. 
ognizes his friend CaoaraJoMtl, and asks his assist- 
ance. The painter gives him food and sends 
him to his (Cacaradoul' i) villa, just aa Totea aniv 

confused n 

, . she sees the likeness on the easel. 

she is jealous. He soothes her, and after her depart- 
ure hurries out to guide AngtleW, a cannon shot from 
the castle meanwhile announcing the escape of the 

Scarpla and his police enter in search of the prisoner, 
who has been traced to the church. CaoaraJastI ia sus- 
pected as an accomplice, and Scarpla, who is aectedy 
in love with Tosca, plans his ruin, widi a view to removing 
from his path a dangerous rival. 

In the second act Scarpla, putting into execution hi* 
schemes, orders Mario'i arrest, and when the painter . 
is brought in, sends for Tojca and contrives that she 
shall hear the cries ol her lover as he is being tortured 
to induce him to reveal Angelolii'a hiding place. Unable 
to endure Mario's agony, she tells Scaipia where the 
refugee is concealed. Mario is sent to prison, and Scarpla 
tells Tojca that unless she looks with favor on biro, her 
lover shall die within an hour. To save his Ufe Ae 
consents, but demands that they be allowed to depart in 
safety the next day. A mock execution is planned by 
Scarpla, who writes out a pass for the lovers. As he 
Toica, she stabs him and runs to Mario with 


In Act III the mock execution takes place as pWned, 
but through Scorpio's treachery, it proves to be a real 
one, and Mario is killed. Totco afterwards throws heneU 
from the castle parapet as they attempt to arrest bet 
fat Scarpla'i 



SCENE— /n(*rfof of Iht Omtch of St. Af>Jr«. 
Mario Caoaradoul, the painter, enters the church, where he haa been at work oD a 
Madonita. Aa he uncover* the portrait, the Sacristan, who ia oaaiatinB Moria, ia ■urpriasij 
to diacover in the face of the painting the unluiown beauty whom be bad noticed 

of late in the church. Mario 
■roilingly confeaaea that while 
■he had prayed he bad atoten 
heT likeneaa for hia Madonna- 
Then Caking out a miniature 
of his betrothed, Totca, he 
ainga a lovely air in which he 
comparea her dark beauty 
with the fail treaaea and blue 
eyea of the unknown worahip- 
per, calling it "a strange but 

Recondita armonia 
(Stran([e Harmony) 

By Enrico Camao. 
Tenor {In Italian) 
87043 lO-inch. tl,00 
By Giovsimi Martinelli. 
Tenor (In Italian) 
64420 lO-inch. IjOO 

rupted by the hurried entrance 
of a man in prison garb, pant- 
ing with feai and fatigue, 
whom Mario recognizea aa an 
old friend, AagdoUl, a political 

priaoner. Mario, !i 
ance, hastily cloaea thi 
in the chapel, juat 

to hia f riend'a appeal for aaaiat- 
:t door, and conceals Angttollt 
i'( voice ia heard impatiendy 

He admiCa her, but is anxious and ill at ease, fearing 
to intrust even Tota with so dangetoua a aecret, but she 
notices his preoccupation and is somewhat piqued becauae 
he ia not aa attentive as usual. She is at first jealous and 
aaka him if be is thinking of another woman ; but aoon re- 
pents, and in the charming love scene which follows en- 
deavors to smooth his brow by planning an excursion for 
the morrow. 

She : 

vilU,andthe ___ _..., 

forget the carea and trouhlea of their profe 

He listens but seems abaent-minded, and she con. 
tinucs her recital of the joyaof theii secluded little retreat 
among the hilla. Mario aays she is an enchantress, and 
in a duet they exchange anew their vows of love. 

TiMcn now perceives the Madonna and recognizes the 
face a* that of the Atlaoanlt, sister of Angdoltl. Her jeal- 
ouay revives, and she declares that Maria has fallen in tove 
with the blue eyea. Beginning another duet, he iweais 
that none but Tojco'i eyea arc beautiful to him, 

Mario promises to meet her at the stage door that 
evening, and she bids her lover a lender farewell and 


The painter huTnes to the chapel and bitla AngeJoW escape, showmK bim the path to the 
villa, where he will be safe. A cannon shot from the fortrSM tell* thai the escape of the 
prisanei ha* been discovered. 

He is no sooner gone than the Sacristan and choir enter, followed soon after by Searfiia 
and his police, who Have traced Angelotll to the church. The AUaoanU't ian and Mario t 
empty basket are found in the chapel, and when the Sacristan says it should contain the 
painter's lunch, Scnrpfo suspects Mario of aiding the prisoner. 

To$ca now returns, still doubting her lover, and Scarpia, divining the state oE affairs, 
decides to add fuel to the flame of jealousy. He approaches her respectfully and sings his 
first air, Dioint Totca. 

Tosca Divina (Divine Toscal) 
By Gustav Berl-Resky. Baritone 

{la Italian) *lbT4i lO.inch. tO.89 
He praises her noble character and devout habits. She is 
ictattentive and scarcely hears him, until he insinuatingly says 
that ahe is not like other women who come here to meet their 
lovers. She asks him what he meaiu and Scarpla shows her 
the fan which he had found in the church. Tosca is now 
convinced that Mario has been deceiving her, and in a iealotis 
rage she leaves the chtirch, weeping. 

Te Deum 

By Giuseppe Maggi, Bass, and La Scala Chorus 

{In Italian) 'ftSOOS 12'iltcb. SLSO 
The act closes with a 7e Deam, sung in celebration of the defeat of Bonaparte^ and the 
acene at the fall of the curtain is a most impressive one, the solemn strains of the service 
sounding through the church, while Scarpla kneels, apparendy in reverence, but secretly 
plotting his diabolical crimes. 

SCENE— .,4 Room In Scarpla's Aparimenli In tht 
Famtte Paloct 
When the curtain rises Starpla is shown at his 
supper, restless and agitated, awaiting the report of 
his police, who have been sent to arrest Mario and 
AngdoUI. Hearing Tosco 'i voice in the apartments 
of the Queen below, where ahe i* singing at a 
aolrtt, he sends her a note saying he has news of 
her lover. He is certain she will come for Mario't 
I sake, and sure that his plans will succeed. He 
then sings his celebrated soliloquy. Scarpla loves 
such a conquest as this — no tender vows in the 
moonlight for himl He prefers taking what he 
desires by force, then when wearied he is ready for 
further conquest. This, in short, is his creed — God 
has created divers wines and many types of beauty 
— he prefers to enjoy as many of them as possiblel 
Mario is brought in by the police, who report 
that Angelotfl cannot be found. Scarpla is furious, 
and tries to force Maria to reveal the hiding place 
of the fugitive: but he refuses to speak, and is or- 
dered into the torture chamber adjoining. Totca 
comes in answer to Scarpla'i summons and is told 
that Mario is being tortured into a confession. Un- 
able to bear the sound of his groans, she reveals 
DESTiHH AS TOSCA the hiding place of Angtloltl. Scarpla, in triumph, 

orders the torture to cease, but sends Mario to prison, telling him he must die. Totca tries 
to go with him but is forced to remain. 

Theo begins the great scene of the opera, which Scarpia begins by offering to release 


Cantabile Scarpia (Scaipia's Air) 

By Antonio Scotd, Baritone BB122 ll-inch 

He tells her that he hai long loved her and had awom to posceu her. She >co 
but when he telli her that Mario ihall die and exulta in hi* power, her •pint iibrol 
weeping for ihame. ahe aings that loveliest and moM pathetic of aita, Viid d'arie. 

Wissi d'arte e d*ainor (Love and Music) 

By Nellie Melba, Soprano (/n IlaUan) 8B075 12-ineh. 

By Getaldiae Farrar, Soprano [/n Italian) 88192 12-inch, 

By Emmy De*tinn. Soprano {In Italian) 88487 12-Ulch. 

By Frances Alda, Soprano </n halian) 74400 12-incli, 

By Mari> Bronioni, Soprano (in Italian) *4S0IT 10-lnch, 

The unhappy woman aaki what ahe haa done that Heaven should forsalci 


■Mng her intently, calU her attention to the sound of drums, summoning the escort 
:ondeTnned prisoners^ and demands her aiuwer. She yields, bowing her head for 
Scarpia is overjoyed, and when she insists that Mario shar 

Kk execu 


B agreed that after this pretended execution. Mario shall have his liberty, but Toku 
demands a safe escape from the country for them both. While Scarpia is writing the docu- 
ment, Tmca contrives to secure the d^ger from the table, and as Scarpia approaches to 
Ke it to her and then lake her in hia arms, she atabs him, crying that thus uie givea him 
kiss he denred. In a prolonged and hiijtly dramatic scene she takea the paper hom 


Searpla'i dead fingeri, then wuhe* her hands in a bowl on the t^le^ places the two candles 
at the dead man's head and the cross on his bosom, then goes out, turning loi a last look 
Bt ike lifeless body as the curtain (alls. 


(A lenate of San Angela Cadle, oahldt Ihe 
prUon ceil q/ Coiurodanf. fleie 

The music of the opening act is mosi 
effective, with its accompaniment o( peal- 
ing church bells. 


By La Seals Orchestra 

*S9(H)S 12-iaeh.*l.S0 
Mario is brought out from his cell, js 
shown the official death warrant, and told 
he has but one hour to live. He asks 
permission to write a note to ToKa, and 
is given paper and pen. He begins to 
write, but engrossed with memories of the 

rU he pauses and sings passionately o( 
loved one, whom he expects never to 
see again. 

E lucevan le stelle (The Stars 
Were Shininfr) 

By Enrico Caruso. Tenor 
(Inllallan) 87044 lO-inch. *1.00 
By Leon Csmpagnola. Tenor 
{Frtnch) *4M22 10-ineh. l.OO 
By Franco de Gregorio. Tenor 
By Giovanni Martinelli 
By Paul Althouse. Tenor 
Mario at first recalls their former meetings 
feeling the bitt ' ' " ' 

(Inllalian) *45017 lO-incb. *1.00 
{In Italian) 64393 lO-inch, IJOO 
llnllaOan) *45059 10-inch, 1.O0 
starlight nights in quiet gardens; then, 
igret of loss of hfe and all that he holds dear, the voice rises in passages 



of tragical import and power am the ail proceed*. The resrel, ihe grief and the hopeleunen 
of the lituatioii are depicted with iitleiue pathos, the doting portion of the air effectively 
expreuing the ezttemity of piuaioiuile grief. 

Tosca now enters, and joyfully telling Mario he ia to be free, ahows him the aafe conduct, 
leUing him how ahe had killed Scatfila. He gazet at her with coinpaaaion and regrets that 
■nch beautiful hand* should be compelled to foul themselves with • scoundrel's blood. 

O dolci mani (Oh, Gentle Hands) 

By Franco de Gre^orio, Tenor (/n Ilatim) *6tl34 lO-iocb. «0.89 

She explains that a mock execution has been arranged, and instructs him tO fall dovm 
when the volley is hred. In a lovely duet they rejoice in iheir hopes for the future. 

Amaro soLper te m'era il morire (The Bitterness of Death) 

By I.SdUohub,5opr>no.>ndL.Botta. Tenor {In Ilallan) *67134 10-iach. *0.89 
The soldiers now enter, the shots ate Bred and Maria falls as if dead. Tojca wails till 
the firing party is gone, whispering to her lover to lie still. "Note, Mario, alt la tqft, " she 
cries, but is astounded that he does not obey her. She rushes to him, only to find that 
Searpla had added another piece of treachery to his long li■^ having aecretly ordered Maila to 
be killed. She throws herself on his body in an agony of grief. 

5pofdf a and soldiers itow come ruiuiing in and announce the murder of Scmpia; but 
when tbey attempt to arrest Tokh she leaps from the castle wall and is killed. 

ITe Deum— Finale to Act I Maggi and Chorus (In llallan)\. 
iPreludio— ^Ho /// By Italian Orchestral" 

fVissi d'srte e d*Bmor Msris Bronxoni, Soprano (tn llaUan)\..-. - ,-, i_„i, , -w, 

tE lucevan le .telle By De Gregorio. Tenor (/n /to/fan) /*'**" 10-u,ch. l.OO 

fE Incevin le .telle By Piul Althouse, Tenor {/n /(a//an)l ..-,. ......i, ,«« 

i Pagllacd-V^llagtMa Bb Paul Althautt. Ta«r {In ItaHcn))*^"" 'O-tnch. 1,00 

/Tosca Divin« By Berl-Resky, Baritone (In tlallan)\ , .. ,_ . . „ 

ysSOOS 12-ineh, »\S0 

mtnte ciH^aia (Totll) Berl-Rala/ (In Italian))" 
By Franco de Grefiorio. Tenor l,!nllallan)\.-,-. ,- . < 
By I. Sollohub and L. Botu (/n /tofffln))*"'* 10-inch. 


lAmafo sol . 

(LeeJellttisaitd'Moilcs By Leon Campagnoli, Tenor C^nncMl .. , _. ,. . „. , -_ 
&toM-y4A. AfM £b Leon Co»M»^<., Tenor (/n F-ncA)/-*''" 10-inch. l.OO 


(La), Tn,h.aB,l/Jah) 


Text by Piave, founded on Duma*' " Lady of the Cameliafc" but tbo period ii changed to 
the time of Louii XIV. Score by Giuseppe Verdi. Firit presented in Venice, March 6, 1853 ; 
London, May 24. 1636: Paris, in French. Deosmber 6, 1636; in Italian, October 27. 1864. 
First Americen production December 3. 1656, with Brignoli and La Grange. Recent pro- 
ductioni at the Metropolitan with Caruso, Melba. Tetrazzini, Lipkowska. McCormack and 
Sammarco. Many notable productions in Amehca in recent years, among the most recent 
being the Metropolitan production of 1905. for Caraso and Sembrich; that of 190e(d«buto[ 
Amato) and 1909 (d^but of Lipkowika); the Hammerstein revivals for Tetrazzini and Melba ; 
and the recent Metropolitan production with Hempel. 

Character* of the Opera 

VlOLETTA VALERY. a courtesan Soprano 

FLORA, friend of Violetta MezzO'S<^rano 

ANNINA. confidante of Violetta Soprano 

Alfredo GERMONT. lover of Violetta Tenor 

Giorgio GERMONT, his father Baritone 

GastoNE, Viscount of Letorieres Tenor 

Baron DOUPHOL, a rival of Alfred Baritone 

Doctor GRENVIL. a physician Bass 

QUSEfVE, servant to Violetta Tenor 

Chorus of Ladie* and Gentlemen, (riends of Violetta and Flora 
Mute Personages: Matadors, Picadors. Gypsies, Servants. Masks, etc 

Scent and Period: Part, and environa. ahoul Iht year 1700 


Verdi's La Traviata ia baaed upon « 
well-known play by Alexandre Dumaa, La 
Dame aax cametita, familiar in its dramatic 
form aa Camlllt. It is one of the moat 
beautiful worica of its clan, and ia full of 
lovely melodies; while the itory of the un- 
fortunate Vhltlla ha< cauaed many teara to 
be ahed by aympathetic liatenera. 

The . opera met with but indifferent 
•ucceaa at ita first production. Several 
ludicToua incident* aroused the laughter 
of the audience, the climax being reached 
when the VUdeUa (Mme. Donatelli), who 
happened to be very stout, declaimed in 
feeble accent! that ahe was dying of con- 
sumption! This wBi too much for the Ve. 
netian sense of humor, and the house ex- 
ploded vrith mirth, utterly spoiling the 
final scene. 

The opera was then revised, eighteenth 
century coatumea and settings being substi- 
tuted for the modem ones first used. 

The plot, being quite familiar, will be 
but briefly sketched here, yiolella, a cour- 
tesan of f^aria, is holding a brilliant revel in 
her home. Among the guests is a young 
man from Provence. A{fmi, who is in love 
GALii-ensci AS yioLeriA with VioltUa, and after much persuasion, 

the spoiled beauty agrees to leave her gay 
life and retire with him to an humble apartment near Paris. Atter a few brief months of 
happiness, the lovers are discovered by Alfrtd't father, who pleads with Violttta to release 
his son from hi* promise*. She yields for his sake, and resume* her former life in Pari*. 
Alfred, not knowing the real cause of her desertion, seek* her Out and publicly insults her. 
Too late he discovers the sacrifice Violella ha* made, and when he retuma, full of remorse, 
he finds her dying of consumption, and she expires in his arm*. 

Prelude to the Opera 

By La Seala Orchestra *6S027 12-iach. (1.35 

SCENE— DrouffV-nNini In the Hoatt of yiolella 
A gay revel i* in progrees at the house of yiolella, and the act opens with a lively 
chorus, fallowed by a rousing drinking son^ given by Alfred, in which yiolella joins. 

Libiam nei lieti calici (A Bumper "We'll Drain) 

By Alms Gluck. Soprano: Enrico Caruso, Tenor; and 

Metropoliun Opera Chorus (/n llallen) 87511 10-inch. *1.90 

By Scalfsro. de Grefforio and Chorus (In Uallan) *6644S l2-iaeh, 1.39 

By Riziini, Peres and Chorus Un Ilallan) *62419 tO>iach. .89 

A hiimp*r we'll drain from the mine-cup Enioy ibe hour, for rsnidly 

That fresh charms to beauty is lending. The jDva of life are flying— 

O'er Aeeling moTnents, so quickly ending, The present with fervor mvit« oa. 

Gay pleasure alone should reign- Its flBltering tall obey. 


Enjoy then (he wine-cup with songs of 

That'%ake ni^ht so cheerful and smiling, 

Scarcely we fa«<l the day. 


r«m>m for > 

Un di felice (Rapturous Moment) 

By Marie A. Mishulowa, Soprano, sad A. M. Davidow, 

Tenor (In Ru$ttan) 61138 lO-ioeh. *1.00 

By Emmm Trentini, Soprano, and Gino Marttnei-Patti, 

Tenor {InllaUan) •6206r lO-inch. .89 

AlfrtJ now bida her a lender farewell and lakes hia departure, and Vial^la (inga hn' 
great air. one of the moat brilliant of all colorature nurober*. 

f Ah. fors' e lui (The One of Whom I Dreamed) 
I Sempre libera (The Round of Pleasure) 

By Luiia Tetraiiini. Soprano 
By MarcelU Sembrich. Sopra 
By Nellie Melbi. Soprano 
By Frieda Hetnpel, Soprano 
By Lucy Marah, Soprano 
By Giuaeppina Huguet, Sopri 
By Giuaeppina Huguet, Sopra 
(Part 11) 
The aria occurs at the doae of the 

object of a pure love, begina the aoliloquy, E strana, aaying : 

No love of morul jet baUi oiOTcd mc. 
Shall 1 dare disdain it. 

She then ainga the plaintive air. Ah, fori' t lul, 
and givea heraelf up lo the apell of awakening love: 

Unllallan) 88293 12-ineh, HAO 

Ha Italran) 88018 12-inch, 1^0 

(In Ilattan) 88064 12-inch, 1 JtO 

(/n hallan) S84T1 12-inch. 1.50 

Unllallan) 70094 12-inch. U5 

(Parti) (Inllallan) *62084 10-inch, .89 
and Pietro Lara, Tenor 

(/n tiallan) *62084 lO-inch, .83 
yioltlla, wonderatruck al linding heraelf the 

thiong of plcasurs, 
Oft have^I jo^'d to shad 

He who with watchful ler 

The animated laat movement followa, aa the 
unhappy woman ahakea off the illusion and once 
more vows to devote her life to pleaaure. 

SCENE— /n/ertor <^ a Counlm Hoai 
Alfrtd entera and aollloquize* i 

Dei miei bollenti spirit! (Wild My Dream) 

By Giovanni MartineUi (Inllallan) 74518 1 2 -inch. * 1.50 

By Alberto Amadi {In llidlan) *63314 lO-ineh. .89 


Alfrtd l«kms from Violetla'i faithful maid that ahe ha* been obliged to lel] her jcw«Ia 
for their support. He ia much aahamed and leave* for Pari* to aecure *ome money. 

yioleOa returns and ia aurpriaed at AlfnJ's sudden departure. A visitor is announced, 
who proves to be Gamanl, the father of Alfrtd. He ha* been greatly diatresied at his aon'a 
entanglement, and come* to beg VloUlla to release the young man from hia promiae*. She 
ia much moved, and her bearing makes a favorable impreaaion On GermonU cspeciaUy vrhen 
he leanu that ahe ha* aold her property for Alfnd'i aake. 

Pura siccotne un angelo (Pure as an Angel) 

By RenioMinolfi.Bsritoae {In llallan) *62419 10-inch, «0.85 

Ccnnont plead* for hi* own daughter, whose engagement to a youth of Provence will 

be broken if Alfni doe* not return home. VMetfa at firtt refuses, saying that her love for 

Alfrtd is above all odier consideradona, hut ahe finally yields, agreeing to leave Alfnd forever. 

They sing a melodioua duet: 

Dite alia {iovine (Say to Thy Daughter) 

Say to this chLId of IhLns, youns, pure and lovely, Wcsp on, thnu hapless one, 

Thou bast a viclim found, wfaoM life of sadnesi Weep an: I witness Ihy trial 

Had but one tingle ray 0/ rapture and iladuesB. In what I ask of thy self-denial. 

Which she will yield to her, then gladly die. Bear up, thou noble heart, triumph is nigh. 

Itnponte (Now^ Command Me) 

By GsUi-Curci and de Lues {In haUm) 89133 12-iach, *2,00 

This ii a continuation of the scene between Vtotttta and Gtmurnl. Vhletla haa finally 
decided to sacrifice herself for the aake of Al/ndi future. 

CtnnonI expresse* his gratitude, embraces the weeping 
Vloltlla and dcparta, while the unhappy woman writes to 
Alfrtd of her decision and leaves for Paris. 

When the young man retuma he is driven to despair by 
Violella's note, and repulses his father, who plead* with him 
to return. GtrmanI then sings hi* moat beautiful number, the 
Dl ProBtiaa. 

Di Provenza il mar (Thy Home in Fair 

By Paaqtiale Amato. Baritone 

{In llallan) 884T4 12-inch. *1.50 
By GitiMppe de Luca. Baritone 

{In Italian) 14328 12-incl>. 1.50 
hi thi* touching appeal he aak* hia aon to return to his 
home in Provence and to hi* father's heart. 
GEklioNT: From fair Provence's soil and sea. 
Who hath won thy heart awsy? 
From thy native sunn* clime. 
What Urange fate cans'd ihee to Ilray? 
Oh, rememher in (hy woe 
All the joy that wait* for tbee. 

e thy h 

1 know 

Alfrtd refuaea to yield to hi* father's plea, and departa for Paria in aearch of VhltHa. 

SCENE 11—^ Richly FuTnlMhcd Salon In Flora' i Palace. On the Righl a Gaming TaMe 

As the curtain rises Flora and her friend* are diacuaaing the aeparation of the lover* 
and i7ora aays she espects Vkdella will soon arrive with the Baron. Alfrtd enters, and 
remarking with aasumed indifference that he knowa nothing of yioleMo't whereabouta, 
begin* to gamble and wina heavily. 

The Baron appear*, accompanied by VioleUa, who i* agitated at the sight of Alfrtd, 
but he pretends not to see her and challengea the Baron to a game, again winning large 
amounts. Supper is announced and all leave the room except Vloldla and Alfrtd, who 
linger behind. He chargea her with her faUeneas. and, in furtherance of the promise 


Questa donna conoscete (Know Ye All This Woman ?) 

By Alberto Aoudi. Tenor {Inltallan) ■69314 lO-inch. *0.S5 

Pointing to ViolMa, Al/nd cne* wildly: 

All she pDSBess'd. tbia woman ll«re. But there is time to purge me yet 

Hath for mr late expended. From siiina that shame, confound me. 

I, blindly, bauly. wretchedly. Bear witness all around me 

Thii to accept, condescended. That here I pay the debt! 

and complete* the insult by thrcrwing at her ieet the Taoaey he had juat won. 

At thia moment Alfnd't father, Gtrmont, enter*, and i> horrined^sl the icene which 

confronta him. Then (ollowi the great finale, one ol Verdi'a fineat. 

Alfredo, di queato core (Alfred. Thou Knowe«t Not) 

By Giiueppiiu Hiiguet. Sopfano: C. Pioi-Corii. Tenor : Erneito Badini, 

BaHtooe: andChorua (/n/foAan) *68070 12-ineh. *lJii 

Oh, to what baseneu thy pauioni have led 
To wound thus fatally one who has loved theel 

Of icorn most worthy himself dolh render 
Who wounds in anger a woman tender! 
My son, where is he? Xo more I tee him; 
In thee, Alfred, I seek bim; hul in TainI 
Ai.rKaD (aaiife}: 

A jealoua fury— lote't madd'ning torrent 

When, hereafter 


( Vhletia 1 apartmtnl. She t) atletp on a couch) 

Prelude to Act III 

By Orcheatre Symphonique '17661 10-in.. tO.SA 
Aa the curtain riaea the dodor'a knock ia heard, and Dr. 

Gnnvll, Violella't phyaician. entera and attenda kia patient, 
■Fterwarda telling the maid that she haa not long to live. Left 
alone, Kfo/effa reada again a letter ahe haa received from Germant: 

" Thou halt kept Ihg pnmlte. The dael look place and iht 
Baron umi mounded, hut b hnproeing. Alfredo li In foreign counlHc*. Yoar lacrffice hat btta 
reoeijed to Ahn by me, and ht uilil return to jnu far pardon. HaMt la rttaoer; ihmf dttenelh a 
brighl fidart. "—Cermonl. 

"Alas, it ia too late," ahe eiclainu. and iinga her beautiful and pathetic "Farewell." 

Addio del passato (Farew^ell to the Bright Visions) 

By Lucrciia Bori. Soprano (in tiailan) 87178 lO-inch, >1.00 

By Alice NielMn. Soprano {In Italian) 64068 10-ineh. 1,00 

By Marie Michailowa. Soprano (In Ruulan) 61178 10-inch, IJW 

Already the roses that deck'd 

The love of Alfredo h lost.. pa? 

right visions 1 once fondly Pity Ibe stray one. and send her consolaii 
Oh. pardon her transgressions, and send 

Tbe sorrows and enjoyments of life will » 


a melodiou* duet. 

Paritfi o cars (Far from Gay Paris) 

By Lncreiia Bori, and John McCormick (hllallan) B9126 12-uieh, (2.00 

By Alice Ntelaen and Plofencio Conitantina ihallan) 74079 IZ-inch. 1^0 

By Amelia Ricciai >nd Emilio Perea [In Italian) *62067 lO-ineh. Si 

By Caaini and de Greeorio (/n ttalian) *68443 ll.incli. 1.39 

Our livffs iiniled. fly we from udness. 
Joj' 8h»U repay iHei fgr cgch dark sorrow, 

GirpVris, dartBt, wt-ll [ with gUdn™, 
Our livcE uniled. fly we from udncu. 
Life, light and breath from thee will I borrow. 
O'er coming yean, bright amilei iliall reign. 

At the cloK of the duet Violeila'i oveitaied 
•trength givea way, and ihe collapaea in her lover's 
armi. He notice* (or the first time her paleness, 
and ii much alarmed, sending the maid to call the 
doctor. Dr. Grtnoll aoon enten, accompanied by 
Gtrmont, and after an affecting scene, in which 
Germonf blames himself (or all that has occurred. 
yiiUeila expires, and the curtain fall* on « sorrow* 
hi I tableau. 


Prelude 1 

By La Scala Orche«tra| 

InJlana , 

BgLaScala OcAcsfniJ 
By Pryor*t Bandl 

^6602r 12>iiich, *1.35 

Traviata Selcctioii 

Ball Sceae, Act I—" F. 
MWadon — Dnnklna & 

Troeetan SdecUon 
Alfredo, di qu«sto e 
"-■» Biat—O dolct 
B fronk "Traviata" 

Chonia. "Drinkins Song" — Du» 
UA./I.™'. M— Solo. nTiyHo. 
—Solo. "Tbe Round o[ Pl««.«" 

" Act lU— Chomi 

}SS076 12-inch. 1.35 

Gema from "TrsviaU"— Part II 

-Part I Victor Opera Co.' 

■Dust. " Ths Osii of Whom I Dreamed" 
'■ ne in Fair Provence " (DJfnwiual 

(5uMre"kia)~CK<imi of Matador 

Victor Opera Co. 

39433 12-inch. 1.39 

Owius oF Matadon — [>uet. "M« He trs Snared the Anguiah" 

— .. r- ., . > .> ■ " FujiYfel] to [he Bririit Viaiooa" 

' ■ ■■ (Paris! e cora)— Choma. Rnala 

.^...» .«. .. SaerilbA)) — Sc..., 

'.AJJle)—Dail."FufromCvP'~- ,--... . 

fAh. foff' 4 lui By Giuseppina Hufuet (/fi/(o//on)l 

ISempre libera By Hu^uet and Lara (In Italian)!' 

lUn di felice. eterei By Trentini and Martinei-Pattil . n_;_.l, 

IParigi o csra Amelia Riziini snd Emilio Perea (In /Jofton) f*^"*^ lu-uwn, 

(Traviata— Entr'acte— PreludetoActlll Orch.Symphonique\,_.. , ,_ ._ . 

'J62084 10-inch, .89 

noif) Orchaire Symphonlqaef 

BylUoroMtaoia ({; J"M,l<,241S lO-tocb. 


i. Perea and Chorus 

\_ Colombt, La—Enir aclt {Gaan 

jPurs siccome un angelo 

(Ubiam nei lieti ealici — RiizL 

/Dei miei bollenti sptriti _ 

\Qnestadoona conoscete By Alberto Aiasdi .- 

eilieticalici-BySc.lfMO.deGre«ori(»,ndCbo.(M^nlUB44a i2.inch. 1.S5 

cara By Casmi and de Grcgniio U" '(<■"«'>)) 




Words and music by Richard Wagner, the plot being derived from an old Celtic poem 
of the tame name, written by Gottfried of Strasburg, who flouriahed in the thirteendk 
century — though Wagner ha* changed the narrative aufficiently to make it hiaown. Trbbm 
it one of the mo«t pniulsr oE legendary heroes and haa been treated of by numerous 
writers, among ihem TennyKin, Matthew Arnold and Swinburne. 

Wagnei's Triilan and fioldt was first presented in Munich, June 10, 1065. Fint London 
production June 20. 18S2. First American performance in r/ew York. December 1. 1686, 
with Lehmann, Brandt and Fischer. Produced at the New Orleans Opera December 2 1 . 1S9S. 
Some notable American productions were: in 1695 with Sucher, Alvary, Brema and 
Rschar; in 16% with the de Reazkes. Nordics and Bremai in 1901 with Temina and Van 
Dyck; and in 1910 with Homer, Fremstad, Knots and Van Raoy.thia being GuatavMaUer'a 
American ddbut 



Tristan, a ComUh knisht, nephew of King Mark . , Tcdot 

King Mark of Cornwall But 

Isolde. PrlnccM of Ireland Sc^nno 

KURVENAL, TriMati'i devoted •errant Baritcme 

MELOT, one of King Mark's couitiera Tenor 

BRANGANE. Isolde's friend and attendant Soprano 

A Shepherd, a Steenman, a Sailor Lad ; Chorui of Sailors 
Knights, Esquires and Men-st-Amis 

This great drama of love and hatred, with its woodet- 
ful music, is now quite generally admitted to be the finest 
of the master's operas. 

Tristan, a Cornish knight, has a quarrel with Morold, an 
Irish chieftain who had been sent to collect tribute, and kills 
him; and after the custom of the time, sends back his head, 
which is given to his affianced, en Irish princess. ItaUt. 
Tnaan himself had received a dangerous wound which 
fails to heal, and he resolves to auume the name of Tan&lt 
and seek the assistance of /wMe, who is f amed for her knowl- oiicinal noMAK c^ TBisTiw 
edge of the art of healing, /jo/i/e. however, recognizes him kunich, jbcs 

by a notch in hii sword, which fits exactly a piece of metal she had extracte^f feoin the head 
of Morold. She plans to kill him, but falls in love instead, while he mereq^ sees in her a 
good wife for his uncle. King Moi\. 

Prehidio (Prelude) 

By La Seals Orchestra .- . O ^ < ' *68210 IZyipch, *1.35 

The fiist act shows the deck of the ship which is conveying ItoUe ifjid^.TrfjIon to Corn- 
wall, she having accepted Kir\g Marit '■ proposal, made through his nepheWi Inuring the voy- 
age, however, the refusal of Tritlan to see her, the ' 
exultation of the sailors over the killing of MoroU 
(which freed Cornwall from its subjection to Iiolie i 
royal father), and detestation of the loveless mamage 

she r 


the Pri. 

in killingher lover, 

vengeance. He ad- 
mits her right to 
kill him and ofiers 
his iword. but she 
bids hei maid, 
Brangant, prepare 
two CUD* of poison 
from her casket. 
BrangSne, onwilU 
ing to see her mis- 
tress die. secretly 
substitutes for the 
poison a love po- 
tion, the effect of which is immediate, and the lovers 
sink into each other's arms just as the ship approaches 
the shore and the King arrives to claim his bride. 

Act II takes place in the garden outside ItaUe'i 
chamber. The King has gone on a buntiog expedition, 


BrangOne (ea 
thinks the I 

_ that it i* menly a niae, 

and thinks the Kind's courtier. Melol, ma- 
pecls the true itate of aSaira. BranfUnt 
tkan coafeasea that ahe intentionally aubati. 
tuted the philtre for the poiaoned cup in- 
tended for Triitan, 


If pief. 

reproBchea from Itoldt, who givea heraelf 
up wholly to the intoxication of the potion, 
and ainga with growinK ezaltBtioni 


t her good 



ir r«>roa 

Still heti am ., , 

Wbat ihe may make mt, whcroo'cr take nu 
"knd Ihe So let mt oUy her .rhollyl 
(TriBlan Refuaing to heed BrangOot'i warning. 

""■ ^"««-'^" '" /WJe givea die aignal for fristan't coming 

by extinguishing the torch. He appeara, and ■ long love acene eoauea, interrupted by t) 
return of the King, who aurpriaea the lover* in a fond embrace. Afarf bitterly r< ' 

hia nephew, and Mthl, ahouting "treaaon." ataba Trblan, inflicting a fatal v 

The third act ahowa Trdfon dying of the wound at hia Caatle in 
Bnlagnt, whither he haabeen carried by hia faithful aeivant, Kurotnal, 
who haa aent for IxJJe. knowing that she alone can cure hia maater'a 
wound by means of her healing arta. 

Deapairing of her coming. Tridan in hia delirium teara off hia 
bandagea and ia at the point of death when ItoiJe arrivea, and diea 

■Ti.'l, 'ti» I. deiHy belov'd! 
.Wake, ai ■ " ' -' 


Speak unto 

me. but for 




t keeping while I am weepinj 

TriitinTh ™ht' wikent^faTrk'-^l'rk I 

(Sht mki daaH anstltii upon kit body.l 

King Meik and hia courtiera, doeely purauing IxdJe, now arrive 
and are attacked by Kuntnal, who killa Mtlcl and ia himaelf slain by 
Mmk'f aoldieia. Marit, aeeing Triiian dead and Imliie aetueleas on hia 
body, repenta hia rage and givea way to grief. 


B disclowd 

Oh, why, Isolde, whv thi 

When clei-' — ->■— '- 

What beft 

What jay was mmc to n 

Mr friend wa> free from 

IiaUt rerivM, and when she realizei tli*( TrMon 
heoTtrentling Laet-Dtalh moOvt; 

With flying uil* I fi 

More food for Death d 

I dead, ber grief bunt* forth in 

o full of toucbing udnew and inezpreMible 

Isoldes Liebestod (Isolde's Love-Death) 

By Jotuana Gad*ki, Soprano 
By Victor Herbert't Orchcftra 
By La Soala OrchMtra 

[InCtrman) B8098 12-inch. tl.ftO 
*5&04l 12-iach. 1.50 
'68310 12-inch. 1.55 

Inuic, (MHCoiuciaw ef alt around ktr. 



y happy 


lenly h 


r}i:f'y. no 



ri» and gleam and gliilenl 
reathe thrmr Shall f listen? 

inling trealhing win Iheni? 
-rgundT in the har- 



nd be 

And, sinking, be drinking — 

In a kiss, highest bliss! 

<7n>U( tinki. ai if Iraniftrrtd, to 
Brangint'i armt upon Trittan't 
body. Profound tmotion and gritf 
of ihr byitandtri. Mark jnvatn 
d UrinHp on tin dnd. CartaiH.y 


12-inch, *1.50 

n*olde'« Liebeitod (Igolde'* LovcDeath) By Herbert'! Orchl. 

\ Traumt (Dnamt) IfVarm) Bg K/cfor Hoierl'i OrcAeafraf 

By La Soala Orcheitral^j,-,- ,- . „. , ,, 
By U ScUa Orcheatrar**" IJ-uwh. 1J» 

(Inllu) (Entfiih) 


Word* by SalvatoTe Cammaiiiini, the itoiy tieinB (usgeated by a &>aiiiih dnma of the 
•une name. Music by Giuieppe Verdi. Pioduced al the Tcalio Apollo, Elome, January 19. 
1833: at the Thatn da llallem, Paha. December 23, 1854; at the OpAu, Paria, a* 
Le Trouvire, January 12, 1637; at Covent Garden, London, May 17, 1833 ; in English aa The 
Gupty't Vtngtance, Drury Lane, March 24, 1856. First New York production, in Italian, April 
30, 1833, with Brignoli, Steffanone, Amodio and Vcstvali. Pint Philadelphia production at 
the Walnut Street Theatre, January 14, 1836, and at the Academy o( Mudc, February 25. 
1837. Produced at the New Orleans Opera April 13, 1857. A German version was given 
at the Metropalitan Opera House in 1889. Some notable revivals occurred in I90B with 
Carusa, Eames and Homer; and again, in 1914, with Deatinn, Ober, Martinelli, Amato and 
Rothier. _ 

LEONORA(I.«e4&«A' .niA),anobIe lady of theCoutt of an Aragon Princess. .Soprano 

AZUCENA (Akx-aamhaii' -nth), a wandering Biscayan Kypay Mezzo-Soprano 

Inez (Et'-nU), attendant of Leonora :. Soptaito 

MANRICO (Man-iw'-M), a young chieftain under the Princa of Biscay, 

of mysterious birth, and in reality a brother of Count di Luna Tenor 

COUNT DI Luna (dn Ltt'-nth). a powerful young noble of the Prince 

of Arragon Baritone 

FERRANDO. a captain of the guard and Under di Luna Basa 

Ruiz, a aoldier m Manrico's service " 

An Old gypsy 

Also ■ Messenger, a Jailer, Soldiera, fj„(is, Gypsies, Attendanta, etc 
Scale and Period; BUcag and Arag^ |Jdl« <(f tfn^flec"''' cenhn]) 


SCENE 1 — VaUbule in AUafafa Palaet 
Ai befili a tragic work. It Troealore openm in an atmoapHeie of romance and myMejjr. 
The retainer* of Count dl Luna await the aiiival of their maater, and to beBuils the time F»- 
nmdo relate* the hiuory of the Count'* childhood and the lo** of hi* brother. 

Abbietta zingara (Swarthy and Thresteninif) 

By Marcel Journet. Ba** (Inltalian) 74474 12-incIi. f 1.90 

By Torre* de Luna and La Scala Chonu {In IlaUan) *62416 lO-inch. .8S 

The brother, b> an infant, came under the evil eye of a witch, who wa* aeixed and con- 

demned to the (take. This witch had a daughter, who determined to avenge her mother* 

fate, with the result that the Count'* younger *on disappeared ; and after the witch** burning 

1* diacovered upon the pile oF charred ember* the bone* of • child. Thi* atory ■* 

' fierce rhythmical tune, expreaaing all ahade* of honor. 


the child 

Sit there ■ g 




ping — «ith fierce took* 
bUck deeds i mending 1 
~ ipelled. 

HorYor prot^l 

And Ihe dark _,. ., 

Soon Ihey found the child wii failing, 
The hag^s dark spell enthiaU'd himl 
<AU apftar horrified.) 

SauDh< they the gyps)', on ■[] aidei turning. 
Seized and condemned tier to death br burouu. 
One ebild, aecurKd. left she remaining, 
Quick to avenge her, no meana disdaining. 
Tfaus she accomplished her dark retributionl 
Ld9| was Ihe Count's ctaildl search unavailint; 
But on the lite of Ibe hag's enxulion 
- 7 found, 

The _ 

Half G 

of a younj 
ned and b 



Thi* i* mingled with the comment* of the liitener*, who tell of the reputed appearance 
of the witch in ghoatly ahape. 

The clock now atrikc* twelve, and with cries ai "Curaed be the witch infernal I" 
die retainers diaperae. 

SCENE II— TAe CorJeni of Ihe Palace 

The (air Ltanota now appears with her faithful companion, /nez. She confides to /ncr 
her intereat in the unknown knight whom she had fir*t seen at the Tournament. 

Tacea la notte placida (Peaceful Was the Night) 

By Luiaa Tetraztini, Soprano (Inllatim) 88430 ll-inch. tl.90 

By Edith Helena. Soprano Un Engllth) *3S214 13-ldcIi, 1.3S 

bi this wistful air, so unlike the weird muaic preceding it, she (peak* of the TnubaJoar 

who serenade* her. and of the feelings which have been inspired in her breast by hi* song. 

« pl.d 

IS the nigbtl. 

The cloudless sky. how clear, how bright: Krealhing to Heav'n an eirne.t pray'r. 

The moon in splendor shed her light. My heart with deep joy filling. 

And all was hushed in peace aroundl I heard a voice oil (leard before, 

Suddenly, on the midnight air, My long-lored knigfatly Troubadoutl 

The ladies go into ihe hou*e just aa the CoanI, who ia al*o wooing the fair Leonora, ap. 
peara to watch under her window. He ha* barely taken hi* *lation when the ]tyi ' 
the TnubaJour ia heard. The Count ia filled with rage aa Manrioo appear* and c 

%!¥ aoog of 


Ime in moag. and when Leonora cornea (orth to greet her lover, (he anger 
of dl Lana burtu in a storm upon them both. 

Manrico delie* him «nd they Bgree to fight to the death. Leoaora 
implorea hei lover to itay, but ia unable to restrain the jealous passion 
which inspires the riTals, and they rush out with drawn swords, while 

Ri falls SI 

SCENE V~A GyfHS Omp '" 'As Biiaiy Moantalm 
We are now in the gypsy encampment at early morning, as the shad- 
ows of nisht are passing away before the dawn. The men are beginning 
work, and in this, the famous Aneil Chana, they hammer as they sing. 

La zingarella (Anvil Chorus) 

By Victor Orchestra *1T231 10-iocb, *0.8S 

By Victor Male Chorus (/n Englithj *17963 lO-inch, .85 

The swinging tune is accompanied by the ring of blows on the anvil, 

and the rough voices of the men and the sound of the hanuners make a 

truly impiessive musical picture. 

See how 
M.,, b 



iKth, H 




nilKS the gTI»T'* ■ 

E irith pleasure 

Azaana, the gypsy, w 

ter spoken of in the first ._ „__.^ „ . __ ._ 

Manrleo the dreadful story of the death of her mother, who had been burned at the stake 
as a witch hy the father of the present Count di Lana. 

Stride la vampa (Fierce Flames Are Soaring) 

By Louise Homer. Contralto (In IlaUan) 

By Margirete Ober, Contralto (/n lialian) 

In the aria she mentally lives again through the scene of 
her mother's esecution, each horrible detail of which ii ' 
hly imprinted upon her memory. 

This wild contralto air in the minor, with its deep, rich, I 
and ever-changing tones, ia weU suited to ao grim a i 
Upward the flames roll; the crowd presi 
Rusb lo the 

rom atl lides re.ecbo- 


n staining, with wild, i 

Dark wreaths 

Questioned by Majirico, Azuctna tells him the story of her 
past. In obedience to her mother's laat cry for vengeance, ahe 
stole the Count'a young child, and threw it on the flames where 
her mother was consumed. But she soon discovered that in 
her frenzy she had destroyed her own infant, and preserved 
the child of the noble. 

The story has sel Manrico thinking. " If yotxt snn ocrished," 
he asks, "whose child am I?" But die gJpL ^th " ^xf" 


avoids the qi 

sher » 


mintlB him ol the almoet fatal 
woundi received in on attack 
from the Ciunf dl Luna and hia 
men. from which ahe bad 
nuned him back to Ufe. 

M2I reggendo airaa- 
pro assalto (At My 
Mercy Lay the Foe) 
By Louise Homer and 
Enrico Caruso (/n ItaUan) 

89049 la-inch, f2.00 
By Clotilde E(po- 
sito and Luigi Colaxza 
(/» Ilallan) 

TBI COMVIHT KIA. CAJMUXH— ACT It •ibiiO lO-inch. .85 

In the opening atrain of this air. Manrico tells of his single combat vnth the Coant, in which 
1^ an irresistible impulse, after felling his Bntagoniit to earth, he spared the noble's life. 
The voice of the gypsy then bids him never again to allow their enemy to escape, but to 
unhesitatingly administer the death-blow. Mamico's story of the duel is expressed by a 
bold martial air, the gypsy's incitements to vengeance being heard at the same time, leading 
to the vigorous climax of the duet. 

SCENE W—The Clolilen of a Coneenl 

In this scene we return to the fortunes of the Coanl and Leonora. She, believing the 
TnmbaJout to have been killed, presumably in a recent duel with his rival, has determined 
to enter a convent Di Lima appears in front of the convent with the intention of carrying 
her away before the ceremony shall have taken place, and sings his famous air. " II balen." 

II balen del auo sorriso (The Tempest of the Heart) 

By Bmilio de Gofforia. Biritooe (/n llallan) 88175 12-inch. *1.90 

By Giuseppe De Luca. Baritone (/n Italian) 64668 10-tncb. I.OO 

By Alan Turner. Baritone (/n En^iA) *I6921 10-ineh. .85 

This solo almost wins the Coanl aia sympathy, in spite of ourselves, ao genuine and heart- 
in expression of the tender passion it is. 

'"b"' ii"rv"% c< 



Per me ora fatale (This Passion That Inspires Me) 

By Ernesto Caronna and La Seals Chorus (/n llaHan) *16ei4 lO-incb, (CSS 
The Count and his retainers conceal themaelvea among the trees aa th« chant of the 

Ah ! se Terror t'iogombra CMid the Shades of Error) 

By Francesco Cigada and La Seal* Chorus (/n IlaUan) *16590 10-ineh, *0.89 
The women sing of the coming retirement of Leonora from the world, while from their 
place of concealment the Count and his followers speak of their coming triumph. 


of Eve. ghall close oi 

en, and let ihia a 

dow. a fleetii 
passing of a 
:arthly liopcit 

n tbee, and HeSTCn 


Id viio 
With >i 

Fekxanpo and 

V bgldl L«'i 

onceal outstlve 

The priic he soon will hold! 
A* the nima appear, conductins the penitent, 
niah out and aeize Leonora, wlio ii being earned away when 
Manrico unexpectedly appeari, and the loven, (or the time 
united, make their eacape, to the chagrin of the baffled CiHinf, 
whoae men are defeated by Manrlco'i follower*. 
SCENE I— The Camp t^ dl Luna 
• A acouling party from the Coonf jtroopa have fallen in with 
Axucena, and now brins her to the Count aa a poaaible *py. 

Giomi poveri viveaClnDeapairl SeekMy Son) 

By Ida Mameli, Soprano; Rcnzo Minolfi, Baritone: 
Ceure Preve, Baritone ; La Scila Chorua 

(Inltallan) *99177 12-inch. tl.SS 
Inquiriea aa to her pait immediately connect her with tlie 
epiaode of the Count't childhood, and Ftrtando declare* her to 
be the murdereaa of dt Luna '» loit brother. Aiucena, in her 
extremity, crie* out the name of Manrica, and the Caonf, finding 
*he claim* the TtoiAadeur a* her son, vowi upon her a double 
Tenfceance, and >he ia bound and draKged away. The npay'* 
pleading, the Count 'i threatening angsi and triumph, with dhe accompanying chorua, combine 
to make a moving and dramatic ttuarAlt. 

SCENE W—Manrieo't CattU 
The acene change* to the caitle wherein Manrlee and Leonora are at laat enjoying a brief 
respite, though in expectation of an attack from the baffled Count Jl Luna. Here Manrleo 
aing* a tender farewell to hi* beloved ere he departs to repel hia 

Ah. Bi ben mio (The Vows We Fondly Plighted) 

By Enrico Camw). Tenor 

ifnllaUm) S8121 12-inch, *1.90 
By Giovanni MartineOi. Tenor 

{In halian) 74439 12-inch, 1.50 
Thi* beautiful lyrical number ia a delightful relief after ao 
much that ia forcible and dramatic 

'Tis love. Mublime emotiQii. at lach ■ monenl 
Bids Itar heart alill be hopeful. 

im'd, among ihe'ilim ti 

Quietnea* aoon departa, for the new* comet that the attacking 
party have captured Azuctita, and are piling up faggot* around 
the atake at which she ia to be burnt. Maddened at the approach- 
ing outrage upon one whom he believea to be hi* mother, Manrice 
prepare* to ruah to her aamrtanco. The air which forma the 
climax to thi* acene ie full of martial fire. 


Di quellz pira (Tremble, Ye TyranM) 

By Franccjco Tunaeno. Tenor (/n Italian) 9S006 lO-inoh. »iMi 

By Enrico Cuum>. Tenor (In Italian) 87001 lO-iacb. IJtO 

By Ciovinni Martinelli, Tenor (In llallan) 64505 lO-incli. l.OO 

It is led up lo hy a very powerful introductory panage, and the high note* at the end 

delivered in robust tonea, never fail of their effect. 

Ahl dghl of horrorl 5« that pile bluing— 
DemoPB of furj round it stand gazing 1 
Hadoess inspiring, Hate now ii raging — 

Oh I motber dcarei 

, though 

ill 1 ■ 

snaich'd be. 


SCENE I— firfwtor of the Palaet q/" Aha/tria 
The laat act bring* u* outnde the palace of Aliaftrta, wherein Manrtca, defeated by ifl 
Luna'i men, and the flyipy. are con&ned in the duiiKeoiia. Hither Leonora kai wended her 
way to be near her lover, and ihe now ling* the plaintive D'amor. 

O'atuor suir ali rosee (Love, Fly on Rosy Pinions) 

By Luiaa Tetrazzini. Soprano {In Italian) 88426 la-inch. tl^O 

Thia aad but melodious air revealiher grief for the ■orrowa which ihe cannot relieve. 

I hover round Ibee, my love! Let hope'i aoft wbiapers wreathing 

In pitr aid me, mv aigha to him caavtyil^l Recall to hia fond remembrance 

On roiT winga of love depart. Sweet vision! of hit love; 

Bearing mr lieart's ud wailing. But. let no accent reveal lo him 

Visit Ihe priaoner's lonely cell. The lorrows, the griefs niT heart doth novel 

And now cornea Verdi'i moat famoui operatic acene, the great Mlttnrt. 

Miserere (I Have Sighed to Re§t Me) 

By Enrico CaruM>. Tenor: Francef Alda. Soprano; 

Chorus of the Metropolitan Opera {In Italian) 

By Destinn and Martinelli (in Italian) 

By Olive Kline. Soprano ; Harry Macdonou^h. 

Tenor: and Victor Chorua (/n Engllih) 

By Ida GiacomcUi. Soprano ; Gino Martinez-Patti, 

Tenor: La Scala Chorus (In Italian) 

By Stevenson, Macdonoutfh and Chorus (In Engllah) 

By Arthur Pryor and Bmile Kenekc (Trombcnt-Contti) _ 

By 'Walter RoKers and Arthur Pryor ( Cornel' TrofniBne) *16794 lO-iach, 
Leanera ia terror-stricken at the aolemn tolling of a deep-toned bell and the moutnfal 
chorue of priests chanting for the aoul of a doomed priaoner. 
Pray that peace nuy attend a soul deparliog. 
Whither no care or tboDght of earth can 
Heav'nty mercy allays the pangs of parting. 
Look up beyond ibis life's deludons honow. 
Then follows an impreaajve aerie* of chorda in the 
orcbeatra, leading to a sobbing lament of Ltonam. 

What vnicea of terror I For whom are they 
W?t"'^en. o 

*S3443 12-inch. 1.35 

•35436 la-ineh. US 

~16013 10-in«h. .as 

16371 lO-inch, ,85 

T unknown, they darlcea 

My vi 

In upon thii 

TmAoAiur, sung 

cry of devotion Er 

lail n 

there breaka the beautiful air of the 
within the priaoik. followed by a tayivA 
>in hi* beloved. 


TW f^oentfcfitrt given ^parotely, are next combined end haud togethet. farmmK 
« of touching beauty, (or which the opera of // TrowdBn wilt erer be 

TTie ">tr»n" of .A Luna bring, from Z^nora a prayer for mercy for the priioner. The 
appeal ii unheeded, or rather it appear* to increaM the triumph which belonn to the Cbonl'. 

vengeance. ^^ , _T^. 

■emity of dcap 


If the Omni will npare th<r nnr 
ahe lovea, she wilt corgaeni \a 
become Jl Luna's wife. ^Iie 
rweara to perform her promis^T, 
at the wroe time intending tu 
take poison a* soon ai Mamiio 
ii free. Dl Lvno'i wrath is now 
changed into joy, while Lona.a, 

wn fM... _ 

the 7> 

Vivra ! Conteode il 
Ifiubtlo (Oh. Joy. 
He's Saved) 

By AnffeU de An(eli« and 
Franeeaco Cicada {Ilatlaa) 

*1681I lO-iach. *0.e5 
In this number the Ciunf eipTi 
Leanaro exclaima, aside: "Thoi ' 
they enter the tower to aecure 

The Priien Cdl of Maniito 
The scene hai changed to the pii»n interior, where Amctna and Manrico are together 
and the gypv. with the aecond-tight of het race, ptedicu her approaching end. Thia 
familiar duet ii caniidered by many to be the gem of Verdi* opera. 

Ai nostri monti (Home to Our Mountaina) 

By Homer, Contralto, and Canivo, Tenor (/n Italian) 

By Sehtimann-Heink and Caruio 

By Veasella'a Italian Band 

By Dualap and Macdonoutfb (In Englhh) 

By Clotilde EipOfito and Lui^i Colazza {In Italian) 

By Morgan and Macdonoush {In EnglUh) 

89018 12-inch. «2.00 

89060 la-inch, 2.00 

*3»23» 12-incb. 1.35 

'39443 12-inch. 1.3» 

*16811 lO-iach. .85 

*16407 lO-inch. .85 
igth i* exhauMed, and who 

If Ihou an ycl my 
Seek thy terror) to 



Matter* now more wwMjr 

joy of meeting ii 

deatroved when the p. 

finds his libertjr to have b 
purchesetl at the coat of a 
happinen whicb ii to him 
dearer than life itcelf. He 
Bccuaes Laiitera at betiding 

Ha quest' infame 
(Thou Hast Sold 

By Ida Gucomelli. Soprano: 


MartincE-Pattu Tenor 

(In Italian) 
*39177 12-mch. tl.39 
Here Aaicena, who care* 
nothing for his paadon. ccuu' 
•eU Bight. Thia give* the 
element* of the cloaing trio : 
Manrloa 't reproBchea, Leo- 
nora 'i ineffectual protest*' 
tions, and the gypsy's voice 
through all, singing dreaniihr 
of her mountain home. Wito 
these mingled voice* dying 
away into soft h ar monies the 
musical portion of the opera 


Ah! ihou bill said bim thj hnti' 

Leonora, who had already taken the poison, now ainlc* dying at Menrlce 's feel, and he 
pleads forgiveness as he learns the truth. Dl Luna now enters, and furious at finding him- 
self cheated of his promised bride, order* the TnuhaJoar to instant execution. Manriee is 
taken out by the guards and beheaded. 

At the moment of his death, the gypsy awakes, and not seeing Manriee, realiie* that 
he ha* gone to his execution. She drags the Count to the window and cries to him: "You 
have killed your brotherl" Di Luna utters a wild cry of remorse and falls senaele** a* the 
curtain alowly descends. 



Giomi poveri vivea (In Deapair I Seek My Son) By 
Ida Mameli, Soprano: Renzo Minolfi, Baritone: Cesare 
Preve, Baritone: La Scala Chorus (In Italian) 

Ha queat* infame (Ah, Thou Hast Sold Thyself) By 
Ida Giacomelli, Soprano ; Lina Mileri, Contralto : Gino 
Martinez-Patti, Tenor (In Italian) ^ 

Trovatore Selection By Arthur Pryor*s Band' 

Introduction, Act III — "Fierce FUmes," Act 11 — Intnxiuction, Act I 
—"At TKy Mercy." Act U 

Traoiata Selection By Arthur Pryor's Band 

IAbbietta zingara (Swarthy and Threatening) By Torres 1 
de Luna, Bass, and La Scala Chorus (In Italian) 1^^ ^ , ^ 

SuU* orlo dei tetti (As a Vampire You May See Her) ^«>24lt> 

By Torres de Luna and La Scala Chorus (In Italian) | 

racea la notte By Edith Helena (In Engli8h)\^^^ , . 

Lucia—Mad Scene By Edith Helena. Soprano (In EngUsh)]^^^^^ 

al reggendo all'aspro assalto (At My Mercy Lay the 
Foe) By Clotilde Esposito and Luigi Colazza (In Italian) 
Ah t se r error t* ingombra (*Mid the Shades of Error) 

By Francesco Cigada and Chorus (In Italian), 

fPer me ora fatale By Ernesto Caronna, Baritone (In ^^^^''^'')\i Agi^ 
I Pagliacd — Opening Chorus, Son qua La Scala Chorus (In Italian)) 

35177 12-inch, $1.35 

35076 12-inch, 1,35 

10-inch, .85 

12-inch, 1.35 

16550 10-inch, .85 

10-inch, .85 

16811 10-inch, .85 

'ivral contende il giublio (Oh, Joy, He*s Saved) 1 

By Angela de Ajigelis and Francesco Cigada (In Italian) I . 
|Ai nostri monti (Home to Our Mountains) By Clotilde | 
Esposito, Soprano, and Luigi Colazza, Tenor (In Italian)] 

[Di geloso amor sprezzato (Now^ My Vengeance) 1 

By Bernacchi, Colazza and Caronna (/n //a//an) V62418 10-inch, .85 
[La zingarella (Anvil Chorus) La Scala Chorus (In Italian)] 

{Anvil Chorus Victor Male Chorus (/n En^ftjA)!. -- >. ^ i/* '^ u oe 

Tannhduset-Pilgrims' Chorus Vidor Male Chorus (In English) ^^^^^ lO-mch, .85 

/Anvil Chorus Victor Male Chorus (In English)\. ^f.^A 

Delilah— Spring Flowers Women's Chorus (In English))^ ^^^^ 

\ Samson and 

/Anvil Chorus 

I Forge in the Forest 

10-inch, .85 


Victor Orchestral 
Arthur Pryor's Bandi 

17231 10-inch. .85 

rome to Our Mountains Morgan and Macdonough (English)\y c^Anf 
Bohemian Girl— Heart Bow'd Down By Alan Turner (In English) r^^^^ 

{Home to Our Mountains By Vessclla*s Italian Band\^^^^. 

Rigoletto—Qvartet (Verdi) By Kryl's Bohemian BandP^^^^ 

Miserere By Olive Kline, Soprano ; Harry Macdonough, 

Tenor : and Victor Chorus (In English) 

Home to Our Mountains By Dunlap and Macdonough. 

'Miserere By Giacomelli, Martinez-Patti and Chorus 1 

Rigoletto— Quartet By Huguet, Zaccaria, Lanzirotti and (i>o^9^ 

Cigada (In Italian)) 

r[iserere By Stevenson and Macdonough (In Ertglish)\ 

I Would That M\f Looe By Steoertson and Macdonough) 

/Miserere By Pryor and Keneke ( Tromhone'Comet)\ « ^a - « 

\ Spring Song (Mendelssohn) By Victor String Qvartetf ^ ^^ < ^ 

riserere By Rogers and Pryor (Comet'Trombone)\.^jgj 

Chant sans paroles (Tschaikowsky) B^ Vienna String Qjuariet) 

rempest of the Heart By Alan Turner (In ^'^^l*^)\\^^2\ 

Carmen — Toreador Song B}f Alan Turner (In English) } 


10-inch, .85 
12-inch, 1.35 

35443 12-inch, 1.35 

12-inch, 1.35 

16013 10-inch, .85 

10-inch, .85 
10-inch, .85 
10-inch, .85 

BriiDnhUde Bewins a 'Wounded 'Warrior to WaUulls 






30. 1865. when Dr. Leopold DamnMce Tevived ihe work at [he Metropolitan, with Bra 
Scholt and Matema. Since that time the work haa (cldom been absent from (he Metro- 

BiUtan, the latest production being that of 1915, with Kurt, Cadski, Matzenauer, Berger, 
uysdael and Braun. Amons the ardati who have appeared in the opera during the past 
thirty years may be mentioned the following: as SlegUndt — Fremstad. Temina, Nordica, 
Morena. Sallzmann- Stevens. Osdom-Hannah: as Bnlnnhlldt — Temiru, Gadski, Walker. 
Leffler-Burckhai-d, Matzenauer. Noidica, Litvinne, Weidt; as Sfe^mimi/— Buirian, BuiKstaller, 
Dalmores, Urlus. Kraus; as iVolan — Van flooy, Griswold, Whitdhill, Feinhals and Goritz. 


5IECMUND (Zttt'-motnJi - Tenor 

HUNDING (HomJ'ji*) Bass 

WOTAN (KeA'-hj*)!) ... Baritone 

SlECUNDE (Z«».Wii' J'A) Soprano 

BRONNHILDE ('^-A) Soprano 

FrICKA (Fri*'-.A) Sopnroo 

Valkyries— Gerhilda. Ortlinda, Veltrauta, Sverleita. Helmviga, Siegruna. 
Crimgerda, Rosivisa. 
tVaHtOre is the (econd in the series of tt,u.ic^diama» composing the Nidietung Ring, 
•nd to most opera-goers perhaps the moat tnel^j^ ^^ and pleasing. The story is beautiful 


. „ by turn thrill- 

ing and pathetic, while the glorioui muaic 
written by the maiter to eccompiuiy the ad- 
'veatures of hii mythical perMinagea ii eacily 
iinderMood and appreciated by the average 

IVolan hat been warned by ErJa, the 

Eialh Goddat, that K Albtrtch regain* the Ring 

the gods muM periih. Brooding over thii 

impending fate, Wotan deacends to earth and 

weds the goddenj thia union resulting in nine 

splendid daughlen. the Wall^ln, who are to 

I aid in the salvation of the gods. Riding forth 

each day among the tumult and the strife 

which prevail on the earth as a result of the 

CurK of the EUng, they cany to WalhaUa, on 

their flying horses, the bravest of the warriors 

who fall in battle. These revived heroes keep 

eady to defend Walholla from the 

Niticlungt. But in order to regain the Ring; 

I a brave hero is necessary, who shall be dee 

^ from the univeraal curse and who can take it 

nuju-.u-nu ntiju.iu-nu from Fufnti, DOW changed into a dragon the 

better to guard the treasure. With this in mind 
Welan visits the earth again and weds a mortal who bean him twins, SlegmanJ and Slegllndt. 
White these children are quite young, the brutal Handing finds their cottage, bums it, kills 
the mother and carries off Slegllndt, whom he afterward forces to become his bride. 

The father and son return and swear vengeance on Hundlng. Wolan (known as f^olse 
on earth) returns to WalhaUa, leaving the young Slegmund to fi^t alone and become « self- 
reliant hero. This is the situation when the action begins. 
SCENE I— /nfertor rf Handing "« Hut In ihe Fotal—a Large Tnt ritet fhnugh the Roof 
The prelude represents a fearful storm in the foreat. in the midst of which Sitpnand 
rushes in exhausted, and falls by the fire. SlegUnde gives him refreshment and feels drawn 
to him by some strange attraction. While they are con- 
versing, Hundlng exaeiu, and after questioning the stranger, 
recognizes in him his mortal enemy. He says, "Thou 
shah have shelter from the storm to-night, but to-morrow 
thou diesti" and goes to his room, bidding 5JegAni/e pre- 
pare his evening diink. She does so but puts a drug in 
it to make him sleep soundly, and returns to Sitgmund, 
unable to control her interest in the mysterious youth 
who has so strangely affected her. 

Slegllndt then tells Sitgtnund the story of the Sword — 
how at her wedding a stranger had suddenly appeared 
and thrust into the trunk of the tree a magic sword 
which should belong only to him who could take it out. 
The strsnger had secretly told Slegllnde that no one but 
Sitgmund would have power to remove it. 

Sitgmund rises eagerly, and going to the tree with- 
draws the sword with a mighty effort. The reunited 
brother and sister embrace each other and agree to By 
from the power of Hundlng. The curtain falls as they 
pass out into the moonlit forest. 


SCENE l~A mid and Rode, P<m 
IVolan and his favorite Valkyrie dau^ter. BrUnnhlldt, 
are discovered in full armor. He tells her to go to the rea. 
cue of the Voltaag (Segmumf), whom/Zundifngispurauiiig. 


e battle and drife; Give lid lo Voliung lo-dixl 

The VaUOfllt eagerly prepare* for her flight, and nuB* her funoiu Balllt Oji. 

Ho. yo, to, ho I (Brtintihilde^s Battle Cry) 

ByJohsniuGadski, Soprano (In CErman) 87002 lO-inch. *l.00 

Some idea of the difficult nature o( thi* number may be had from theae few meosurea : 

Hal how al 

Ho-yo-lo-hol Ho-TO-to-ht 
But linen, fither! care I 

For a norm o'er (h« wL. 

Fricka. Ibv buav wife, approachetb in bei Tho' 
ran>-i>Dpe1led car. Take 

'T golden wfaipE 

rdian of roarriage, for help, and the 

had humor. Handing haa appealed to het, t 
that Slegmami be puniahed. Wolan proteata 
that ihia true love romance ahould not he in- 
terfered with, but the wrathful wife reminda 
him that the whole difficult ia but thereault 
of hia own infidelity, and he ia fitully forced to 
Bwear that Sicgmand shall be puni^ed. 

FricJca then triumphantly calls to BrOnn- 
Mdt that Wtaan haa funher instructtona for her. 
BrtlmtlUlJt finds her father in deep dejection, 
and when ahe queationa him he confides to her 
hi* efiort* to find a hero who shall baniah the 
curae, but aaya his queat haa been in vain. 
He bid* her »ee thai victory goe* to HunJing. 
She prolesta. but he sternly coromanda obe- 
dience and leavea her. 

Slegmund and Slegllnde now appear, Beeins 
from the wrath of Handing. Sltgllndt 'j atrength 
has failed her. and ahe fall* down exhBu*ted. 
BrannhllJe comes to the lovers and tella Sltgmund 
he muat die. He acoma her prophecy and says 
hia aword will not (ail him. Handing i voice ia 
now heard, and in a sudden wave of aympathy 
^BnnhiUe reaolves to defend the young lovera. 

Sitgmund ruahea to meet Handing, and 
amid flashes of lightning the worriora can be 
aeen in deadly combat, while Biilnnhltdt ia viai- 
ble flying above Sitgmand and protecting him. 
Wolan, aeeing the ailuation. then appeara and 
not only cauae* Slegmund to fall by his oppon. 
ent'a sword, but also atrikea down Handing. 

BrOnnhlde retreat* in terror from her 
father'* wrath, and runa to protect Slegllrtde. She lift* the helpU 
and they diaappear. 


SCENE \—Tht Sunrnlt <rf a Rocky Meanlain 
The act opens with the wonderful Ride of tht yaUoi'i*'- <>»" "^ *^" most striking of all 


her horae 


Ride of the Valkyries 

By VeraeUa'i lulian B*nd 

*35369 12-uicb *1J» 

By Li Scab Orchcf tn 

*62693 lO-ineh. ^i 

Id the RlJt of Iht Koibrfei W> 
picture* the wild and warlike nature et 
the " warrior maidi." The wild ahoul* 
of the goddoae* as they tide their 
winged iteedi through the air to the 
Rock, the watlike crie* of BrOnnhlUe 
and the neighing of the war horaei are 
■plendidly portrayed . 

The VaUtaritt Me BrOnnlitUc flying 
toward them, evidently in great diitreu. 
She alight* and aik* her aiaten lo ihield 
her from the wrath of IVolan, who ia 
riding in punuil; but they dare not 
help her. 

Bremhllde then bid* SitgUnJe Bee 
alone, telling her that *he ia deatined to 
bear aaon who shall he the hetaSUgfiltd. 

Fort denn eile (Fly Then 


By Margirete Matxeaauer, 


(/n Carman) 87102 lO-ineh. *1.00 

tlie pitc 
«dj Ihtm 

■bred) o 

1 iballcred axo 


field by foituni 



i shall he >wi 
dare— Siegfried. 

saying*! maiden 

may. Tkt rocliy falh Is tn- 

ick ihmndtr-cloMdt; a ItmptM 
• thl back; bilwitn tht ptalt 

The F'aAtyrte* hurriedly conceal 
Hldt in their midst as Wotan i 
from hi* h-tmB in • furiou* rage. 

Wh it 10 (btmetiil i hive done, 


Where !• Brunnhilde? Where the rebellioua 



Here iiand I, father, to nifla 


Wish-maid art thou no more. 
R™ir'hCTcefotlh"bM' merely tbywlf r 

BauHHHiLDE IvieltMly HarlUd) 
Thou disowneit me? Thine ai 

n T diTine 


a" thw'banirted "from-bli^ 


He then telU her (h.t ahe muat b 
pte>d> vrith him in a beautiful appeal. 



Was it » ihameful, what I taa 

WaV it°m b^se to disoliy th^" 
For me >ucb drbasement must 

ThW it^should rXm? o't bono 
O speak, falbrr! see me befo 

thy wrath 1 
Wreak not thine Lre. but make 

hat thou 


to me clea 


Guilt that with t:n]el firmness c 
Ca»l off thy favorite child! 

ompell the 


jnly by a 

brave the ftamei with which ine is to be aurrounded. 
then bids her farewell in the aplendid AhichleJ. 

Wotana Abschied (I) fWotan'a Farewell, Part I) 

By Clarence Whitebill. Baritone (/n German} 64378 lO-in.. 11.00 

WoTAW! May 1 grant Ibee my greeting; 

Farewell, m* braye and beautiful childl Henceforth my maid no more wilh me rideth, 

Tbou once ihe light and life of my hearti Nor waiteth wine to reach me! 

Farewetll Farewell! Farewelll When I relinquish thee, my beloved oae. 

Loth i must 1e(Te thee: no more in love Thou laughing delight of my eyes. 


Fiery gleflms bhall girdle the fe]l. 

With terrible Korchings scaring the timid 

Who. cowed, may cross not Briinnhilde's 

For''one alone freelh the bride; 

One freer than 1; the god: 

BrUnnhlldt ainka, rapt antl tianifiB- 
ured, on Woian 't breast : he holil* her in 
a long embrace. She throws her head 
back again and gazea with mI 
into her father's eye*. 

^Votans Abschied (ID 
tW^otan's Farewell, Part ID 

By Clarence Wliitehill, Baritone 
{In Ctiman) 74305 12-incli, tl.SO 



"b "e Vi^i. 


OrTb'™ p,v w 


•.w»rt «-orldlj pi 

Their lustrous 


ighl. on me now 

Bttoke for thyself. The grief-su lie ring god may nerer hence- 

forth Iwbold them I 
He imprints a long kin on her eyes ; she sink* back in his arms with closed esres, her 

Eoweis Bendy deportinK. He tenderly helps het to lie upon a low mossy lounge, doses 
et helmet and completely covers her with the great sbeel abield of the VaUa/rie. He 
■lowly moves away, then directs the point of his 
spear toward a huge stone, and summons the Gad I 
of Fin. ' 


As t 

A ho 

hear! Lister 



Loki I Loki ! Appear ! 
A stream of fire issues from the stone, which 
■wells to an ever brightening glow of flame; bright 
Barnes surround Woian, leaping wildly. 

Maffic Fire Spell (Feuerzauber) 

By VesMlla'* Italian Band 

•35387 12-inch. »1J5 
By Julius L.Schendel, Pianist 

*99448 la-inch. 1.35 
The leave-taking and the breaking out of the 
flames are musically pictured in one of those 
marvelous bits of writing which only Wagner 
could produce. The number begiiw with the pa*, 
•age juat precedmg Wolan't summons to Z.ofe. 


Wotan'f Ftrewen 


iVMan directs, « 

Me wfao my apeir In )pir!t fcarelh. 
Ne'er springe through thia fieiy bar! 

He c**t« a laat hx>k on BrOnnhlldt and diaappekn in the fire. 

IM«Bio Fire Scene Vef»elU'» B»ndl_,--_ ,, i„,t », -. 

f RuilU of Spring {Sinding) PapiUon 1 

L^^-J^* ,„ /"^■"^^*™''' 3*448 I2-tach. 1^5 

VAH DtCK «■ IIICHUHD MlglC flTC Spell 

1 By Juliui L. Schendcl. PUniKJ 

fRide of the Valkyries By VeawlU'i Iwlun B.nd),.,.- ,, .. ... 

\ Guitfdibmntning-Sltsfrltd; Funeral March flji Ke«e//o'i Sonrff"^*'* I2-incli. 1.55 

/Ride of (he Valkyrie. By L.,6o, ,ft_i„K =, 

\ Lohatpin—Prdudt. Jfd 111 By La Scala OrchtslraT^*'^^ lO-inch, Mi 

f Sicamund'f Love Sootf {yioUn-'C^io-Piaito) By Tollefiea Triol,,,.. ,~ - l a. 

1 fiomarw* (RuifnaWn) (Kto/fn-'CWto-ftano) fij ro//«/«o TVto/"'*' lO-inch. .85 



Libretto hy Edouard Blau. Paul Milliet and George Hartnuut, founded upon Goelhe'i 
melandioly and romantic itoiy of hia own life. The Somat of Wcrthtr. Muiic by Manenet 
Fir*t produced at the Imperial Opera Houae. Vienna, February 16, 1892. with Van Dyck 
and Renard. First Paris production at the Op<ra Comique, January 16, 1693, with Mme. 
Delna. First Milan production December, 1894. Given at the New Orleans Opera. 
November 3. IS94. First American production in New York at the Metropolitan Opera 
House, April JD, 1694. with Eamea. Amotdson and Jean de Reszke in the cast. Revived at 
the New Theatre by the Metropolitan Opera Company, 1910; with Fanar, QemenI, Cluck 
and Dinh-Gilly: and at die Boston Opera in 19)3. 



Albert, the bailiff Baritone 

SCHMIDT.W- f-;„j. / Bass 

JOHANN. 1*^ *"""*' iTenor 

Charlotte, his daughter Soprano 

Sophie, her sister Meno-Soprano 

ThHt and 'Hace : In iht olclnltit of Fra^fod, Gtrmany, 1772 

As the curtain rises. Cbarlolle, surrounded by her 
brothers and sisters, is engaged in preparing the 
iK>onday meal. Werthtr, a serious-minded and 
romantic jroung tnan. comes to the house with his 
friend A&tri, who is betrothed to CharloUt. The 
charming domestic picture appeals to Wathet greatly. 
and he promptly falls in love with the young girl- 
When WaOttr finds an opportunity to tell ChaiiotU of 
his love, she confesses that she returns hia affection, 
but feels it her duty to marry Albtrt to fulfill a 

Eiomise made to her dying mother, and begs him to 
ave the village. 

After ChaAeUe and Alhcrt are married Werthtr 
returns and tells Charlotte that he still loves her. She 
admits that he still possesses her affections, but en- 
treats him to spare her and go away forever, (f ertAer 
then write* a message to Albert, telling him he has 


solved to go on a long ioumey, and asking bin 
I brace oT pistols. Charlotte, gready elarme.. _. 
s request, follows Werlher. It is Christmas Eve, 

_ nidnight. and the snow, which is falUng in 
^^ ^^^^ wild gusts, almost blinds her as she staggers along. 
ff ^^^J The scene changes to a tiny room, and reclining on « 
I iH wnTKEi chair in the lamplight is Waiher, mortally wounded. 

Charlotte arrives too late, and he dies in her arms. 
Overcome with grief, she faints on the body of her lover, while in strange contrast to this 
affecting scene the pealing of bells and the joyous voices of little children singing Christmas 
carols are heard in the distance. 

flesliss) (Frcash) 

Ah I non mi ridestar I Pourquoi tne r£veiller (Do Not 

By Mania Bittistini. Baritone (/n llaHan) 88394 12-iDch, *1.90 

By Giovanni MartincUi. Tenor (In French) b41I4 10-inch. l.OO 

By Edmond Clement. Tenor (In French) 64234 lO-inch, l.OO 



Opera in (our mcta ; text by Jouy, Bit wicl Marost taken fram Schiller'i dTama. Muuc 
bjr Ronini. First presented at Pari*. Auguit 3, 1829. Fint London production, 1830. 
Produced at the New Orleaiu Opera, 1842. Revived at the Academy of Muiic by Leonard 
Ciover'i Opera Company, with Carl Foimea. Produced at the Metropolitan 1868. with 
Fischer, and 1690; with Tamagno. Revived at the Century Opera 19M. 

ARNOLD, luiior oF Matilda, ^SwiM Patriot! {Tenor 


MELCTHAU Arnold's father Bass 

CESȣR. Governor of Schwitx and Uri " " Baas 

LEUTHOLD. a shepherd " ' " " ^'~» 

Matilda, daushterof Geisler ■■■.••■' Soprano 

14EDWICA. Tell's wife •■.•'■' Soprano 

Jemmy. Tell's son "•■,,-• ■■ Soijrano 

Scene aitJ Period : St~. 





The atoryof Tell, the distiiiKuUbed patriot, 
■nd chief inMrument of the revolution which 
delivered the Swih cantona from the German 
yoke in 1207,' hai been taken by Rouini for tbe 
theme of one of his moat admired operaa, the 
dramatic intereat being heightened by the intro- 
duction of love scenes and other episodes. 

In the 'libretto by Jouy and Marasl Cailer ia 
endowed with a beautiful and amiable daughter, 
MaUlJa, who haa been saved from a watery grave 
by Arnold, ton of Meltlhal, the patriarch of the 
country, and a determined opponent of the tyran- 
nies of Gettla. As a matter of course, mutual 
HociAu Of wiLiiAH TILL attachment ensuBs, and leads to the tToublcs which 

TuuiiiE FAMii oFtu 1B29 might have been eipucted from so ill-sorted • 

At the opening of the opera we learn that an agent of Ceu/er'i has attempted an outrage 

on the daughter of a herdsman, and has been slain by her father, LailholJ. Obliged to fly 

the country after this act of vengeance, it becomes necessary to cross Lake Lucerne while 

the weather is so adverse that none of the boatmen will row the old man acroas the 

tempestuous waters. William Tdl finally undertake* the rescue, and by ao doing incurs the 

mortal hatred of GaJtr, 

As time progreues. the people become more and more 

disaffected: and the father of AntolJ, suspected of inciting 

them to acts of insubordination, is seized by Gttiler and 

executed. The aon's feelings are thus subjected to a 

severe conflict between his love for Matilda. Ceailtr's 

daughter, his duty to his country, and his desire to avenge 

hi* father's death. IHe, however, renounces his love, 

and joins the band of patriots now marshaled under 

millam Tdl. Event* are brought to a climax by Gatler | 

causing a cap to be elevated on a pole, and requiring 

all pEissera-by to bow to it. Tell firmly refuses to do so, 

and is thereupon subjected to the ordeal of the apple, being 

required, under pain of death, to shoot at an apple placed 

on the head of his son. Although the distance was consid- 
erable, he was able to strike the apple off without injuring 

the child. The tyrant, perceiving another arrow concei ' 

under Ttll'i cloak, ask* him for what purpose it was 

tended. To which he boldly replica, "To have ahot you I 

to the heart, if 1 had killed my son! " The enraged governor 

orders him to be hanged : but the Swiss, animated by 

such fortitude and patriotism, fly to arms, attack and vanquish Gtstler, who is ahot by TJl. 

MaUlda and Aniold are united, and the independence of the country is assured. 


This ovettuie, which is played probably as often as any other single work at conceits 
the world over, was called by Berlioz " a symphony in four parts." It is a fitting prelude 
to a noble work and abounds in beautiful contrasts. 

The opening Andante depicts the serene solitude of Nature at dawn, and the music is 
enchantin^y reposeful. From the slowly-climbing figure on the 'cello: 

S3 L ^- 


the wayward, elunve air retolves after a dmc into a more definite rhythmic tune, aootl 
lapaing into dreamy meditation, which continue* to the close of the movement. Although 
thii fiiBt pwrt is virtually a 'cello solo, the orcheatral background is exceedingly beautiful, the 
close being eBpecially effective %vith its sustained shake on the richest string of the cello, 
while the orchestra slips gently away, downwards, climbing up to serenity again just at the last. 

The tranquil mood of the Andante is rudely interrupted by the beginning of the second 
movement — a string passage suggesting the distant mutterings of a stonn. This comes 
nearer and neater, until the full fury of the storm bursts upon the eat. The forlMma pas- 
sage continues until the storm seems to have spent its force and the strain dies down into 
refreshing calmness once more. 

To the Slonn succeeds a beautiful pastoral with a delicious melody for the English horn, 
and as Berlioz says, "with the gamboling of the Bute above this calm chant producing a 
charming freshness and gayety." As the last notes of the melody die away, the trumpets 
enter with a brilliant fanfikre on the splendid finale, a filbng climax to a great work. 

(Part I— At Dawn 

)Pa» II— The Storm 

(Put III— The C«lm 

tPtft IV— Finale 
Part I— At Dawn Part II— The Storm 
Put III— The Calm Part IV— Finale 

By Pryor's Bandl , 

By Pryor's Band) 

By Pryor's Bandl, 

By Pryor's Band/* 

By Pryor*! Band 3S120 12-iDch. 

By Pryor's Band 35121 12-inch, 

16380 lO-ineh. 

^6381 lO-ineh. 

SCENE— ,4 yUlagc In Iht Canlon <•/ Uri 

The curtain rises on a peaceful scene, showing a charming village with the house of 
}Vltllam Tell in the foreground. Ttll and his family are engaged in rural occupations, and 
the fishermen, while they prepare to put out the boats, sing b lovely barcaioUe. 


Accours dans ma nacelle (Come, Love, in My Boat) 

M. Reffi*. Tenot (In Frmch) ■49026 10>inoh, •IJH) 

In ay liiile boat embark; 

/hi hitfaer coiDc, and with thj 

M]r loving beart rejoice. 
Thougb lean I niuBl. Eliia. dear, 
Do nol let me alone depart ; 
See how the •binini tin above 
A brillUnt day dolE auiur. 

9 the bending rosebud, 
'"'tfreili^d "'J,'".u 

Will Iby prei 
Whit nlm'i 

• affeci 

A horn founds ai the rignal (or the beginning of the uinuol Shepherds' Festival, at 
which three marriagei are to be celebrated by Melcthal, the patriarch of the village. Arnold, 
Mdclhal'i aon, !• saddened at the aignal, thinking of his own love, Matilda, who is the 
daughter of the tyrant Getter. 

Tell confides to Arnold some o( his plans for overthrowing the power of Gci^tr, and 
aaks ArrxJd to assist. 

Ah. Matilde. io t'amo e amore (Matilde, I Love Thee) 

By Giavanm Martinelli. Tenor, and Marcel Journet, Batt 

(Inllallon) 76093 12-iacb. *2.O0 

The young man hesitates between duty to his country and his love for the tyrant's 
dau^ter, but finally casts his lot with Tell, and goes to bid a last farewell to MaUlda. 

The festival now begins, hut is interrupted at intervals hy the sound of hunting hams, 
■hawing that Gtala and his huntsmen are in the mountains near by. The young couples 
are wedded, and all are rejoicing in their happiness when the festival is rudely inter- 
rupted by Ltuthold, a shepherd, who rushes in crying, "Save me from the tyrant." He 
explains that one of Gaaler'a oflicers had abducted his daughter, and to rescue her he 
had killed the villain. He begs the fishermen to row him across the lake to safely. They 
reftise, not daring to offend the tyrant, and because of the storm which is n^ng. TtU 
appears, rushes to the boat with Leuthoid and puts out on the raging lake just as the 
soldiera of Gtaltr appear. Baffled of their revenge, they bum the village, devastate the 
fields, and strike down the aged MdctKal. 


SCENE^/4 Je€P Oalli^ In Ihi Alfa. On the Itft Iht Lake of the Four Canloni. Talllghl 

Matilda appears and mu>e> upon her love for Arnold. Her lover noM joint her. and an 
effective love acene ennieB, which ia interrupted by the approach of Ttil and Walla, and 
Matilda departs. Tell has aeen the young man talking to the daughter of hia mortal enemy, 
and accuses him of being false to the Swiss. Arnold confesses that he love* MaSUa, but 
anys be vrill renounce her if his country demands the ancrifice. 

They iken break to Arnold the news that Gadtr hai put hia father to death, and feel- 
ings of vengeance drive from his mind all thought of Matilda, 


Ctultr and hi* l»roiu are (ested on a throne at ooe aide of the Square while varioui 

WiUuunTellBalletMufic— ParttUndll By Ptyof '• Band *3504a 13-meh. tl.SS 

>n. ha* been watchuiK the populace bow to the cap 

a ■ymbol of hii authority, niddcnly notices that Tdl 

and hia aon fail to pay honor to the atandard, and he ordera them aeizedand brought before 
him. He aaka if the boy ia Tetl'i aon, and when Tell repliea, " My ouly aon," a iiendiah idea 
atrikea the tyrant. He ordera Tell to ahoot an apple from the boy'a head on pain of initant 
death for both. Tell refuaei, but Janmy urgea hit father to obey, aaying, " Father, remember 
your akill I Fear not, 1 will not move I" 

Till embrace* hia boy. and selectinB an arrow, manage* to conceal another in hia coat. 
He caata a fierce look at the tyrant, then aim* with care and atrikea the apple fairly in 
the centre. When be realize* Jtminy i* aafe. Ttll faint* and the concealed arrow ia di»- 
covered. " For whom w«* the aecond arrow J " demands Gatla. " For you, tyrant, if I 
had harmed my child I " 

Ceu/er then ordera both put to death, but Matilda, who hoa entered, demand* the life 
of the boy and takes him under her protection. Tdi i* taken to prison amid the curaes 
of the Swiss. 

SCENE— rAe Rulntd VlllagtofAd I 

Arnold, who know* nothing oE the capture of Tdl, haa come to hi* native village to bid 
farewell to the home of hi* boyhood. He gazea at the deaolate cottage and sing* hi* charm* 
iitg and pathetic air. Oh. Blaied Abodt. 

(IislJuil (Fnaeh) 

O muto asil Asile hereditaire (Oh. BleaMd Abode) 

By Frinceaco Timaeno, Tenor {h Italian) 95009 10-inch. *5.00 

By Leon Beyle. Tenor (/n FrencA) *45026 lO-inch. 1.00 

Thi* number, one of the moat elective of those allotted to AmolJ, is reposeful and 
offer* a line contraat to the tumult of the laat (cene. 


My liiart's Ihirsling for revenail Once so belov^il. yel now Ihy hills, 

WillUm tbe lyrint has in rhsma imprban'd! Brini mis'ry to my aching sight. 

The hour ot hallle I impalienlly wail! In vain I call; no falher'8 greeting. 

What silence in this lone place duth reign; W'll'^'' ""cy. "<>* '" """' "pealing. 

I lialen— my own steps alone 1 hearl Will ere aiain these ears be meeting, 

OhI hless'd abode, wilhin whose walls Then home once lov'd. Corevermore, farewelll 
A eompBii)' of Swiu patriots enter humedlj and tell AmalJ of receol event* at Atldorf. 

le call* on them to follow him to the rescue of Ttll, and all depart 

SCENE 11— Lo;^ of Four Canlont. A Storm It Gal/itrint 
Tdl'a wife is re*ting here on her way to demand of Catltf her husband and aon. 
Suddenly she hears her son's voice and is 
averjoyed to see him hrousht to her by 
MaHlda. She clasps him in her arms, and 
anxiously inquires for hei htisband. Ma- 
lllda says that Till ha* heen removed from 
Altdorf PriKin. and taken acron the Uke. 
9 has no sooner spoken than TeU ap- 
ir*. having escaped from the boat and 
t an arrow through the tyrant's heait. 
Arnold and the patriot* appear, rejoicing 
that Ceu/er has been slain and that the 
Swiss are free once more. 

The storm breaks, and as if to an- 
...unce Uberty to Switzerland the sun 
bursts forth, revealing the glittering, snowy 

Kk* of the Alp* in all their ' 
uly. An invocation to Ffeedor 
from every throat: 


Thee, oh" pUddoin. io"way ™h hei 
Thou gsT'st^ lu poni'r to tlrike and e 


/Overture. Part I— At Dawn By VictorConccrt Orchestral ..bk ,n • v .»»> 
lOverture. Part II— The Storm By Victor Concert Orchestrsf"®" lO-mcH. »0.85 
/Overture, Part III— The Calm 
lOverture. Part IV— Finale 

Overture. Part 1 sod Part II By Pryor's Band I63S0 lO-inch. 

Overture, Part III and Part IV 

Overture. Part I and Part II 

Overture. Part III and Part IV 

Ballet Music, Part I and Part II 

r 'ilium TeU Pantasic Xylophont 
Omaia Intamtzzo (Hartx) Banjo 
{Accotirs dam ma nacelle— Barcarola (Coihe. Love. In My 1 
Boat) By M. Retfis, Tenor ^^ (In FrewJijUsOlfc Ituioch. I.OO 

Asile bereditaire (Blessed Abode) Byi^^^Bcyl* (^"nch)) 

By Pryiw' 

Band 16381 



By Pryor- 

Band 39110 



By Pryor- 

Band 39121 



By Pryor' 

Band 39042 



By Wm. H. ReitB\,_,_- 



Milan. 1900. Fir« American production al , _ . . 

at the New Tivoli, San Franciaco, under tKe direction of Leoncavallo himaelf. 


ZAZA A conceit hall anger 

NATAUE Zaa'* maid 

MlUO IXIFRESNE A wealthy Pariiian 


CASCART .A concert hall sinser 

BUZZY A ioumaJiat 

Acton, Singers, Dancers, Scene Shifters, Firemen, Property Men, etc. 

Tffflc and Pime ; Paris ; tht praenl time 

Zaza has had some aueceas in London, Paria and Berlin, but has never been given in 
New York, although several Zaza exceir^ were given at the Leoncavallo concerts in 1906, 
when the composer visited America. The story <■ quite familiar to American audiences, 
however, through the performances of the play of that name. 

The rising curtain discloses a stage set in two sectioni, al one side the dresnng room of 
Zaza, and at the other end a itnge setting, Zaza, a concert hall singer, is in love with 
Dufrant, and boasts to Buoy, the journalist that she will have his love in return. She 
exerts all her charms, and Da/iane finally fulls in love with the fascinating singer. 

The second act takei place in the reception room of Zazo's house. Dufrane tells Zaxa 
that he must go to Paris at once on business. Gisrarf. an old lover of Zaza'i, enters and 
hints that Dafntnt may have other reasons for the trip, and speaks of seeing him in Paris 
with another woman. Zaza'i jealousy is aroused, and she follows him. 

The third act shows a room in Dufrant'i house in Paris. Zaxa enters, accompanied by 
her maid, and, discovering a letter addressed to Signora Dufrant, she realizes that he is 
married. His little girls enter, and iinally Signora Dafrant herself, who gazea with astonish' 
It the visitor. Zaia merely says she has made a mistake in the house and goes away. 
The scene of the last act is again Zaie'i 
house in the suburbs. CoKorl, who has 
learned of the singer's visit to Paris, pleads 
with her to give up Dufrttat, but she only 
laughs at the suggestion. Caacari leaves and 
Dafrant is announced. He greets Zaza in 
the old atfectionate way. but she informs 
him she knows of his marriage, but that she 
forgives his deception. She declares she has 
told Signora Dufrane of their intimacy, and in 
a rage he curses her. She then sends him 
away, crying that she is cured of her love, 
after assuring him that her first story was 
untrue, and that Signora Dafrane really knows 
nothing of the affair. 

Buona Zaza. del mio buon tempo 

By Titta RuCfo, Baritone 

{In Italian) 87114 lO-inch, tl.OO 

Zaz», piccola zingara (Zaza, 
Little Gypay) 

By Titta Ruffo, Baritone 

(In Italian) 87125 1 0- inch. 1 1.00 


3 bins ODl S7-i t!t 



SEP 2 ! »«