quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
the metropolitan opera house	165
for the first time	142
at the same time	132
one of the most	107
the close of the	93
the academy of music	93
the end of the	89
on the other hand	87
at the metropolitan opera	83
the whole of the	78
at the end of	77
in the second act	72
for the sake of	67
the royal italian opera	63
at the close of	62
the music of the	60
the rest of the	58
is one of the	57
of the metropolitan opera	57
the middle of the	56
in the course of	55
the beginning of the	55
on the part of	54
in spite of the	53
in the first act	52
it was not until	52
in the midst of	52
the story of the	51
the part of the	51
in the middle of	50
seems to have been	47
as a matter of	47
for the most part	46
in the last act	45
the opening of the	44
a great deal of	43
in the third act	43
in the presence of	42
it would have been	42
of the first act	42
a good deal of	41
at the academy of	40
was one of the	40
of the second act	39
and it was not	39
the first time in	39
from time to time	39
a life for the	39
life for the tsar	39
that is to say	38
on the point of	37
in the history of	36
the scene of the	35
in the case of	35
of the eighteenth century	33
of the nineteenth century	32
in the united states	32
the angel of music	32
the fact that the	31
as if he were	31
of the third act	31
at the beginning of	30
for the purpose of	30
at the time of	29
the character of the	29
on the subject of	29
the conclusion of the	29
the door of the	28
the name of the	28
the presence of the	28
a matter of fact	27
the first act of	27
to be found in	27
in a tone of	27
in the way of	27
in consequence of the	27
falls on the gods	27
that it would be	27
night falls on the	27
the history of the	26
on the other side	26
and at the same	26
by the fact that	26
under the direction of	26
in spite of his	26
of the sixteenth century	26
of the opera house	25
of one of the	25
in the shape of	25
in front of the	25
the use of the	25
the time of the	25
to the fact that	25
in the hands of	25
i should like to	24
in the first place	24
the other side of	24
the history of opera	24
it seems to me	24
the second act of	24
it is impossible to	23
a member of the	23
the directors of the	23
of the music of	23
with the exception of	23
the latter part of	23
as if she were	23
as if he had	23
astor place opera house	23
it is true that	23
it is difficult to	23
as well as the	23
which was produced in	22
at the conclusion of	22
the astor place opera	22
the manhattan opera house	22
that he did not	22
the success of the	22
the manager of the	22
into the hands of	22
the director of the	22
opera in new york	21
it was impossible to	21
of the lyric drama	21
the first performance of	21
as we have seen	21
under the influence of	21
of the new york	21
in the eyes of	20
so far as the	20
the last act of	20
on the occasion of	20
the spirit of the	20
the course of the	20
there is not a	20
the development of the	20
in the habit of	20
the members of the	20
with a view to	20
in the music of	20
of tristan und isolde	20
the back of the	19
in the direction of	19
the edge of the	19
that it was not	19
to the effect that	19
i am going to	19
as if she had	19
she did not know	19
of the academy of	19
other side of the	19
members of the company	19
in the hope of	19
a quarter of a	19
the influence of the	19
the sake of the	19
in the spring of	19
nothing to do with	19
the hands of the	19
as soon as he	18
the vicomte de chagny	18
of the royal italian	18
came to new york	18
in the autumn of	18
the house on the	18
out of the window	18
house on the lake	18
from beginning to end	18
in the form of	18
at the royal italian	18
and some of the	18
as one of the	18
on the opening night	18
in the part of	18
on the night of	17
be found in the	17
the early part of	17
and there was a	17
of the italian opera	17
a work of art	17
the maid of pskov	17
that there was no	17
the dusk of the	17
the action of the	17
in the character of	17
in the fourth act	17
in connection with the	17
after the production of	17
the subject of the	17
for a long time	17
for the benefit of	17
was not at all	17
at the moment when	17
in the style of	17
does not seem to	17
as well as in	17
a part of the	16
at the maryinsky theatre	16
to do with it	16
that she was not	16
was by no means	16
in a low voice	16
on the one hand	16
in the service of	16
it must have been	16
the manner in which	16
and in a few	16
of the fact that	16
on the ground that	16
of the opera is	16
the private opera company	16
much of the music	16
of the opera was	16
il barbiere di siviglia	16
as if it were	16
of the last act	16
is not to be	16
performed for the first	16
dusk of the gods	16
in one of the	16
quarter of a century	16
on to the stage	16
put an end to	16
the music of this	16
if he had not	16
to go to the	16
for its own sake	15
in the name of	15
at the court of	15
close of the season	15
it would be a	15
the cellars of the	15
for the last time	15
the scene is laid	15
the author of the	15
the history of russian	15
that he was not	15
to do with the	15
to be able to	15
the fact that it	15
on account of the	15
is by no means	15
be said to have	15
the service of the	15
by one of the	15
the fall of the	15
as soon as the	15
it was in the	15
at the foot of	15
and that he had	15
the first time that	15
of the music is	15
it was not the	15
la pietra del paragone	15
in order that the	15
the patrons of the	15
a portion of the	15
the corner of the	15
on the evening of	15
in the works of	15
i and the missus	15
the daughter of the	15
at the age of	15
that he had been	15
that she had been	15
a matter of course	15
i do not think	15
that it was a	14
it is not a	14
at the manhattan opera	14
the meaning of the	14
the nature of the	14
at the head of	14
was the work of	14
and there was no	14
one of the first	14
out of the way	14
the repertory of the	14
that he was a	14
the whole of my	14
that it should be	14
but it was not	14
to the conclusion that	14
of the present day	14
un ballo in maschera	14
royal italian opera company	14
the production of the	14
the third act of	14
the stockholders of the	14
opera first performance times	14
but it is not	14
under the title of	14
with regard to the	14
he was going to	14
to have been a	14
in keeping with the	14
was the first to	14
the eyes of the	14
the remainder of the	14
in the manner of	14
was not until the	14
to take part in	14
history of russian opera	14
in the season of	14
in the matter of	14
the greater part of	14
at the expense of	14
was a man of	14
in a life for	13
the composer of the	13
what do you mean	13
of the most popular	13
the commissary of police	13
the effect of the	13
in some of the	13
of the opera in	13
there was not a	13
at the present time	13
was on the point	13
it is to be	13
the first of these	13
in love with her	13
may be said to	13
at the bottom of	13
people of new york	13
in addition to the	13
to say that he	13
the scene in which	13
night of the season	13
metropolitan opera house on	13
at one of the	13
in which he had	13
the first of the	13
it is easy to	13
in the minds of	13
with the intention of	13
cellars of the opera	13
in the early part	13
it is certain that	13
the appearance of the	13
the words of the	13
opera at the metropolitan	13
was performed for the	13
i beg your pardon	13
the attention of the	13
to have been the	13
so far as i	13
about this time i	13
as i have said	13
to the end of	12
i want you to	12
close of the first	12
in the world of	12
of the work is	12
that he would not	12
told me that he	12
it would not be	12
take the trouble to	12
the song of the	12
in order to make	12
latter part of the	12
in the scene of	12
the course of a	12
from a photograph by	12
went back to the	12
the interior of the	12
and it was only	12
from the fact that	12
sing the part of	12
of a man who	12
to get rid of	12
the first part of	12
the head of the	12
is not easy to	12
i do not know	12
the form of a	12
the bottom of the	12
in the art of	12
of some of the	12
and it is not	12
has nothing to do	12
of the nature of	12
the style of the	12
to one of the	12
that he could not	12
on the day of	12
the act ends with	12
of the seventeenth century	12
he was a man	12
face to face with	12
the foyer of the	12
the th day of	12
the barber of seville	12
by the private opera	12
there can be no	12
it was the first	12
the first time at	12
if she had not	12
as that of the	12
not seem to have	12
as if they were	12
by the side of	12
that he had a	12
and one of the	12
that it might be	11
but he did not	11
two or three times	11
musical critic of the	11
on the grand tier	11
under the management of	11
that there is no	11
the details of the	11
the queen of spades	11
the banks of the	11
was at that time	11
did not wish to	11
the hero of the	11
the midst of the	11
for the production of	11
is said to have	11
this was followed by	11
woman of the world	11
the works of the	11
the sound of the	11
in spite of herself	11
he seems to have	11
me that he had	11
in the eighteenth century	11
jongleur de notre dame	11
he did not know	11
had been in the	11
the commencement of the	11
would not have been	11
had the honour of	11
the brothers de reszke	11
at the moment of	11
in the development of	11
the shape of a	11
season at the metropolitan	11
of italian opera in	11
said to have been	11
the first scene of	11
the life of the	11
in the time of	11
for the season of	11
of which he was	11
about this time the	11
of the queen of	11
of the fifteenth century	11
it is in the	11
i tell you that	11
crispino e la comare	11
the house was crowded	11
in the next act	11
the composition of the	11
that she did not	11
the direction of the	11
at a salary of	11
the excellence of the	11
the people of new	11
under the name of	11
a few years ago	11
i was obliged to	11
of a life for	11
the history of music	11
the night of the	11
with some of the	11
directors of the metropolitan	11
had nothing to do	11
of the rhine gold	11
was produced at the	11
the foot of the	11
the floor of the	11
the depths of the	11
the shadow of the	11
the opera ends with	11
le nozze di figaro	11
at the hands of	11
the finale of the	11
was one of those	11
and that he was	11
at the back of	11
scene is laid in	11
she was sure that	11
it would be difficult	11
for the use of	11
and she did not	11
but she did not	11
it has been said	11
it is not easy	11
in front of him	11
there is no reason	11
his treatment of the	11
in one of his	11
made up his mind	11
a few of the	11
of the opera ghost	11
of the king of	11
seems to me that	10
for the rest of	10
and that it was	10
for a few minutes	10
about the middle of	10
that there was nothing	10
the importance of the	10
she felt that she	10
who had come to	10
on his way to	10
would have been a	10
there would have been	10
he did not even	10
so far as to	10
foyer of the ballet	10
as if nothing had	10
the evening of the	10
and the fact that	10
that it is a	10
if he had been	10
and most of the	10
was followed by a	10
the attitude of the	10
he was one of	10
the melody of the	10
to a certain extent	10
some two or three	10
the date of the	10
the idea of the	10
the italian and french	10
before the end of	10
in a position to	10
my london season of	10
as far as possible	10
the occupants of the	10
from head to foot	10
and in spite of	10
as soon as it	10
was supposed to be	10
to be in the	10
the maid of orleans	10
before the close of	10
until the end of	10
other members of the	10
at the time when	10
if nothing had happened	10
the traditions of the	10
ring of the nibelung	10
at the request of	10
the first time on	10
to sing the part	10
from first to last	10
of night falls on	10
the end of a	10
in order to get	10
with a sort of	10
to the production of	10
did not know that	10
that he is not	10
it for granted that	10
some three or four	10
could not fail to	10
quarter of an hour	10
metropolitan opera house in	10
there is no one	10
the taste of the	10
the hands of a	10
that he had not	10
by reason of the	10
in a state of	10
the performance of the	10
with the help of	10
is to be found	10
it must be admitted	10
the story of his	10
is no reason why	10
for a few moments	10
have been able to	10
of the history of	10
to go through the	10
in a fit of	10
as a means of	10
the legend of the	10
in view of the	10
the same time the	10
greater part of the	10
to say that the	10
to the accompaniment of	10
i have never seen	10
first half of the	10
one of the finest	10
he would have been	10
the production of his	10
the work of a	10
if it had been	10
that it is not	10
he had not been	10
of music in the	10
the metropolitan opera company	10
out of the question	10
the end of his	10
the ring of the	10
the prince of wales	10
in the present day	10
looked at each other	10
in the field of	10
for a season of	10
at the door of	10
felt that she was	10
of the imperial opera	10
both sides of the	10
it is not the	10
would be difficult to	10
is a work of	10
he told me that	10
at the rate of	10
was to be a	10
in the days of	10
by the entrance of	10
in so far as	10
that he would have	9
in a great measure	9
come down to us	9
the fact that he	9
it is interesting to	9
on the stage at	9
as has already been	9
fact that it was	9
in favour of the	9
by the aid of	9
as if i were	9
the key of the	9
he was in the	9
metropolitan opera house was	9
the art of the	9
on the second night	9
the body of the	9
seem to have been	9
in common with the	9
it is hard to	9
the opening scene of	9
it was to be	9
to take care of	9
over and over again	9
one of the best	9
that it had been	9
it is not surprising	9
i thought it was	9
in the fifteenth century	9
at the very moment	9
he was able to	9
on both sides of	9
from floor to ceiling	9
and the opera ends	9
that it was the	9
the first and second	9
that she could not	9
in the repertory of	9
tells the story of	9
first performance of the	9
the interest of the	9
the count di luna	9
in the score of	9
held out her hand	9
the rising of the	9
on her way to	9
when it was first	9
to the commencement of	9
end of the season	9
it may be that	9
at the present day	9
mean to say that	9
rosy hours of mazenderan	9
in the same way	9
who had been a	9
in order to give	9
the spirit in which	9
in order that i	9
but it is a	9
in the third cellar	9
takes place in the	9
academy of music in	9
a man who has	9
the new york season	9
in a few minutes	9
but there is no	9
the second act is	9
from the time of	9
with which he had	9
to look at the	9
opera on the subject	9
to carry her off	9
the death of the	9
as soon as she	9
to new york in	9
one of his most	9
a few years later	9
the aid of the	9
it would be better	9
there was a little	9
you mean to say	9
sense of the word	9
portion of the audience	9
it is full of	9
to the extent of	9
to get out of	9
on the morning of	9
the scene in the	9
at the turkish embassy	9
what do you think	9
the soul of the	9
did not occur to	9
there was no reason	9
the roi de lahore	9
it is said that	9
the imperial opera house	9
we find in the	9
the walls of the	9
as we have already	9
in due course the	9
if she had been	9
different from that of	9
all intents and purposes	9
began on november th	9
from that of the	9
she was going to	9
the duke of edinburgh	9
a whole series of	9
in the person of	9
in a series of	9
said that he was	9
and it was a	9
there had been a	9
has been said that	9
up his mind to	9
the leader of the	9
was a good deal	9
some idea of the	9
with a performance of	9
in a letter to	9
a certain amount of	9
should like to know	9
on the stage and	9
that part of the	9
the arrival of the	9
was in love with	9
made the acquaintance of	9
the production of a	9
been a member of	9
close of the opera	9
scene from the roi	9
season of italian opera	9
in accordance with the	9
the voice of the	9
raoul and the persian	9
at the level of	9
that there was a	9
was to have been	9
on the verge of	9
by means of a	9
if i did not	9
one of the great	9
in a sort of	9
is interrupted by the	9
in the next room	9
no one in the	9
there was no one	9
of the composer of	9
by reason of its	9
as a work of	9
we have already seen	9
and that he would	9
in which it is	9
the way in which	9
took place in the	9
to me that the	9
all the rest of	9
an account of the	9
the very moment when	9
from the roi de	9
to all intents and	9
it was found that	9
falls in love with	9
and he was not	9
the first half of	9
the rosy hours of	9
the threshold of the	9
the failure of the	9
the expression of the	9
to the prima donna	8
in the following year	8
new york in the	8
the names of the	8
box five on the	8
little more than a	8
did not care to	8
of the same kind	8
five on the grand	8
the world of music	8
was looked upon as	8
was performed at the	8
on the death of	8
the patriarch of constantinople	8
but he could not	8
that in spite of	8
which he did not	8
it used to be	8
crowded from floor to	8
the benefit of the	8
was in the habit	8
part of the work	8
that there is a	8
the first time i	8
to believe that the	8
of no use to	8
and many of the	8
in the opera of	8
le jongleur de notre	8
the royal academy of	8
was no reason why	8
to give up the	8
the fact that she	8
the manner of the	8
a night in may	8
as a composer of	8
with which it is	8
not in the least	8
the london season of	8
is due to the	8
in new york on	8
royal academy of music	8
as if it had	8
though he did not	8
the case of the	8
since the days of	8
to listen to the	8
he was in love	8
what he had said	8
so that it was	8
to tell the truth	8
in the face of	8
the dance of the	8
opening of the doors	8
the arms of the	8
it did not occur	8
prior to the commencement	8
the front of the	8
in the operas of	8
on each side of	8
by a number of	8
the events of the	8
the comte de chagny	8
the doors of the	8
and it is a	8
there was nothing to	8
get out of the	8
with the assistance of	8
so as not to	8
attention to the fact	8
may be called the	8
at the last moment	8
as long as you	8
a quarter of an	8
the midst of a	8
at the opera house	8
which was to be	8
than that of the	8
to me to be	8
she knew that she	8
the orchestra of the	8
in a few moments	8
of the city of	8
the truth is that	8
is a matter of	8
the point of view	8
just in time to	8
its place in the	8
of the art of	8
which might have been	8
in a manner which	8
musical point of view	8
in a low tone	8
the hearts of the	8
the form of the	8
and looked at her	8
as well as i	8
given for the first	8
not been able to	8
but he had not	8
took place at the	8
something to do with	8
in his treatment of	8
to believe that he	8
the day of the	8
in the cellars of	8
there was to be	8
years of his life	8
explained to me that	8
was quite sure that	8
the place of the	8
as much as i	8
the construction of the	8
of the prima donna	8
did not mean to	8
merry wives of windsor	8
in the first scene	8
the last of the	8
a certain number of	8
by the author of	8
far as i know	8
was not to be	8
was given for the	8
within the scope of	8
to come to the	8
academy of music and	8
of the stone guest	8
in the first instance	8
towards the close of	8
fall in love with	8
saw that he was	8
did not seem to	8
there is some one	8
in the story of	8
the opera in the	8
there is very little	8
of ivan the terrible	8
of the rosy hours	8
towards the end of	8
appears to have been	8
nothing of the kind	8
are to be found	8
by means of the	8
the earl of dudley	8
scene in which the	8
what may be called	8
will have to be	8
saw that it was	8
order that i might	8
was called upon to	8
the second act the	8
of the orthodox church	8
in such a way	8
it is not necessary	8
and the act ends	8
as far as i	8
by the light of	8
might have been expected	8
it was clear that	8
history of opera in	8
in the prison scene	8
story of the opera	8
the same time to	8
after the first act	8
the second night of	8
the fourth act of	8
she turned her head	8
a large part of	8
so much the better	8
the new metropolitan opera	8
as well as to	8
from the pen of	8
it is possible to	8
an opera on the	8
on the back of	8
may be found in	8
of the flying dutchman	8
half of the nineteenth	8
to the rest of	8
director of the opera	8
it seemed as if	8
that he is the	8
as a kind of	8
in the words of	8
was a member of	8
the tale of the	8
when he came to	8
it was easy to	8
there seems to be	8
in the summer of	8
the son of a	8
to think that he	8
and i had to	8
the work of the	8
in the expression of	8
the side of the	8
to do but to	8
in the seventeenth century	8
to be regarded as	8
the secret of the	8
as soon as i	8
held out his hand	8
on the edge of	8
a great part of	8
of the season was	8
the management of the	8
there is only one	8
of life and death	8
go down to the	8
i says to the	8
and i do not	8
the invention of the	8
the queen of night	8
that she had not	8
when he was in	8
heard in new york	8
with that of the	8
the final scene of	8
of the astor place	7
in the open air	7
to enable him to	7
late in the afternoon	7
on the th december	7
he was unable to	7
but it would be	7
do you think i	7
there are passages in	7
to the history of	7
it has already been	7
to the study of	7
it was on the	7
brought to new york	7
of the story of	7
and the whole of	7
he was on the	7
van torp did not	7
and it would be	7
at the imperial opera	7
the fact that in	7
the closing years of	7
the surface of the	7
for which he had	7
cast was as follows	7
had not yet been	7
some of the most	7
in the new york	7
to say that it	7
at the top of	7
of a series of	7
took part in the	7
on the lyric stage	7
fall of the curtain	7
so far as it	7
would be hard to	7
when he was a	7
they were in the	7
there was something in	7
that the prima donna	7
in the stone guest	7
of the fifteenth and	7
the departure of the	7
the last act is	7
it must be remembered	7
the services of the	7
the influence of wagner	7
le vicomte de chagny	7
of the most beautiful	7
there is nothing in	7
it might have been	7
the man who had	7
they looked at each	7
first appearance in england	7
was that of the	7
it would be very	7
the people of the	7
as much as possible	7
large sum of money	7
in which i was	7
season at the academy	7
and the music of	7
of which it is	7
of the madrigal drama	7
to the opening of	7
so long as it	7
in spite of all	7
for a few seconds	7
the operas of the	7
i have said that	7
taming of the shrew	7
by a series of	7
in a moment of	7
was given at the	7
she had not been	7
with the following cast	7
that sort of thing	7
which we find in	7
the exception of the	7
the founder of the	7
had the effect of	7
the will to live	7
the last thirty years	7
it is a matter	7
of the old school	7
lady maud did not	7
during the latter part	7
of opera in the	7
in the depths of	7
much of it is	7
first scene of the	7
and some of them	7
of the music and	7
the beauty of the	7
the music of a	7
it was not a	7
parts of the work	7
for a moment to	7
work as a whole	7
of the human voice	7
scene of the opera	7
bad for the voice	7
the help of the	7
the title of the	7
it could not be	7
from the beginning of	7
i at the same	7
the return of the	7
once more to the	7
the court of mantua	7
of the romantic school	7
in the event of	7
must be admitted that	7
the thought of the	7
of the rest of	7
the face of the	7
in the middle ages	7
and he did not	7
on the text and	7
in love with the	7
weeks of the season	7
as margherita in faust	7
it was true that	7
the new york public	7
she said at last	7
of the season of	7
the opera was produced	7
on one of the	7
and looked at him	7
rising of the curtain	7
return to new york	7
the motive of the	7
of the san carlo	7
had its first performance	7
and there is no	7
the language of the	7
i have already said	7
as well as a	7
could not have been	7
turned out to be	7
of the death of	7
that she was a	7
in which he was	7
which can only be	7
in order that he	7
part of the audience	7
the whole story of	7
a very short time	7
going on the stage	7
there is a good	7
the level of the	7
to carry out the	7
in the use of	7
of many of the	7
of the story is	7
one of the greatest	7
i shall never forget	7
reason to believe that	7
the way to the	7
found it necessary to	7
came to an end	7
is not surprising that	7
nothing to say to	7
act takes place in	7
at a time when	7
part of the opera	7
thing in the world	7
the stage of the	7
did not know what	7
it was as though	7
it would not have	7
it may have been	7
that i had to	7
to write an opera	7
to any one who	7
on the stage in	7
as if they had	7
there was no doubt	7
when we come to	7
by the production of	7
and it was with	7
to the memory of	7
was the first time	7
she looked at him	7
early part of the	7
that it did not	7
at the feet of	7
the heads of the	7
in the academy of	7
is a man of	7
one of the very	7
in regard to the	7
house in new york	7
ten thousand a year	7
director of the imperial	7
brought up in the	7
there is nothing to	7
had something to do	7
say that i am	7
the last scene of	7
after the manner of	7
was not quite sure	7
she held out her	7
to the rank of	7
what he was doing	7
she was a little	7
the early years of	7
in the beginning of	7
the brilliancy of the	7
was performed in london	7
the maryinsky theatre in	7
he was born in	7
and the rest of	7
be accounted for by	7
of the man who	7
as time went on	7
when she came to	7
the light of the	7
and it is the	7
would be better to	7
in spite of its	7
not know that he	7
one and the same	7
success of the opera	7
that he was going	7
he had been a	7
i had to pay	7
in the streets of	7
of the production of	7
was so great that	7
taken the trouble to	7
much to do with	7
been heard in new	7
seemed to have been	7
with the aid of	7
out to be a	7
sides of the atlantic	7
but there is a	7
it must not be	7
manner in which he	7
scene of the third	7
leaned back in her	7
the worst of it	7
of the love of	7
the termination of the	7
looked out of the	7
close of the performance	7
to the level of	7
he seemed to have	7
if they had been	7
the corps de ballet	7
little madame de rosa	7
of the school of	7
at the thought of	7
of the members of	7
the new opera house	7
for a period of	7
in the opposite direction	7
of opera in new	7
side by side with	7
turns out to be	7
italian opera at the	7
i was informed that	7
and looked at his	7
but he was not	7
as we shall see	7
on the threshold of	7
in the principal parts	7
one of the few	7
in the last scene	7
first act of the	7
at the san carlo	7
in the foyer of	7
there is scarcely a	7
sat down on the	7
in the fact that	7
private opera company at	7
the secretary of the	7
stockholders of the academy	7
at the sound of	7
on the th of	7
as in the case	7
was brought out at	7
the very essence of	7
the stage at the	7
the rest of it	7
the scene at the	7
tell the story of	6
he had been in	6
there will always be	6
the new york academy	6
of the state of	6
only one of the	6
and as it was	6
with the prima donna	6
was out of sight	6
in the hearts of	6
eyes fixed on the	6
the presence of a	6
captive in the caucasus	6
at the root of	6
effected her entrance on	6
in honour of the	6
il turco in italia	6
de duchi de cirella	6
produced by the private	6
two or three weeks	6
but she was a	6
the board of directors	6
in the nature of	6
the prima donna of	6
we have seen that	6
looked at his watch	6
gonzaga de duchi de	6
that they were not	6
a great deal more	6
not go to the	6
there could be no	6
opera and real estate	6
there was a great	6
after the opening of	6
the making of a	6
as the composer of	6
the disappearance of the	6
the direction of mr	6
not the first time	6
out of the house	6
the first time since	6
at the prospect of	6
to do justice to	6
the libretto is a	6
that he has not	6
each side of the	6
in the highest degree	6
about this time a	6
the strength of the	6
if he did not	6
the applause of the	6
told me that she	6
of the ring is	6
the work at the	6
with a degree of	6
the roof of the	6
character of the music	6
of the season i	6
in the same year	6
be unable to appear	6
with the idea of	6
anything to do with	6
going to be a	6
is based upon a	6
in the spirit of	6
a man who is	6
a score of years	6
conceived the idea of	6
a performance of the	6
observations on the text	6
alfonso catalano gonzaga de	6
in new york and	6
on the operatic stage	6
catalano gonzaga de duchi	6
she came to the	6
she had seen him	6
of the first scene	6
the time of his	6
to be at the	6
his eyes on the	6
it was with the	6
on the bank of	6
it would be useless	6
about the same time	6
margaret looked at him	6
we were going to	6
the receipts for the	6
she told me that	6
the first performance took	6
the methods of the	6
history of russian music	6
was to take place	6
of the first performance	6
attracted the attention of	6
he held out his	6
of the first order	6
in the hope that	6
way out of the	6
arrival in new york	6
the more or less	6
the minister of fine	6
the success of his	6
seems to be the	6
it is necessary to	6
be said to be	6
in his later works	6
without so much as	6
been one of the	6
there is no such	6
the day after the	6
the son of the	6
the moment when the	6
the plot of the	6
do you know that	6
the text and music	6
the spectacle of a	6
all of a sudden	6
the same as that	6
for the time being	6
the door of her	6
by the use of	6
early the following morning	6
and there was the	6
in the affections of	6
of the angel of	6
the loss of his	6
take part in the	6
in order to keep	6
i will tell you	6
of the scene in	6
it is founded upon	6
the fires of loki	6
are not to be	6
he came to new	6
is laid in a	6
the hall of the	6
members of my company	6
and seemed to be	6
private opera company in	6
in the world to	6
the genius of the	6
that he was very	6
the paris opera house	6
the fact that there	6
the length of the	6
opera in the united	6
nowhere to be found	6
the third act the	6
the other members of	6
and it was the	6
received a telegram from	6
when the house was	6
to my great astonishment	6
it would be hard	6
it would be impossible	6
in their own country	6
as much as the	6
all the way from	6
it is probable that	6
of the influence of	6
of the most important	6
of the first representation	6
to such an extent	6
the days of the	6
come to new york	6
the absence of the	6
the concerts of the	6
at the sight of	6
of the philharmonic society	6
i went to the	6
was the son of	6
been brought up in	6
throughout the whole of	6
the memory of the	6
that she was in	6
and looked at the	6
would be unable to	6
in the first season	6
as soon as possible	6
for a moment that	6
the first appearance of	6
out into the world	6
he is about to	6
of a century ago	6
in order to have	6
the growth of the	6
the destruction of the	6
vicomte raoul de chagny	6
who do not know	6
of the works of	6
on their way to	6
and that is the	6
was a sort of	6
as it was in	6
of italian opera at	6
on the eve of	6
in the second scene	6
the top of his	6
with the whole of	6
he seemed to be	6
have a right to	6
county of san francisco	6
performance took place on	6
there would be no	6
in order to be	6
at covent garden in	6
the building of the	6
in new york in	6
which she was to	6
way in which the	6
to those who have	6
give me back my	6
under the impression that	6
of a national opera	6
which took place on	6
and the music is	6
those who have not	6
to go into the	6
to put up with	6
was at an end	6
but there was no	6
the home of the	6
of the grand opera	6
and in due course	6
in the opinion of	6
the people in the	6
as there was no	6
the morning of the	6
the steps of the	6
does not mean that	6
subject of the opera	6
i do not mean	6
to make up for	6
the present state of	6
he replied that he	6
did not look at	6
the story of a	6
resist the temptation to	6
through the medium of	6
treatment of the orchestra	6
th day of february	6
point of view of	6
he was not a	6
to new york and	6
in the absence of	6
the work as a	6
it will be found	6
be looked upon as	6
to the door of	6
and she sat down	6
for the fact that	6
one of the singers	6
with the story of	6
in the sense that	6
the second act begins	6
two or three years	6
he was not the	6
in order to avoid	6
and in the end	6
soon as he was	6
on the steps of	6
the prices of admission	6
i told him that	6
and i could not	6
in his earlier works	6
the essence of the	6
her way to the	6
it was a little	6
after the second act	6
act of la traviata	6
closing years of the	6
not one of them	6
house was crowded from	6
that i had been	6
the library of the	6
to the delight of	6
that she had a	6
opera house in new	6
patrons of the metropolitan	6
in the annals of	6
that she was going	6
the fate of the	6
as it is to	6
sure that she was	6
there would be a	6
great deal of the	6
to a great extent	6
sprang to her feet	6
may say what you	6
interrupted by the entrance	6
an echo of the	6
the lips of the	6
will be able to	6
the climax of the	6
of the maid of	6
the heart of the	6
she seemed to be	6
in the memory of	6
the rest of his	6
i was enabled to	6
heard in the distance	6
eyes for a moment	6
to appear at the	6
that of any other	6
that she is the	6
at the astor place	6
by the appearance of	6
in the latter part	6
on the conclusion of	6
i should have been	6
he was very much	6
and left the room	6
the impression that he	6
the top of her	6
that they did not	6
of which we have	6
which she did not	6
the result of the	6
first performance times given	6
of the same year	6
in time for the	6
the back of his	6
a copy of the	6
it is one of	6
scene of the second	6
at that time the	6
be called upon to	6
come to an end	6
an end to his	6
critic of the new	6
in the pages of	6
one in the room	6
there is no doubt	6
by which they are	6
as i have already	6
opera company at moscow	6
in the second place	6
to the taste of	6
before the opening of	6
back of the stage	6
de chagny and i	6
the carl rosa company	6
his first appearance in	6
the new russian school	6
in the following words	6
becoming more and more	6
in which they were	6
at the risk of	6
and all the rest	6
metropolitan opera and real	6
by no means the	6
of the court opera	6
out in the kitchen	6
act of the opera	6
it seemed to me	6
to the music of	6
the incident of the	6
with the rest of	6
the introduction of the	6
he would not have	6
and the brothers de	6
that he was in	6
and for the first	6
that he had the	6
that i should have	6
the sound of his	6
it would be more	6
the italian opera house	6
in a way that	6
the music allotted to	6
in which she was	6
the occasion of the	6
of the man in	6
if i had not	6
at that time in	6
into a state of	6
the light of day	6
she had made a	6
i am sure that	6
the lyric drama of	6
was made up of	6
of what he had	6
it is evident that	6
i have never been	6
is heard in the	6
to be the only	6
a vast amount of	6
the same time a	6
at the present moment	6
london and new york	6
of the middle ages	6
first performance took place	6
at the disposal of	6
the creation of a	6
on the banks of	6
it would seem that	6
of the italian school	6
the eyes of a	6
on his knees before	6
if she did not	6
by the carl rosa	6
and a good deal	6
of the best of	6
and i am not	6
to put an end	6
it was a great	6
which is to be	6
i had the honour	6
hall of the gibichungs	6
and that she was	6
he is not a	6
season at covent garden	6
is no one there	6
use of the voice	6
a large number of	6
but i want to	6
with the greatest possible	6
to the middle of	6
after the conclusion of	6
the fact that his	6
and there is a	6
it is the same	6
is in love with	6
cricket on the hearth	6
may be said of	6
the first act was	6
and one or two	6
is a good deal	6
the whole of this	6
in which the whole	6
he had never seen	6
this is not the	6
the king of the	6
in the preceding season	6
for the privilege of	6
but on the whole	6
for a little while	6
at the same moment	6
but it does not	6
in the library of	6
had much to do	6
i was in the	6
minister of fine arts	6
the affections of the	6
the foundation of the	6
what kind of a	6
but they do not	6
and in the course	6
and the sound of	6
in the opening scene	6
was going to be	6
of the human race	6
as soon as they	6
his way to the	6
in spite of their	6
to go down to	6
in which it was	6
that he must be	6
to the sound of	6
found its way to	6
first time at the	6
to the operatic stage	6
it was here that	6
would certainly not have	6
did not think it	6
him to return to	6
of the chicago opera	6
has already been mentioned	6
in order to show	6
and real estate company	6
the representatives of the	6
to return to the	6
the end of this	6
be regarded as a	6
looked upon as a	6
than that of any	6
had been heard in	6
for the next season	6
to go back to	6
was more or less	6
was late in the	6
made her first appearance	6
to those who are	6
it was no longer	6
that if he had	6
the opera is a	6
it will be remembered	6
said that he had	6
the last few years	6
the power of the	6
may have had something	5
of the concerts of	5
one of the concerts	5
to look at it	5
the fact that a	5
soon as it was	5
there was not the	5
the subject of a	5
a moment later she	5
prior to the opening	5
the dramatic element in	5
that it would not	5
it had been announced	5
were at that time	5
there is no other	5
to new york by	5
the first act is	5
which had to be	5
some of the singers	5
the period of the	5
of the first part	5
had charge of the	5
it must be a	5
translated from the french	5
close of the sixteenth	5
man in the world	5
action of the piece	5
on the floor of	5
with a sense of	5
took place on the	5
the regular subscription season	5
and is about to	5
up and down the	5
that it would have	5
part of the heroine	5
it is obvious that	5
it is a fact	5
ought not to be	5
the existence of a	5
will be found in	5
meeting of the lovers	5
produced in paris in	5
there is to be	5
the art of music	5
had no intention of	5
it may well be	5
is that of a	5
the top of the	5
managers of the opera	5
at the climax of	5
new york on the	5
the appearance of a	5
the opera in which	5
by reason of their	5
on that of the	5
the toilettes of the	5
she was one of	5
the plan of the	5
of such a thing	5
and he could not	5
author of the gentle	5
of a number of	5
a great number of	5
we do not know	5
he came to the	5
opera house in the	5
quarters of an hour	5
at some of the	5
in the earlier work	5
but on the other	5
went to see him	5
the influence of a	5
for him to sing	5
be out of place	5
it was only with	5
to the care of	5
the minds of those	5
at the opening of	5
fell into the hands	5
composer of the day	5
he was the only	5
the first time the	5
the man in the	5
to the number of	5
in the front of	5
the world of opera	5
in the preparation of	5
the requirements of the	5
no less than five	5
asked you to marry	5
the following day i	5
it was late in	5
looked upon as the	5
be regarded as the	5
the end of each	5
of the opera are	5
had been brought up	5
of the most successful	5
the tower of babel	5
the members of my	5
to say that i	5
to fly with him	5
member of the metropolitan	5
in the cathedral of	5
a couple of days	5
in the arms of	5
the express purpose of	5
it is no longer	5
lustigen weiber von windsor	5
same may be said	5
she was not at	5
by the sound of	5
part of the scene	5
became more and more	5
and that she had	5
the autumn of the	5
was written for the	5
the first representation of	5
on the stage to	5
can do is to	5
revival of interest in	5
with reference to the	5
a tone of reflection	5
for no other reason	5
what it was that	5
impossible for him to	5
to offer to the	5
appointed director of the	5
which is one of	5
with a feeling of	5
was the result of	5
la fanciulla del west	5
a year or two	5
the following year he	5
in love with a	5
there had been no	5
the metropolitan opera and	5
to the edge of	5
walk up and down	5
it does not seem	5
which i have already	5
have had something to	5
development of the art	5
do you think he	5
the duet in the	5
four thousand one hundred	5
in the end the	5
the contrast between the	5
of the fate theme	5
take the place of	5
to keep out of	5
and that it would	5
performance of the work	5
the development of opera	5
in his early days	5
to the astonishment of	5
which there is a	5
first part of the	5
in the work of	5
that he was the	5
a considerable number of	5
but this was not	5
out of the room	5
to the metropolitan opera	5
the first time to	5
during the season of	5
in the government of	5
i was informed by	5
with a look of	5
walking up and down	5
a change in the	5
the pen of the	5
for ever and a	5
der barbier von bagdad	5
found it difficult to	5
made up my mind	5
in the first and	5
had no time to	5
she knew that he	5
il figlio per azzardo	5
a large sum of	5
of the work at	5
an old friend of	5
opera at the academy	5
the wife of the	5
have nothing to say	5
is founded upon a	5
a glimpse of the	5
the opening of my	5
a great measure to	5
it has not been	5
i therefore had to	5
in his later years	5
a man who had	5
very moment when he	5
that he had made	5
the first italian opera	5
all that could be	5
but none the less	5
the love of the	5
that she had no	5
was impossible not to	5
if there had been	5
performed in london in	5
the safety of the	5
i went back to	5
who had charge of	5
from the point of	5
the day after to	5
in a manner that	5
in the sense in	5
half a century ago	5
after an absence of	5
works for the stage	5
that he had only	5
so much of the	5
for many years to	5
the opera is laid	5
national academy of music	5
in the maid of	5
it was all right	5
to the dignity of	5
the mind of the	5
the passage in the	5
of the english school	5
received a letter from	5
at a little distance	5
a form of art	5
made up your mind	5
no reason why the	5
thought it would be	5
would like to see	5
until the middle of	5
for one of the	5
the scope of this	5
the acquaintance of the	5
was followed by the	5
which had already been	5
the prima donna was	5
believed that he had	5
you to marry me	5
with the spirit of	5
as much of the	5
in lucia di lammermoor	5
years of the nineteenth	5
the disposal of the	5
to give me a	5
it was then that	5
under the supervision of	5
city and county of	5
imperial russian musical society	5
to be satisfied with	5
that he has been	5
the study of the	5
in charge of the	5
to find out how	5
it must of been	5
of all that is	5
of the company was	5
toilettes of the ladies	5
so long as he	5
not care a straw	5
in the matthew passion	5
the value of the	5
portions of the work	5
which she had been	5
there is a great	5
the number of performances	5
the moment when he	5
at the point of	5
of the details of	5
returned to new york	5
that he should be	5
you know that you	5
since the beginning of	5
and that they were	5
for the express purpose	5
of which it was	5
opening of the third	5
new york and london	5
between the acts of	5
of the house of	5
came upon the stage	5
already been pointed out	5
was not likely to	5
of the opera and	5
sang the part of	5
but he does not	5
nothing in common with	5
which it would be	5
the critics of the	5
in the light of	5
in the mind of	5
the entrance of the	5
he felt that he	5
as you like it	5
with those of the	5
lyric drama of the	5
i was unable to	5
as he had been	5
the establishment of a	5
of the most interesting	5
to the people of	5
in his own country	5
for a time the	5
that there had been	5
was suffering from a	5
he was obliged to	5
you are in the	5
and what did you	5
of music in russia	5
i need scarcely say	5
the second act we	5
a return to the	5
knowing what he was	5
is a great deal	5
that he was now	5
the point of death	5
does not follow that	5
but there is nothing	5
of the fourth act	5
that he was to	5
up the idea of	5
of three or four	5
four times a week	5
with a great deal	5
when she had finished	5
it is sufficient to	5
time of the rosy	5
in the next season	5
and in the evening	5
it is in this	5
with the appearance of	5
the second and third	5
until the close of	5
it will be seen	5
opera ends with the	5
at the corner of	5
what might have been	5
my return to london	5
has been carried off	5
i returned to london	5
of the new russian	5
his hands in his	5
to get into the	5
the case of a	5
of the board of	5
part in the performance	5
beyond the limits of	5
grand italian opera company	5
such a work as	5
we shall have to	5
in the performance of	5
in a few hours	5
rest of the opera	5
i received a telegram	5
was that of a	5
out of his head	5
parts of the opera	5
to live in the	5
is not at all	5
the extent of the	5
but she was not	5
went down to the	5
been heard in the	5
in which she has	5
was surprised to find	5
any barrels to sell	5
she is to be	5
in a few seconds	5
that the composer was	5
on the strength of	5
when all is said	5
the expression of his	5
be said about the	5
operas of the eighteenth	5
that he had no	5
the second scene of	5
to interfere with the	5
the words of which	5
the greatest of all	5
the voices of the	5
the introduction to the	5
it is the most	5
of the gods is	5
was given to the	5
brought out at the	5
very much the same	5
under the spell of	5
end of the first	5
went to the station	5
to the bottom of	5
the mystery of the	5
the captive in the	5
which happened to be	5
as well as by	5
the consequence was that	5
close of the act	5
for the performance of	5
never be anything but	5
who happened to be	5
sing the music of	5
could not be expected	5
the early history of	5
by the terms of	5
in the opera house	5
is not necessary to	5
the opera was the	5
season of opera in	5
and as soon as	5
many of the songs	5
the representative of the	5
for more than a	5
the level of your	5
as it seems to	5
was crowded from floor	5
what did you see	5
thirty or forty years	5
which would have been	5
to sing at the	5
moment when he was	5
me to tell you	5
the last drop of	5
the new form of	5
a man of his	5
would certainly have been	5
so much so that	5
be of any use	5
if you are not	5
with the history of	5
of a couple of	5
in the motor car	5
as he did not	5
i can tell you	5
it was not long	5
to the castle of	5
and she knew that	5
success in new york	5
the sound of a	5
the description of the	5
there was no longer	5
made up her mind	5
on the stage as	5
retired from the stage	5
the right of the	5
when i got home	5
but she would not	5
he would never have	5
and when she had	5
at that moment the	5
that she should be	5
is supposed to be	5
in the house on	5
a member of mr	5
state of mind in	5
fountain in the park	5
and that i should	5
of peter the great	5
three or four times	5
they had to be	5
a son of the	5
side of the atlantic	5
at the door and	5
on behalf of the	5
tells her that he	5
though she could not	5
in the garden scene	5
did not answer at	5
that i should not	5
would be absurd to	5
it hard to believe	5
would be useless to	5
not by any means	5
and had to be	5
it was the ghost	5
it is only fair	5
the opera houses of	5
of mind in which	5
be one of the	5
of the stockholders of	5
after the first performance	5
i do not care	5
after a little pause	5
was not thinking of	5
the conclusion that the	5
and county of san	5
able to take care	5
not to speak of	5
a number of years	5
she was accustomed to	5
i thought i had	5
so i had to	5
is the result of	5
he had not the	5
on the th october	5
act of la favorita	5
up her mind to	5
opened the eyes of	5
well as i do	5
from the french of	5
during the performance of	5
the conductor of the	5
and it is to	5
is the only one	5
its first performance in	5
the nineteenth century the	5
in the principal part	5
are interrupted by the	5
but in the end	5
the grand duchess helena	5
i am willing to	5
you know that i	5
i feel without alarm	5
the downfall of the	5
of one or two	5
to see and hear	5
the position of the	5
a considerable portion of	5
new form of entertainment	5
had the pleasure of	5
during his sojourn in	5
give it back to	5
asks her if she	5
the death of joseph	5
most of them were	5
for he had been	5
says to the missus	5
of the gentle life	5
of the first italian	5
stood in the way	5
to do the same	5
are for the most	5
in the same opera	5
which took place in	5
that some of the	5
was produced in at	5
the most successful of	5
is in many ways	5
which appeared in the	5
may be seen in	5
it will be necessary	5
it is clear that	5
her that she had	5
asked him if he	5
i do not believe	5
there is no question	5
depths of the rhine	5
that one of the	5
without the aid of	5
academy of music was	5
from the works of	5
the viscount and the	5
what do you say	5
the center of the	5
a history of russian	5
the third act shows	5
the fountain in the	5
between the composition of	5
but as a matter	5
on the day after	5
three or four years	5
and they did not	5
that many of the	5
there was only one	5
there is little in	5
did not intend to	5
in the world for	5
if they did not	5
the queen of sheba	5
the operas given were	5
the birth of the	5
second night of the	5
as though they were	5
a woman of the	5
to the student of	5
he tells her that	5
it is as if	5
and he began to	5
herself in the glass	5
he went back to	5
in the first part	5
the sense in which	5
in search of the	5
it has been seen	5
he did not wish	5
went so far as	5
on good terms with	5
are you thinking of	5
had been brought to	5
it was useless to	5
but it was a	5
that they were to	5
to make room for	5
from the depths of	5
in the interest of	5
the spring of the	5
for the whole of	5
is not in the	5
puts an end to	5
the policy of the	5
set forth in the	5
looked at his face	5
in a short time	5
the enthusiasm of the	5
the only one to	5
the public began to	5
he was a little	5
at the suggestion of	5
was not until that	5
the quality of his	5
she would have been	5
to be said that	5
was produced in st	5
go on the stage	5
and she had been	5
due to the fact	5
a mile from the	5
toward the end of	5
when he had finished	5
in new york at	5
of the drama was	5
beginning of the opera	5
to the window and	5
to be carried on	5
this was not the	5
as well as he	5
and i must say	5
in the language of	5
biographies of the great	5
such as it was	5
the part of pollio	5
more to be said	5
door of the box	5
would have been much	5
she could not see	5
the city of kitezh	5
informed me that she	5
may just as well	5
upon the stage and	5
the ranks of the	5
of the performances of	5
as i had not	5
that it was only	5
for any one to	5
handsomely bound in cloth	5
it does not follow	5
had no difficulty in	5
on the corner of	5
the best part of	5
and the death of	5
appeared on the stage	5
to be known as	5
the property of the	5
made a sign to	5
during the last few	5
an exclamation of surprise	5
i regret to say	5
was not of the	5
it would be absurd	5
and the production of	5
the third act is	5
take it for granted	5
in a few years	5
the difference between the	5
a man of business	5
to have taken the	5
in honor of the	5
presence of the public	5
production of the opera	5
in the previous year	5
he was not only	5
in an english version	5
an hour before the	5
the light in the	5
will have nothing to	5
i was on the	5
at the first performance	5
in favor of the	5
in a spirit of	5
cannot be said to	5
it is likely that	5
the same may be	5
a matter of business	5
the national opera company	5
to prepare for the	5
have been written by	5
be borne in mind	5
on my return to	5
told him that i	5
to walk up and	5
he said in a	5
to the close of	5
and that if he	5
the results of the	5
act of die meistersinger	5
say what you like	5
anything in the world	5
and i have no	5
for a moment and	5
the curtain rises upon	5
if i do not	5
it was given in	5
from the scene of	5
far as i was	5
use of guiding themes	5
her back to the	5
at the opera and	5
to think of it	5
she could not help	5
the scene from the	5
she once told me	5
but she could not	5
i did not know	5
hand at the level	5
i found that the	5
one of the other	5
go to the opera	5
which she had not	5