BOOK OF THE OPERA 'he VICTOR BGDK \ ofihc OPER6D Stories of One-hundred Operas wit/^Five-Tiundrcd lustrations & descriptions 1 of One-Thousand Victor Opera Records Vw. ! IJYictoT Talking Machine C Camde Copyright 1912 VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U.S.A. REVISED EDITION Copyright 1913 VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U. S. A. m LU - ^/ v ^^gggg3 ? ";, 1 ,,KS4'^ :,,: ,:. j, JndejT A LTHOUGH the Opera Stories in this book are in alphabetical order, ^^ under the most familiar of the various titles, this index will be found convenient for quick reference. 1 Africana, Africaine ...... 11 Fra Diavolo 146 Aida ... 15 Freeshooter, The ... 149 I Amleto 169 Freischutz, Der 149 Andrea Chenier 27 Germania 152 1 Barbiere di Siviglia 29 Gotterdammerung 162 Bartered Bride 35 Griselidis 167 I I Boheme 37 Guglielmo Tell 472 Bohemian Girl 43 Guillaume Tell . 472 I I 1 Cavalleria Rusticana .... 61 Hansel and Gretel 173 Chimes of Normandy ... 67 Hernani 94 Contes d'Hoffman 411 Herodiade, Herodias . . . .177 Huguenots Les . . 18O Damnation of Faust . . . 68 Daughter of the Regiment 72 Jewels of the Madonna . .187 Dinorah 73 Don Carlos 75 ^.^ Q{ Lahore ^ ^ Don Giovanni, Don Juan . . 77 Konigskinder 189 I Donne Curiose 83 Don Pasquale 85 Dusk of the Gods 162 L' Africana, L'Africaine ... 11 Lakme 192 Elisir d'Amore (Elixir) . .91 Linda di Chamounix . . . 196 Ernani 94 Lobet * nz 197 Lohengrin 199 Falstaff 1O1 Louise 208 Faust 1O3 Lucia di Lam mer moor .... 209 Favorita, La 126 Lucrezia Borgia 216 Fidelio 131 Flying Dutchman 134 Magic Flute. The 226 Force of Destiny 141 Manon (Massenet) . . . .231 Forza del Destino. La . - . .141 Manon Lescaut (Puccini) 241 (Index continued on pazeS) I I; ' ."'', 1 ' 1 oA 1 rr ^ 4 ' ' ''' '' '"" IH FAMOUS AMERICAN OPERA HOUSES Maritana Marriage of Figaro Martha. Marta - Masked Ball . . . Mefistofele .... Meistersinger, Die Mephistopheles . . Mignon Mikado Mireille -Natoma Norma .... Nozze di Figaro Orfeo ed Euridice . . . Orpheus and Eurydice Otello Robert the Devil Robin Hood Roi de Lahore, Le Romeo and Juliet Rustic Chivalry Samson and Delilah Samson et Dalila Sapho (Gounod) . Segreto di Susanna Semiramide . . Shepherd King, The Sicilian Vespers Siegfried . . . Snegourotchka Snow Maiden, The Sonnambula, La . Tales of Hoffman 411 Tannhauser 415 Thais 425 Tosca 428 Traviata, La 435 Tristan und Isolde . . . 443 Trompeter von Sakkingen, The45 8 Troubadour, The 44? Trovatore, II 447 Trumpeter of Sackingen, The 458 Valkyrie, La 46O Vascello Fantasma, II . - .134 Vespri Sicilian!, I . . ... 459 Walkiire, Die 460 Werther 47O William Tell . -472 Zauberflote, Die Zaza . Pagliacci Parsifal Patience Pearl Fishers Pearl of Brazil .... Pecheurs de Perles, Les Pescatori di Perle . . . Pinafore Pirates of Penzance . . Profeta, Prophete . . . Prophet, The Puritani, I Puritans, The .... Queen of Sheba (Goldmark) 355 Queen of Sheba (Gounod) 356 Regina di Saba . Re Pastore, II . . Rheingold, Das . Rigoletto .... Rinaldo .... Robert le Diable lllll!!!!! foreword Opera in America The opera has at last come into its own in the United States. In former years merely the pastime of the well-to-do in New York City and vicinity, grand opera is now enjoyed for its own sake by millions of hearers through- out the country. Boston, Chicago, Philadelphia, New Orleans, San Francisco and Montreal now have their regular opera season ; while many other cities have arranged for occasional performances. The Victor Responsible for Much of this Awakened Interest During the recent season several hundred performances of grand opera, at an estimated cost of millions of dollars, were given in the United States. This great outlay for dramatic music alone would not have been possible had it not been for the increased interest aroused in opera by the wide- spread distribution by the Victor during the past ten years of hundreds of thousands of grand opera records, at widely varying prices from the double-faced records by well-known Italian and French artists of Europe, at 37/^ cents per selection, to the great concerted numbers by famous singers at $6.00 and $7.00. The Opera-Goer and the Victor Even though fortunate enough to be able to attend the opera, the lover of operatic music is reminded that with the Victor and the operatic records his enjoyment of the opera may be greatly increased. The favor- ite singers may be heard at home as often as desired, and their voices will be just as natural as in life. Do you think Caruso the greatest of tenors ? Then do not be satisfied with an occasional hearing of his glorious voice at the opera, but let him sing for you and your friends by means of the Victor. Is Sembrich, Farrar, Tetrazzini, Gadski, Calve, Schumann-Heink, Homer or Amato your favorite singer ? The Victor makes it possible to hear these voices at any time, no matter where the artists may be singing. Voices of Absent Singers Do you regret that Melba is often in Australia or Europe ? There is consolation in the thought that her voice is always here in all its loveliness, indelibly impressed on Victor discs. Have you memories of Tamagno when he was at his best ? The Victor will revive these memories for you by bringing the voice of this singer back from the grave. (Fonvord continued on page 9) iiiiiiiiiiiiiiin The Victor an Excellent Substitute for the Opera For every person -who can attend the opera there are a hundred who cannot. However, many thousands of lovers of the opera in the latter class have discovered what a satisfactory substitute the Victor is, for it brings the actual voices of the great singers to the home, with the added advantage that the artist will repeat the favorite aria as many times as may be wished, while at the opera one must usually be content with a single hearing; and even though the scenery and costumes may be lacking, the absence of these accessories will now be atoned for in some measure by the graphic descriptions and numerous illustrations in this book. The Victor Opera Season Never Ends In former years, after the close of the opera season and the annual migration of the artists to Europe, no one seemed to think much about grand opera or opera singers. The Victor, however, has changed all this, and operatic records now form a most important part of the musical life of the home ; and at all seasons of the year may be heard the voices of the great singers, a consolation and a delight to opera lovers. This Book the First of Its Kind This little work is unique in many respects, and while there are many excellent books describing the plots of the operas, we think that in no other book on opera can be found all of these features : JT AND BARTOLO Three fine records of this great air are given here. Ruffo, in his rendition, proves himself pos- sessed of an admirable sense of humor, and this, with his powerful and flexible voice, enables him to attack this difficult solo in the true op6ra- bouffe vein. The result is as fine a performance of the Largo as one would wish to hear. The ex- treme difficulties are made a vehicle for the display of the baritone's ample vocal resources, which sweep everything before them ; he is indeed a little free with the text, and sings snatches of the accompaniment out of sheer bravado, while bits of comic characterization peep out at every avail- able opportunity. Amato's rendition is a fine ex- ample of how the music of this air should be sung, and is a veritable triumph for the singer. Signor de Gogorza's version differs from the others in many respects. It is one of the finest records he has made for the Victor, and exhibits his fine voice and wonderful execution to per- fection. The Count now accosts Figaro, asking him to arrange a meeting with Rosina, telling him that his rank must not be known and that he has assumed the name of Lindor. II mio nome ? (My Name ?) By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 66OOO 10-inch, $1.50 Figaro consents to become his ally. Rosina and her guardian come to the balcony, and Rosina, perceiving the Count, manages to drop a note, which he secures. Bartolo leaves the house and orders that no one be admitted. Figaro now says that he is expecting a military friend to arrive in the village, and suggests the Count dress himself as this soldier and thus gain admittance to the house. He agrees, and retires to assume the disguise. SCENE II A Room in Bartolo's House Rosina is discovered holding in her hand a letter from the Count. She is agitated and expresses her feelings in her celebrated entrance song. Una voce poco fa (A Little Voice I Hear) By Marcella Sembrich, Soprano (In Italian) 88O97 By Luisa Tetrazzini, Soprano (In Italian) 883O1 By Maria Galvany, Soprano (In Italian) 87O6O By Giuseppina Huguet, Soprano (In Italian) *681 44 The number is in the form to which most Italian compos- ers of the period adhered a slow opening section (here accompanied by occasional chords for the orchestra) succeeded by a quicker movement culminating in a coda which presents many opportunities for brilliant vocal display. Musically the aria is full of charm, and is deservedly popular with those singers whose method enables them to deliver it with the req- uisite lightness and bravura. ROSINA: A little voice I hoard just 12-inch, $3.OO 12-inch, 3.OO 10-inch, 2.00 12-inch, 1.25 MELBA AS ROSING Oh, it has thrill'd my very heart! I feel that I am wounded sore; And Lindor 'twas who huiTd the dart. Yes, Lindor, dearest, shall he mine! I've sworn it, and we'll never part. My guardian But I must /ill re er consent; mist snarpen all my wit: t last, he will relent. And we, oh. joy! be wedded yet. Yes, Lindor I have sworn to love! And, loving, we'll our cares forget. Doubk-FaceJ Record For title of opposite side see double-faced liit on page 34. 31 VICTOR BOOK OF THE OPERA-BARBER OF SEVILLE A bewildering array of artists have essayed this charming song, and Victor audiences can choose whether they will have it sung by an Italian, Polish or Spanish prima donna. Rosina runs out as her guardian and Don Basilio come in. Bartolo is telling Basilio that he wishes to marry his ward, either by love or force. Basilio promises to help him, and says that the Count is trying to make Rosina s acquaintance. They decide to invent some story that will disgrace him. "A calumny! says Basilio. Bartolo asks what that is, and Basilio, in a celebrated air gives his famous description, which is a model of its kind. La calunnia (Slander's Whisper) By Marcel Journet, Bass (In Italian) 74104 12-inch, $1.5O BASILIO: Oh! calumny is like the sigh Of gentlest zephyrs breathing by; How softly sweet along the ground, Its first shrill voice is heard around. Then passing on from tongue to tongue, It gains new strength, it sweeps along In giddier whirl from place to place, And gains fresh vigor in its race; Till, like the sounds of tempests deep, That thro' the woods in murmurs sweep And howl amid their caverns drear, It shakes the trembling soul with fear. Thus calumny, a simple breath, Engenders ruin, wreck and death; And sinks the wretched man forlorn, Beneath the lash of slander torn, The victim of the public scorn! (They go cut.) Rosina and Figaro return, and the barber tells her that her guardian is planning to marry her. She laughs at the idea, and then asks Figaro who the young man was she observed that morning. Figaro tells her his name is Line/or, and that he is madly in love with a certain young lady, -whose name is Rosina. SEMBRICH AS ROSINA Dunque io son (What ! I ?) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 925O1 12-inch, $4-OO ROSINA: What! I ? or dost thou mock me? Am I, then, the happy being? (But I all the scheme foreseeing, Knew it, sir, before yourself) ; FIGARO: Yes, Lindor loves you. ladv; Oft he sighs for his Rosina, (As a fox she cunning seems, Ah, by my faith, she sees thro' all) . ROSINA: Still one word, sir to my Lindor How shall I contrive to speak? FIGARO: Poor man, he but awaits some sign Of your affection and assent; A little note, a sinple line, And he himself will soon present. To this, what say you? ROSINA: I do not know. FIGARO: Take courage, pray you. ROSINA: I could not so FIGARO: A few lines merely. ROSINA: I blush to write. FIGARO: At what? Why really may I indite? Haste, haste, your lover quick invite. (Going to the desk.) ROSINA: A letter! Oh, here it is. (Calling him, she takes a note from her bosom, which she gives him.) FIGARO: Already written! What a fool (astonished) Was I to think to be her master! Much fitter that she me should school: Her wits, than mine, can flow much faster. Oh, woman, woman, who can find, Or fathom, all that's in thy mind? (Exit Figaro.) Bartolo comes in and accuses Rosina of dropping a note from the balcony, and when she denies it he shows her ink marks on her finger and calls attention to a cut pen and a missing sheet of paper. She says she wrapped up some sweetmeats to send to a girl friend, and cut the pen to design a flower for her embroidery. Bartolo then denounces her in another famous air : VICTOR BOOK OF THE OPERA BARBER OF SEVILLE Manca un foglio (Here's a Leaf Missing) By Arcangelo Rossi, Bass (In Italian) *68144 12-inch, $1.25 BARTOLO : To a doctor of my rank, These excuses, Signorina, I advise another time That you better should invent. Why is the paper missing? That I would wish to know. Useless, ma'am, are all your air; Be still, nor interrupt me so. Another time, sweet Signorina, When the doctor quits his house He will carefully provide For the keeping you inside. And poor innocent Rosina, Disappointed then may pout: In her room shall she be locked, Till I choose to let her out. {He goes out in a rage, followed by Rosina, who is laughing.) !. SLT LAKE IELSEN AS ROSINA A loud knocking is heard at the street door, it is the Count in his soldier disguise. He pushes his way in, and insists that the commandant has ordered him to put up in Bartolo's house. A long scene follows, full of comedy, finally ending in the arrest of the Count, who, however, privately informs the officer who he is ; and the astonished official salutes respectfully and takes his soldiers away. Bartolo is in such a rage that he can hardly speak, and the act ends with the famous quartet : Guarda Don Bartolo (Look at Don Bartolo) By Giuseppina Huguet, Soprano; Antonio Pini- Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto Badini, Baritone *63171 lO-inch, $O.75 ACT II SCENE A Room in Bariolo's House Bartolo is discovered musing on the affair of the soldier, and as he has learned that no one in the regiment knows the man, he suspects that he was sent by the Count. A knocking is heard and the Count is ushered in, dressed as a music master. He greets Bartolo, beginning the duet, Pace e gioia. Pace e gioia (Heaven Send You Peace and Joy) By Antonio Pini-Corsi, Baritone, and Emilio Perea, Tenor (In Italian) *621O5 lO-inch, $O.75 Bartolo says he is much obliged for these kind wishes and wonders who this can be. The Count explains that Don Basilio is ill and he has come in the music master's place to give Rosina a lesson. He shows Bartolo the note Rosina had written, saying he found it at the inn, and offers to make Rosina believe the Count has shown her note to another lady. Bartolo is pleased with the idea and calls Rosina. Then occurs the cele- brated "Lesson Scene" in which Rosina usually interpolates an air. Rossini wrote a trio for this scene, but in some manner it was lost. Figaro now comes in to shave Bartolo, and in the course of the scene contrives to secure the key to the balcony. At this moment all are pet- rified at the entrance of Don Basilio, who is supposed to be confined to his bed. Figaro sees that quick action is necessary and asks him what he means by coming out with such a fever. " Fever ? " says the astonished music master. "A * Double-Faced Record For title of opposite side see double-faced list on page 34. aging fever," exclaims Figaro, feeling his VICTOR BOOK OF THE OPERA BARBER OF SEVILLE pulse. "You need medicine," says the Count, meaningly, and slips a fat purse in his hand. Don Basilio partially comprehends the situation, looks at the purse and departs. The shaving is renewed, and Rosina and the Count pretend to continue the lesson, but are really planning the elopement. Bartolo tries to watch them, but Figaro manages to get soap in the Doctor's eye at each of his efforts to rise. He finally jumps up and denounces the Count as an impostor. The three conspirators laugh at him, and go out, followed by Bartolo, who is purple with rage. This scene is amusingly pictured in a famous fresco in the Vienna Opera. Bertha, the housekeeper, enters, and in her air, // vecchietto, complains that she can no longer stand the turmoil, quarreling and scolding in this house. II vecchietto cerca moglie (The Old Fool Seeks a "Wife) By Emma Zaccaria (Double-FacedSee below) (In Italian) 621O5 lO-inch, $0.75 "What kind of thing is this love which drives everybody crazy?" she asks. This air used to be called in Rome Aria di sorbetto (sherbet), because the audience used to eat ices while it was being sung ! Don Bartolo now desperately plays his last card, and shows Rosina the note, saying that her lover is conspiring to give her up to the Count Almaoioa. Rosina is furious and offers to marry Bartolo at once, telling him that he can have Lindor and Figaro arrested when they arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when Figaro and the Count enter by means of the key which the barber had secured. Rosina greets them with a storm of reproaches, accusing Lindor of pretend- ing to love her in order to sacrifice her to the vile Count Almaoioa. The Count reveals himself and the lovers are soon clasped in a fond embrace, with Figaro in a " Bless you, my children," attitude. Don Basilio, who had been sent for a notary by Bartolo, now arrives. The Count demands that the notary shall wed him to Rosina. Basilio protests, but the sight of a pistol in the Count's hand soon silences him. This scene is rudely interrupted by the arrival of Bartolo and the soldiers. The officer in charge demands the name of the Count, who now introduces Signor and Signora Almaoioa to the company. Bartolo philosophically decides to make the best of the matter. However, he inquires of Basilio : BARTOLO : But you, you rascal Even you to betray me and witness! FIGARO : Bravo, bravo, Doctor! Let me embrace you! ROSINA: Oh, how happy we COUNT: Oh. propitious love! COPY'T MISHKIN SAM MARCO AS BASILIO: Ah! Doctor, The Count has certain persuasives And certain arguments in his pocket, Which there is no withstanding! ,-, r IGARO : Young love, triumphant smiling, All harsher, thoughts exiling, All quarrels reconciling, Now waves his torch on high! (Curtain) BARTOLO : A I understand _, .. Jll, what Go; and may Heaven bless you! Ay, ay! I understand yc Well, well, what matters it! DOUBLE-FACED BARBER OF SEVILLE RECORDS Barber of Seville Selection By Pryor's Band) Prophete Fantasie By Prior's Band} 35125 ^Don^Pasauale-Sinfonia (Donizetti) ^B^LaSca^chllt^ 8010 Manca un foglio (Here's a Leaf Out) By A. Rossi, Bass\, R1 , . Una voce poco fa By Giuseppina Huguet, Soprano/ 68144 Guarda Don Bartolo (Look at Bartolo) By Huguet, A. and G. Pini-Corsi, and Badini (In Italian) &3171 lO-inch, .75 Fra THaooloAgnese la Zietella By Pietro Lara (In Italian) 111 vecchietto cerca moglie By Emma Zaccaria (In Halian) 12-inch, $1.25 "-inch, 1.25 ... , "-men, 1.25 IPaceegioia ,^ . n , By A. Pini-Corsi and Perea (In Italian))** 2105 lO-inch, .75 BARTERED BRIDE PROD ANA NEVESTA COMIC OPERA IN THREE ACTS Libretto by Sabina. Music by Friedrich Smetana. First production, Prague, 1 866. First London production, Drury Lane, 1895. First American production February 17, 191 I. Characters a peasant KATH1NKA, his wife MARIE, their daughter MICHA, a land owner AGNES, his wife WENZEL, their son HANS, MICHA'S son by first marriage Tenor KEZAL, a marriage broker Bass Baritone Soprano Soprano Bass Mezzo-Soprano . . Tenor The Bartered Bride was intended by its composers to be typical of Bohemian life and character to be a national opera, and so it really is. The work illustrates accurately Bohe- mian village life, and is based on a simple story full of mirth and sometimes almost farcical. Marie, daughter of Kruschina, a rich peasant, is betrothed to Hans, her father's servant. Hans and Marie, however, are threatened with separation because the maiden's father has determined she shall marry Wenzel, a half-witted, stuttering lad, who is the son of Kruschina 's old friend, Micha. Kruschina and Kezal endeavor to arrange this marriage, but the girl flatly refuses to give up her old lover. Kezal finally offers Hans three hundred crowns if he will renounce Marie. At first the offer is indignantly rejected, but later Hans consents, insisting on a rather strange condition that these words be inserted in the agreement, "that Marie shall only bexmarried to a son of Micha. " Kezal, although he does not understand the reason for this, gladly agrees, and shortly afterward the paper is signed, the entire village being called in to witness the signature. Marie refuses to believe that her lover has sold her for three hundred crowns, but is compelled to realize the truth when the marriage broker produces Hans' receipt for the money. The young girl meets her ruthless lover, who seems remarkably joyous over the affair, and still declares his love for her. The mystery is not explained until Micha and his wife arrive and recognize Hans to be their long-lost eldest son. So Hans not only wins his bride, but gains 300 crowns, for Kezal has agreed that Marie "shall marry only a son of Micha. " As the money remains in the family no one objects save Kezal, who departs in wrath. The famous Overture to Bartered Bride is a work of delightful melody, and has had number- less performances as a concert number. It is delightfully spontaneous and highly interesting, containing parts of the national airs of Bohemia. {Overture By Arthur Pryor's Band),, , Aa 10 i *, -,- Madam Butterfly Selection (Puccini) By Pryor's Band} 35 35 (French) LA BOHEME (English) THE BOHEMIANS (La BoTtt-ehm) OPERA IN FOUR ACTS Text by Giacosa and Illica ; music by Puccini. First produced at the Teatro Reggio, Turin, February I, 18%. In English, as "The Bohemians," at Manchester (Carl Rosa Com- pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same year. In Italian at Covent Garden, July I, 1899. First American production, November 28, 1899. Characters RUDOLPH, a poet Tenor MARCEL, a painter Baritone COLLJNE, a philosopher Bass SCHAUNARD, a musician Baritone BENOIT, an importunate landlord Bass ALCINDORO, a state councilor and follower of Musetta Bass PARPIGNOL Tenor MUSETTA, a grisette Soprano MIMI, a maker of embroidery Soprano Students, work-girls, citizens, shopkeepers, street venders, soldiers, restaurant waiters, boys, girls, etc. Scene and Period : Paris, about 1830. Puccini's Boheme is an adaptation of part of Miirger's La Vie Boheme, which depicts life in the Quartier Latin, or the Students' Quarter, in 1 830. It being impossible to weave a complete story from Mtirger's novel, the librettists have merely taken four of the principal scenes and several of Miirger's characters, and have strung them together without much regard for continuity. > mj^ The principal characters in Puccini's delightful S^W ^k ^^ opera are the inseparable quartet described by J!fc9 { W K Murger, who with equal cheerfulness defy the pangs Stfl^ Cjnfl^ ^ Hunger an< ^ t ^ le landlord of their little garret. In I the scenes of careless gaiety is interwoven a touch of pathos ; and the music is in turn lively and tender, with a haunting sweetness that is most fascinating. Rudolph, a poet; Marcel, a painter; Colline, a philosopher; and Schaunard, a musician, are four friends who occupy an attic in the Quartier Latin, where they live and work together. Improvident, reckless and careless, these happy-go-lucky Bohe- mians find a joy in merely living, being full of faith in themselves. ACT I SCENE A Garret in the Quartier Latin The opening scene shows the four friends with- out money or provisions, yet happy. Marcel is at work on a painting, " Passage of the Red Sea," and remarks, beginning a duet with Rudolph, that the THE FOUR BOHEMIANS passage of this supposedly torrid sea seems a very cold affair ! Questo mar rosso (This Red Sea) By Gennaro de Tura, Tenor, and E. Badini, Baritone (In Italian) 88233 12-inch. $3.OO VICTOR BOOK OF THE OPERA-PUCCINI'S LA BOHEME Rudolph says that in order to keep them from freez- ing he will sacrifice the bulky manuscript of his tragedy. Marcel holds the landlord at bay until Schaunard arrives with an unexpected store of eatables. Having dined and warmed themselves, Marcel, Colline and Schaunard go out, leaving Rudolph writing. A timid knock at the door reveals the presence of Mimi, a young girl who lives on the floor above. She has come to ask her neighbor for a light for the candle, which has gone out. They enter into conversation, and when Mimi artlessly asks Rudolph what his occupation is, he sings the lovely air usually termed the " Narrative." Racconto di Rodolfo (Rudolph's Nar- rative) By Enrico Caruso, Tenor (In Italian) 88OO2 By Herman Jadlowker, Tenor (In Italian) 76O23 By John McCormack, Tenor (In Italian) 74222 By Florencio Constantino, Tenor (In Italian) 74106 By George Hamlin, Tenor (In Italian) 74185 By E van Williams (Engto/i) 74129 12-in., $3.OO 12-in., 2.OO 12-in., 12-in., 1.5O 1.5O 12-in., 1.5O 12-in., 1-50 Caruso has never done anything more perfect in its way than his superb delivery of this number. It is one of his great scenes in the opera, and always arouses the audience to a high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which holds one spellbound. The tender sympathy of the opening" Your little hand is cold ; the bold avowal" I am a poet " ; the glorious beauty of the love motive at the end all are" given with characteristic richness and warmth of style by this admired singer, while the final high note is brilliantly taken. Two entirely different interpretations, though also very fine ones, are given by Mr. Jadlowker and Mr. McCormack, while three other versions in Italian by Constantino and Hamlin, and in English by Evan Williams complete a list in which every lover of this beautiful air can find a record to suit his taste and purse. Mi chiamano Mimi (My Name is Mimi) By Nellie Melba, Soprano (Italian) 88O74 12-in., $3.0O By Geraldine Farrar, Soprano (Ital) 88413 12-in., 3.00 By Alice Nielsen, Soprano (Italian) 74062 12-in., 1.50 Then follows the charming Mi chiamano Mimi, in which the young girl tells Rudolph of her pitifully simple life ; of how she works all day making artificial flowers, which remind her of the blossoms and green meadows of the country ; of the lonely existence she leads in her chamber up among the housetops. O soave fanciulla Duo and Finale, Act I (Thou Sweetest Maiden) By Nellie Melba, Soprano, and Enrico Caruso, Tenor 952OO 12-in., $5.0O ' ' Mimi 's delicate perfection enchanted the young poet especially her little hands, which in spite of her menial Work, sne managed to keep as white as snow. ' ' MUrger's La Vie de la Boheme. This lovely duet occurs just after the Mi chiamano Mimi. The young girl having finished her story, Rudolph hears the shouts of his friends in the courtyard below. He opens the window to spe/tk to them, letting in a flood of moonlight which SEMBRICH AS MIMI VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME FAKKAR AS MIMI brightens the room. The Bohemians go off singing. As Rudolph turns to Mint! and sees her in the moonlight, he is struck with her beauty, and tells her how entrancing she appears to him. Love awakens in the heart of the lonely girl, and in this beautiful duet she pledges her faith to the handsome stranger who has come into her life. Mme. Melba's singing in this scene is of exquisite beauty, while Caruso's delivery of the passionate phrases of Rudolph is superb. The beautiful motive with which the duet begins is associated throughout the opera with the presence of Mimi, and is employed with touching effect in the death scene in Act III. Mimi consents to go to the Cafe Momus, where his friends are to dine, and after a tender scene at the door they go out, and the curtain slowly falls. ACT II SCENE A Students' Cafe in Paris This act represents the terraces of the Cafe Momus, where the artists are holding a carnival. Puccini has pictured with mas- terly skill the noisy, bustling activity of this scene, and the boisterous merriment of the gay revelers. The Bohemians of Act I are seated at a table with Mimi, when Musetta, an old flame of Marcel's, appears with her latest conquest, a foolish and ancient beau named Aldndoro. Marcel pretends not to see her, but Musetta is determined on a reconciliation, and soon gets rid of her elderly admirer and joins her old friends. The gem of this gay scene is the charming waltz of Musetta, which Mme. Viafora sings here with spirit and delightful abandon. Musetta 'Waltz By Gina C. Viafora, Soprano (Italian) 64085 lO-inch, $1.0O By Guido Gialdini (Whistling) "16892 lO-inch, .75 Mme. Viafora's light soprano is heard to advantage in this pretty CLUCK AS MIMI waltz, which she sings with fluency and skill. The fun now becomes fast and furious, and Musetta is finally carried off on the shoul- ders of her friends, while the foolish old banker, Aldndoro, is left to pay the bills of the entire party. ACT III SCENE A City Gate of Paris This act begins in the cheerless dawn of a cold morning at the city gates, the bleakness of the scene being well expressed in Puccini's music. The snow falls, work- men come and go, shivering and blowing on their cold ^^BBBBI^^B^^^BBBBi^^^^MI fingers. Mimi appears, and THE CAF MOMUS ACT ii asks the officer at the gate if : Double-Faced Record For Hilt of opposite side see DOUBLE-FACED LA BOHEME RECORDS, page 42. VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME MARTIN AS RUDOLPH he will find Marcel, that good and kind-hearted Bohemian painter, now sojourning at the inn on the Orleans Road and painting, not landscapes, but tavern signs, in order to keep body and soul together. Marcel enters and is surprised to see Mimi, whom he sup- poses to be in Paris. Noticing that she is melancholy and apparently ill, he kindly ques- tions her and learns her sad story. Mimi, lo son ! (Mimi, Thou Here !) By Geraldine Farrar, So- prano, and Antonio Scotti, Baritone (In Italian) 89O16 12-inch, $4.OO E BARRIKR ACT HI By Dora D o m a r , So- prano, and Ernesto Ba- dini. Baritone 88228 12-inch, 3.OO This duet is one of the finest numbers in Puccini's opera, and Miss Farrar and Mr. Scotti have made a strikingly effective record of it, while the other ren- dition by La Scala artists is also a very fine one. Mimi tells her friend that she can no longer bear the jealous quarrels with Rudolph, and that they must sep- arate. Marcel, much troubled, goes into the inn to summon Rudolph, but before the latter comes, Mimi secretes her- self, and when he enters she hears him again accuse her of fickleness. Mimi e una civetta (Coldhearted Mimi !) By Laura Mellerio, Soprano ; Gennaro de Tura, Tenor ; and Ernesto Ba- dini. Baritone (In Italian) 88227 12-inch, $3.OO ND MARCEL VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME S MARCEL A distressing fit of coughing reveals her presence, and she appears and sings the sad little air which is one of the features of this act. Addio (Farewell) By Nellie Melba, Soprano (In Italian) 88O72 12-inch, $3.OO By Geraldine Farrar, Soprano (In Italian) 884O6 12-inch, 3.OO By Alma Gluck, Soprano (In Italian) 64225 10- inch, l.OO Most pathetically does the poor girl's " Farewell, may you be happy " come from her simple heart, and she turns to go. Rudolph protests, some- thing of his old affection having returned at the sight of her pale cheeks. Musetta now enters and is accused by Marcel of flirting. A furious quarrel follows, which contrasts strongly with the tender passages between Mimi and Rudolph as the lovers are partially reconciled. Quartet, "Addio, dolce svegliare" (Farewell, Sweet Love) By Geraldine Farrar, Soprano; Gina C. Viafora, Soprano; Enrico Caruso, Tenor; and Antonio Scotti, Baritone (In Italian) 96002 12-inch, $6.00 By Dora Domar, Soprano: Annita Santoro, Soprano; Gino Gio- vannelli. Tenor; and Ernesto Badini, Baritone (In Italian) 89O48 12-inch, 4.00 Like the Rigoletto Quartet, this number is used by the com- poser to express many different emotions: The sadness of Mimi's farewell to Rudolph ; his tender efforts to induce her to remain ; the fond recollections of the bright days of their first meeting and contrasted to these sentiments is the quarreling of Musetta and Marcel, which Puccini has skillfully interwoven -with the pathetic passages sung by the lovers. In Mimi Miss Farrar has added another role to the long list of her successes in America, and her impersonation is a most charming one. She was in superb voice and has given this lovely music most effectively. Caruso sings, as he always does, with a beauty of voice and a sincerity of emotion which cannot fail to excite admiration. Mme. Viafora, who is al- ways a piquant, gay and inter- esting Musetta; and Signer Scotti, whose admirable Marcel is one of his finest impersonations, both vocally and dramatically, round out an ensemble which could not be surpassed. Truly a brilliantly sung and perfect balanced rendi- tion of one of the greatest of concerted numbers. An- other version by famous artists THE DEATH OF MIMI of La Scala is also offered. 41 TRENTINI AS MUSETTA VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME ACT IV SCENE Same as Act I ' 'Jll this time, the friends for many weeks had lived a lonely and melancholy existence. Musetta had made no sign, and Marcel had never met her, while no word of Mimi came to Rudolph, though he often repeated her name to himself. Marcel treasured a little bunch of ribbons which had been left behind by Musetta, and when one day he detected Rudolph gazing fondly at the pink bonnet Mimi had forgotten, he muttered : ' It seems I am not the only one ! ' ' ' Murger. Act IV shows the same garret in which the events of Act I took place. Bereft of their sweethearts, the young men are living sad and lonely lives, each trying to conceal from the other that he is secretly pining for the absent one. In the opening scene, Marcel stands in front of his easel pretending to paint, while Rudolph, apparently writing, is really furtively gazing at Mimi's little pink bonnet. Ah Mimi, tu piu (Ah, Mimi, False One !) By Enrico Caruso, Tenor, and Antonio Scotti, Baritone (In Italian) 89O06 12-inch, $4.OO By McCormack and Sammarco (Italian) 89044 12-inch, 4-00 By Da Gradi and Badini (In Italian) *45O13 lO-inch, 1.00 Three records of this favorite duet are offered by Caruso and Scotti, McCormack and Sammarco and a popular priced version. The friends, however, pretend to brighten up when Schaunard and Colline enter with materials for supper, and the four Bohemians make merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. The poor girl is brought in and laid on Rudolph 's bed, while he is distracted with grief. The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He bids farewell to the coat in a pathetic song, which Journet delivers here with much feeling. Vecchia zimarra (Coat Song) By Marcel Journet, Bass (In Italian) 64O35 lO-inch, $1.OO Colline goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet. Sono andati ? (Are We Alone ?) By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor (In Italian) *45O13 10-inch. $1.0O The past is all forgotten and the reunited lovers plan for a future which shall be free from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons his friends, who are returning with delicacies for Mimi. But the young girl, weakened by disease and privations, passes away in the midst of her weeping friends, and the curtain falls to Rudolph's despairing cry of "Mimi! Mimi!" 35132 12-inch, $1.25 By Pryor's Band\ .,,.___ 10 . , By Pryor's Bandf 35077 12 - lnch - DOUBLE-FACED AND MISCELLANEOUS BOHEME RECORDS fBoheme Fantasie ( 'Cello) By Victor Sorlinl \ Calm Sea and Happy Voyage Overture By Pryor's Band fBoheme Selection \ Jolly Robbers Overture (Suppe") Ah, Mimi, tu piu (Ah, Mimi, False One !) By Da Gradi and Badini (In Italian) U5O13 lO-inch, l.OO Sono andati? By Bronzoni and de Gregorio (In Italian) I /Musetta Waltz (Whistling Solo) Guido Gialdinil . , \ Carmen Selection (Xylophone) Wm. H. Reitzf 1 * 392 ] - mch ' - 75 * Double-FaceJ Record For title of opposite side see above list. 42 THE ABDUCTION OF ARLINE ACT THE BOHEMIAN GIRL OPERA IN THREE ACTS Text by Bunn; music by Balfe. First produced at Drury Lane Theatre, London, November 27, 1843. First American production November 25, 1844, with Frazer, Seguin, Pearson and Andrews. Bunn took his plot from a ballet written for Ellsler, the dancer, by St. Georges, but transferred the scene from Scotland to Hungary. The work was immedi- ately successful in England, and was eventually translated into almost every language of Europe, and during the next twenty years was produced in Italy as La Zingara ; in Hamburg as La Gitana ; in Vienna as Die Zigeunerin ; and in Paris, with additional numbers, as La Bohe'mienne. Characters ARLINE, daughter of Count Arnheim THADDEUS, a Polish exile GYPSY QUEEN DEVILSHOOF, Gypsy leader COUNT ARNHEIM, Governor of Presburg FLORESTINE, nephew of the Count Retainers, Hunters, Soldiers, Gypsies, etc. . .Soprano . . . .Tenor . . Contralto Bass . . Baritone . .Tenor Time and Place : Presburg, Hungary ; nineteenth century. The story of this opera is quite familiar, and can be dismissed with a brief mention. Thaddeus, an exile from Poland, is fleeing from Austrian troops, and to facilitate his escape he casts his lot with a band of gypsies, headed by Deoilshoof. As the tribe is crossing the estate of the Governor of Presburg, Count Arnheim, Thaddeus is enabled to rescue the little daughter of the Count from a wild stag, and in his gratitude the Count invites the gypsies to the hunting dinner. In the course of the festivities Thaddeus refuses to drink the health of the Emperor, and is about to be arrested when Deoilshoof interferes and is himself confined in the Castle, while Thaddeus is permitted to go. Deoilshoof climbs from a window and 43 VICTOR BOOK OF THE OPERA THE BOHEMIAN GIRL steals the little Arline, making his escape good by chopping down the bridge across the ravine as the soldiers pursue him. Twelve years elapse and we see the camp of the gypsies, among whom Arline has grown to be a beautiful girl of seven- teen. Thaddeus, who has fallen in love with the young girl, now tells her of his love, and in a beautiful duet the lovers plight their troth. The Gypsy Queen, herself enamored of Thaddeus, is forced to unite him to Arline, but secretly plans vengeance. Her oppor- tunity soon comes, as she con- trives to have Arline accused of stealing a medallion from the young nephew of Count Arn- heim, who has come to the fair at Presburg, near where the gypsies are camped. Arline is arrested and taken before the Count, who in the course of the examination recognizes her as his daughter, from the scar made by the stag in her child- hood. The third act shows Arline restored to her position, but still secretly pining for her gypsy lover. Decilshoof contrives to get Thaddeus into the castle and he secures an interview with Arline. They are interrupted, however, by the Count 's approach, and Thaddeus hides in a closet as the guests arrive for a reception in honor of the newly-found heiress. THE VENGEANCE OF THE QUEEN ACT II The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals the hiding place of Thaddeus. 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. 44 VICTOR BOOK OF THE OPERA THE BOHEMIAN GIRL Many of the most effective numbers from this pretty opera have been recorded by the Victor, besides the brilliant potpourri made by the Opera Company, which includes tu> less than seven of the most tuneful bits. DOUBLE-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS (Overture to Bohemian Girl \ La Czarine Mazurka (Ganne) (I Dreamt I Dwelt in Marble Hall IThen You'll Remember Me Pryor's Bandl , 1 * 287 >16398 n.e Heart Bow'd Down Jo (Clay) Good Bye, Sweetheart (The Heart Bow'd Down \ Home to our Mountains (Then You'll Remember Me \ /'// Sing Thee Songs of Araby Then You'll Remember Me (Then You'll Remember Me \I Dreamt I Dwelt in Marble Halls (Then You'll Remember Me 1 Vilia Song Pryor's Bandf Elizabeth Wheeler) ., Harry Macdonough/' Herbert Goddard (Piano acc.)\., n , A Herbert Goddard} 1 ^ Alan Turner) Morgan and Macdonough} Frederic Freemantel Harry Macdonough George Hamlin 74134 Harry Macdonough) , , <, Qa Elizabeth Wheeler/ 16 Harry Macdonouf Elizabeth Whet ,.-. , ^ as 35O82 {Fantasia of Principal Airs Jig Medley (Rollinson) (Selection from Bohemian Girl \ Yeloa Overture (Reissiger) Wm. H. Reitz rryor s Dan Pryor's Band\_- _ Pryor's Bandf 35081 lO-inch, $0.75 lO-inch, .75 lO-inch. .75 10-inch. .75 12-inch. 1.25 12-inch, 1.5O 10-inch, ,75 12-inch, 1.25 10-inch. .75 12-inch. 1.25 Gems from Bohemian Girl Part of Overture Chorus, "In the Gypsy's Life" Chorus, "Come with the Gypsy Bride" Entr'act Waltz Chorus, "Happy and Light" "Then You'll Remember Me "Finale, " Oh, What Full Delight " By the Victor Light Opera Company 31761 12-inch, $1.OO THE CARNIVAL AT PRESBVRQ ACT U 45 CALVE AS CARMEN CARMEN OPERA IN FOUR ACTS Text by Meilhac and Halevy, founded on the novel of Prosper Merimee. Music by Bizet. First production at the Opera Comique, Paris, March 3, 1875. First London produc- tion June 22, 1878. First New York production October 23, 1879, with Minnie Hauk. Some notable revivals were in 1893, being Calve's first appearance; in 1905 with Caruso; and the Hammerstein revival of 1906, with Bressler-Gianoli, Dalmores, Gilibert, Trentini and Ancona. Characters DON JOSE, (Don Ho-zay) a Brigadier ESCAMILLO, (Ei-ca-meef -yo) a Toreador DANCAIRO. (Dan-ky -row) ~\ c , r REMENDADO. ( Re^n- aah '-^) Smu ** Iers { ZUNIGA, (Zoo-nee -gah) a Captain MORALES. (Moh-rah'-lez) a Brigadier MlCAELA, (Mih-ku-ad '-lah) a Peasant Girl FRASQUITA, (Frass-kee'-tah) } . , . , , ,, ..__,_-,,, ... , , , . > Gypsies, friends of Carmen MERCEDES, (Mer-c hay -Jeez) ) CARMEN, a Cigarette Girl, afterwards a Gypsy. . Tenor Bass Baritone Tenor Bass Bass Soprano Mezzo-Soprano Mezzo-Soprano Soprano An Innkeeper, Guide, Officers, Dragoons, Lads, Cigar Girls, Gypsies, Smugglers. Scene and Period : Seville, Spain; about 1820. 47 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN BIZET Georges Bizet was a native of Paris, where he was born on October 25, 1838. Like Gounod and Berlioz, he won the Prix de Rome (Free de Roam'); in this case in 1857, the year that his first opera, Docieur Miracle, was produced. Among other productions came LesPecheurs de Perles, in 1863, an opera recently revived at Covent Garden with Mme. Tetrazzini as L.eila. Carmen was produced in 1875, and this most Parisian of all operatic works was received at its production with a storm of abuse. It was immoral, it was Wagnerian the latter at that time being a deadly sin in France! Nevertheless, the supreme merits of Carmen have won it a place among the two or three most popular operas in the modern repertory. The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing short, compact and finished numbers, full of exquisite beauty and convincing style, at the same time handling dramatic scenes with the freedom demanded by modern opera. His music is more virile, concentrated and stimulating than perhaps any other French composer. It was probably not a little owing to the hostile reception of this, his finest work, that its composer died three months later. The music Bizet has written, however, is likely long to survive him, and chief among the works into which he ungrudgingly poured his life's energy was Carmen. THE PLOT I Carmen has its opening scene in a public square in Seville, showing at one side a guard- house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved in his village home, comes hither to seek him with a message from his mother. As Jose appears, the girls stream out from the cigarette factory hard by, and with them their leading spirit in love and adventure, Carmen, the gypsy, reckless and bewitching. Heedless of the Kressing throng of suitors, and attracted by the handsome young soldier, Carmen throws im a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of her dark eyes. A moment later a stabbing affray with a rival factory girl leads to the gypsy's arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a sudden struggle and confusion the soldier lets go his hold and the bird has flown ! II Act II takes place in the tavern of Lillas 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, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany them. But she is awaiting the return of the young soldier, -who, as a punishment for allow- ing her to escape, had gone to prison, and she will not depart until she has seen him. The arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to return. The arrival of his captain, -who orders him back, decides Jose. He defies his officer, who is bound by the smugglers, and Jose deserts his regiment for Carmen. Ill The next scene finds Jose with the smugglers in the rocky camp in the mountains. The career of a bandit, however, is one to which a soldier does not easily succumb. His distaste offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion, with the cards, that they will end their careers tragically together. In the midst of this strained situation two visitors arrive : Escamillo, the toreador, in the character of a new suitor for Carmen; and Micaela, with a message horn Jose's dying mother. The soldier, frustrated in his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return later for his revenge. .,.. The final act takes place outside the Plaza de Toros, at Seville, the scene of Escamillo' s triumphs in the ring. Carmen has returned here to witness the prowess of her new lover, and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of desperate deeds. They soon meet, and the scene between the maddened soldier and the gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with scorn, although she knows it means death. In a rage Jose stabs her, and thus the end comes swiftly, while within the arena the crowd is heard acclaiming the triumph of Escamillo. VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN Prelude (Overture) By La Scala Orchestra *68052 12-inch, $1.25 By La Scala Orchestra *62617 lO-inch, .75 The Prelude to Carmen opens with a quick march in 2-4 time, on the following theme : The march is of an exceedingly virile and fiery description and is taken from the music preceding the bull-fight in the last act. Following this stimulating march comes the " Toreador's Song," leading to the march theme again. These two sections, complete in themselves, are now followed by a short move- ment in triple time indicating the tragic con- clusion of the drama. Here, the appealing notes of the brass, heard beneath the tremolo of the strings, gives poignant expression to the pathos which lies in the jealous love of the forsaken Jose, and expresses the menace of the future death of Carmen. This movement breaks off on a sudden detached chord of the diminished seventh as the curtain rises. ACT I SCENE A Public Square in Seoille The curtain rises on a street in Seville, gay with an animated throng. In the fore- ground are the military guard stationed in front of their quarters. The cigarette factory lies to the right, and a bridge across the river is seen in the background. Among the crowd which throngs the stage a young girl may be seen searching for a familiar face. It is Micaela, the maiden whom Jose has left behind in his native village. The soldiers accost her, and from them she learns of her lover's absence. She declines the invitation to remain, and departs hastily. The cigarette girls now emerge from the factory, fill- ing the air with the smoke of their cigarettes, and with them Carmen, who answers the salutations of her admirers among the men by singing the gay Habanera. Habanera (Love is Like a Wood-bird)' By Jeanne Gerville-Reache, Contralto (In French) 88278 12-inch, $3.00 By Emma Calve, Soprano (In French) 88O85 12-inch, 3.OO By Maria Gay, Mezzo-Soprano (In Italian) 92059 12-inch, 3.OO This charming " Habanera" has always been a favorite Carmen number, its entrancing rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found it irresistible when sung by Carmen. Though often attributed to Bizet, the air -was not original with him, but was taken from Yradier's "Album des Chansons Espagnoles. " The refrain, Allegretto quan Andantino. L'a mour est en - fant de Bo - heme And Love's a gyf- ty boy to true. - mais, ja-mais con nu de u/as a rov-er free at loi, airt is a particularly fascinating portion of the number. " * Double-FaceJ Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60. VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN ACT I Ah, love! For love he is the lord of all, And ne'er law's icy fetters will he wear, If thou me lovest not, I love thee, And if I love thee, now beware! If thou me lovest not, beware! But if I love you, if I love you, bewa beware! HABANERA. -"Love is Like a Wood-Bird Wild.' CARMEN : Ah! love, thou art a wilful wild bird, And none may hope thy wings to tame, If it please thee to be a rebel, Say, who can try and thee reclaim? Threats and prayers alike unheeding; Oft ardent homage thou'lt refuse, Whilst he who doth coldly slight thee, Thou for thy master oft thou'lt choose. To a large number of opera-goers and music-lovers there is but one emotional soprano but one exponent of such rdles as Carmen and Santuzza. Calv6's Carmen, especially, is almost universally accepted as the greatest of all impersonations of the role. Gerville-Rdache's Carmen is a fine impersonation, on quite original lines, her conception being based on a careful study of MdrimeVs story and on the teachings of her Spanish mother. Carmen, according to Mme. Gerville-Rdache, was a passionate and fickle woman, but not a vulgar one. The men invite Carmen to choose a new lover, and in reply she flings a flower in the face of the sur- prised Jose and laughingly departs. Mia madre vedo ancor (My Mother I Behold) By Fernando de Lucia, Tenor, and Giuseppina Huguet, Soprano (Piano ace.) (In Italian] 92052 12-inch Parle-moi de ma mere (Tell Me of My Mother) By Lucy Marsh, Soprano, and John McCormack, Tenor (In French) 74345 12-inch, $1.50 Now Micaela returns, and finds the soldier she seeks. Her song tells of the message of greeting she brings Jose from his mother, and with it a kiss. The innocence of Micaela is here a foil to the riper attractions of the gypsy, and the music allotted to the maiden possesses the same simple charm; the conclusion of Micaela's air being a broad sustained melody of much beauty. Jose takes up the strain, as the memories of his old home crowd upon him, and the beautiful duet follows. GAY AS CARMEN VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN far away. CALVE AS CABMEN Micaela leaves him after a tender farewell, and Jose begins to read his mother's letter, but is interrupted by a commotion within the factory. Carmen has stabbed one of her companions, and is arrested and placed under the guard of Don Jose. The soldiers drive away the crowd, and Carmen, left alone with Jose, brings her powers of fascination to bear on the young soldier, partly to facili- tate her escape, and partly because he has attracted her attention. Here she sings the Seguidilla, a form of Spanish country dance. Seguidilla (Near the Walls of Seville) By Maria Gay, Mezzo- Soprano (In Italian) 91O85 lO-inch, $2.00 By Margarete Matzenauer, Mezzo-Soprano (In French) 871O3 lO-inch, 2.OO The Seguidilla is one of Spain's most beloved dances, and its rhythm is most fascinating. Bizet has given us a brilliant to Michael Carre's words. CARMEN (airily): Nigh to the walls of Sevilla, Soon at my friend Lillas Pastia I'll trip thro' the light Seguidilla, And I'll quaff Manzanilla, I'll go seek out my friend Lillas Pastia. MICHAELA: Faithful messenger from her to thee, I bring a letter, And some money also; Because a dragoon has not too much. And, besides that JOSE: Something else? MICHAELA: Yes, I will tell you. What she has given, I will to thee render. Your mother with me from the chapel came, And then, lovingly, she kissed me. ".Mv daughter," said she, to the city go: AYhen arrived in Seville, Thou wilt seek out Jose, my beloved son; Tell him that his mother, By night, by day, thinks of her Jose: For him she always prays and hopes, And pardons him, and loves him ever. And then this kiss, kind one, Thou wilt to him give for me." JOSE: A kiss from my mother? MICHAELA: To her son. Jose, I give it to thee as I promised. (Michaela stands on tip-toe and kisses Jose - regards Michaela tenderly.) JOSE: My home in yonder valley, My mother lov'd shall I e'er see? Ah fondly in my heart I cherish Mem'ries so dear yet to me. MICHAELA: That one sweet hope, 'Twill strength and courage give thee. That yet again thou wilt thy home And thy dear mother once more see. example in this dainty number, -which he has set (Plaintively, casting glances at Jose) : Yes, but alone one's joys are few. Our pleasures double, shared by two! So just to keep me company, My beau I'll take along with me! VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN Although Jose says to himself that the girl is only amusing herself, and whiling away the time with her gypsy songs, the words which fall on his ear of a meeting-place on the ramparts of Seville of a soldier she loves a common soldier, all these play upon the feel- ings of Jose and rouse in him a love for the changeful gypsy, who is fated to be the cause of his downfall. He unties her hands, and when the soldiers are conducting her to prison she pushes Jose, who falls, and in the confusion she escapes. Between Acts I and II is usually played a charming entr'acte, which has been rendered for this Carmen series by Mr. Herbert. Intermezzo (1st Entr'acte) By Victor Herbert's Orch. 6OO67 lO-inch, $O.75 ACT II SCENE A Tavern in the Suburbs of Seville The second act opens amid the Bohemian surroundings of the tavern of Lillas Pastia ; the wild tune with which the orchestra leads off depicting the freedom and gaiety with which the mixed char- acters here assembled are wont to take enjoyment and recreation. Les tringles des sistres (Gypsy Song) By Emma Calve, Soprano (In French) 88124 12-inch, $3.OO Carmen again leads them with her song, another lively gypsy tune, in the exulting refrain of which all join, a picture of reck- less merriment resulting. Ah! when of gay guitars the sound On the air in cadence ringing, Quickly forth the gipsies springing, To dance a merry, mazy round. While tambourines the clang prolong, In rhythm with the music beating, And ev'ry voice is heard repeating The merry burthen of glad song. CALVE SINGING THE GYPSY Tra la la la, etc. SONG ACT n VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN 3.0O But Carmen is thinking of the soldier who went to prison for her sake and who, now at liberty, will shortly be with her. Her musings are interrupted by the arrival of a procession in honor of Escamillo, whose appearance is followed by the famous " Toreador Song," the most popular of all Carmen numbers. Cancion de Toreador (Toreador Song) By Titta Ruffo, Baritone, and La Scala Chorus (In Italian) 92O65 12-inch, $3.OO By Emilio de Gogorza, Baritone, and New York Opera Chorus (In Spanish) 88178 12-inch, 3.OO By Pasquale Amato, Baritone (In Italian) 88327 12-inch, 3.OO By Giuseppe Campanari, Baritone (In Italian) 85O73 12-inch, By Alan Turner, Baritone (In English) * 16521 10-inch. By Francesco Cigada, Baritone: Giuseppina Huguet, Soprano; Inez Salvador, Mezzo- Soprano ; and La Scala Chorus (In Italian) *62618 10-inch, .75 No less than six renditions of this universal favorite are offered by the Victor for the choice of customers. After Escamillo 's departure, Carmen 's comrades invite her to part upon a smuggling expedition, but she refuses to stir until she sees the CARUSO AS DON JOSE soldier for whom she is waiting. Their efforts to persuade her has been put by Bizet into the form of a brilliant quintet. Quintet- "Nous avons en tete une affaire" (We Have a Plan) By Mmes. Lejeune, Soprano; Duchene, Mezzo- Soprano; Dumesnil, Soprano; Mm. Leroux, Tenor; Charles Gilibert. Baritone (In French) 88237 12-inch, $3.OO This is one of the favorite numbers in Bizet's opera, and at the same time one of the most difficult imaginable. When sung as the tempo indicates, it goes at break-neck speed, and it is only the most capable artists who can do it justice. For the present reproduction, the Victor assembled a most competent corps of singers, who were under the direction of the late Charles Gilibert, himself the most famous of Remendados. Jose's voice being heard outside, Carmen pushes her compan- ions from the room, and greeting him with joy, questions him about his two months in prison. She then tries her fascinations on the stolid soldier to induce him to join the band of smugglers. Carmen dances for the soldier while he watches her with fascinated gaze. Her efforts are useless, as he is reminded of his duty when he hears the bugle in the distance summoning him to quarters. "Then go, ' ^atc vou ' " says Barmen, and mocks him, singing Ah, this is too mortifying! All to please you, sir, I gaily sang and danced. (Aside.) Rut now ta ra ta! he hears the trumpet call! Ta ra ta ra! and then off he flies Like a guest to a feast! She is furious, and pitches at him his cap and sabre, and bids him begone. ^Double-Faced Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60. I-MORES AS DON JOSE VICTOR BOOK OF THE O P E R A B I Z E T * S CARMEN Air de la fleur (Flower Song) By Enrico Caruso, Tenor (In French) 88208 By Enrico Caruso, Tenor (In Italian) 882O9 By Charles Dalmores, Tenor (In French) 85122 By Herman Jadlowker, Tenor (In French) 76027 By Fernando de Lucia, Tenor (In Italian) 76O01 By Evan "Williams, Tenor (In English) 74122 By John McCormack, Tenor (In Italian) 74218 Desperate at the thought of losing her forever, 'Don Jose shows her the flowers she threw him at their first meeting, and which he had preserved, then sings this lovely romance, beginning : BRESSLER-GIANOLI AS CARMEN pm< r^-jTjVE'l * \vl\ v ~*t La fleur que tu ma-vals je te - e Dans ma pri son m'e-tait res - U: e This flow 'r you gave to me, de-grad-ed 'Midpri-son walls I've kept th Doubk-FaceJ Record For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60. VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN lonely mountains, and in her aria appeals to Heaven to protect her, ingenuously confessing her love for Don Jose and her detestation of the woman who has led him away from his duty. MICAELA: I try not to own that I tremble; But I know I'm a coward, altho' bold I appear. Ah ! how can I ever call up my courage, While horror and dread chill my sad heart with fear? Here, in this savage retreat, sad and weary am I, Alone and sore afraid. Ah ! heav'n, to thee I humbly pray, Protect thou me, and guide and aid! I shall see the guilty creature, Who by infernal arts doth sever From his country, from his duty, Him I loved and shall love ever! I may tremble at her beauty, But her power affrights me not. Strong, in my just cause confiding, Heaven ! I trust myself to thee. Ah! to this poor heart give courage, Protector! guide and aid now me! The young girl, hearing a shot fired, runs into a cave in fright. Jose, who is guarding the smugglers' effects, has seen a stranger and fires at him. It proves to be Escamillo, the toreador, who has come to join Carmen. He appears, examining his hat with rueful gaze, as TRENTINI AS FRA SQUITA Jose's bullet had gone through it. "Who are you?" says the latter. " 1 am Escamillo, toreador of Granada ! " replies the bull fighter. The duet which follows is given here by two famous artists of the Paris Op^ra. Je suis Escamillo (I am Escamillo !) By Leon Beyle, Tenor, and Hector Dufranne, Baritone (Double-faced See page 60) (In French) 62750 10-inch, $0.75 The two men compare notes, and learning that they are rivals, Jose challenges the other to a duel with knives, which is interrupted by the timely arrival of Carmen herself. This dialogue, with the fiery duet at the close, well depicts this exciting scene. A popular priced rendition by Beyle and Dufranne, of the Optra, is listed above. Finale "Mia tu sei" (You Command Me to Leave You) By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano; Inez Salvador, and Francesco Cigada (In Italian) 92O35 12-inch, $3.OO A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his rival in possession of the field is too much for the soldier, who swears never to be parted from the gypsy until death. MICHAELA: CARMEN (to Jose): Be not deaf to my prayers; Go, and go quickly; stay not here; Thy mother waits thee there. This way of life is not for thee! The chain that binds thee, Jose TOSE (to Carmen) : Death will break. To depart thou dost counsel me? JOSE (to Micliaela): CARMEN: Go from hence; Yes, thou shouldst go I cannot follow thee. JOSE (fiercely): (To Carmen.) Yes, that thou mayst follow Mine thou art, accursed one! Another lover the toreador! And I will force thee to know No, Carmen, I will not depart! And submit to the fate That both our lives unites! The message from his dying mother, however, decides him ; he will go, but vows to return. In this wild and tumultuous number the jealous anger of Jose gives rise to some highly dramatic singing, delivered with extreme intensity and power by Paoli, the tragic theme at the close being introduced with meaning effect. The Toreador chorus indicates the triumph of Escamillo in the gypsy's attentions, and this with the orchestral close slowly sinking to rest brings the powerful act to a finish. VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN ACT IV (A Square in Seville, with the walls of the Bull Ring shown at the back) Prelude By Victor Herbert's Orchestra 70066 12-inch, $1.25 The fourth act opens with a momentary brightness. Outside the Plaza de Toros, in Seville, an animated crowd awaits the procession about to enter the ring. This short movement is a quick bustling one, only the plaint- ive oboe solo indicating the tragedy which is soon to occur. The playing of this striking prelude is on the same artistic level which marks each of the renditions by this famous orchestra. This scene, as the orange sellers, hawkers of fans, ices and the rest, press their wares on the waiting crowd, is extremely gay, and affords welcome relief from the intensity of the drama. Escamillo, who has returned to take part in the bull-fight, now enters, and all join in the refrain of the Toreador Song in his honor. Se tu m'ami (If You Love Me) By Margarete Matzenauer, Mezzo-Soprano ; Pasquale Amato, Baritone ; with Metropolitan Opera Chorus (In Italian) 89O61 12-inch, $4.OO By Inez Salvador, Mezzo-Soprano, and Francesco Cigada, Baritone (Doable-faced See page 60) (In Italian) 621O2 10-inch, .75 Escamillo takes farewell of Carmen before entering the arena. He promises to fight the better for her presence, and she, half conscious of what is coming, avows her readiness to die for him. This number is full of lovely melodies and one of the most beautiful records of the Carmen series. JOSE PLEADING WITH CARMEN- VICTOR BOOK OF THE OPERA-BIZET'S CARMEN As the procession passes on, the she replies that she fears him not. earning comes to Carmen that Jose is here, to which Duetto e Finale (Duet and Finale) By Maria Passeri, Mezzo-Soprano ; Antonio Paoli, Tenor ; and La Seala Chorus 92050 12-inch, $3.00 Jose now enters and makes a last appeal, which is dramatic in its intensity. It takes the form of a swinging melody to an insistent triplet accompaniment. To each request of her lover, Carmen adds her disdainful negative, reckless of the danger which threatens her. JOSE (in desperation) : Now thou refusest my prayers, Inhuman girl! For thy sake am I lost! And then to know thee shameless, infamous! Laughing, in his arms, at my despair! No, no! it shall not be, by Heaven! Carmen, thou must be mine, mine only! CARMEN (.proudly): No, no, never! JOSE: Ah! weary am I of threats. CARMEN: Cease then, or let me pass! CHORUS (in bull ring): Victory! victory! Viva Kscamillo ! JOSE: Again I beseech thee, Carmen, Wilt thou with me depart? MARTIN AS DON JOSE Carmen's last refusal, as she flings him back his ring, rouses the soldier's jealousy to madness and he stabs her to the heart. As she falls the success of the Toreadorin the arena is announced by the singing of his well-known refrain. The last notes of the opera are a few pitiful tones from the stricken Jose addressed to the mute form of his beloved. This is another truly powerful record by Paoli, worthy of a climax such as this. The music is delivered with the realism and earnestness beyond the reach of all but the very few tenors, and it enables the listener to fully realize the stress and pathos of this moving dra- matic picture. DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS Carmen Selection By Pryor's Band 31562 12-inch, $1.0O /Carmen Selection By Sousa's Band\,, ftnn . , . . . ,- I Freischutz Overture By Sousa's Banaf 35000 12 - mch ' l - 25 /Carmen Selection By Pryor's Bandi , ,,._,. , u T<- \ Marion jlh ! fuyez douce image ! By M. T^occa, Tenor/ 16575 1Q - mch ' - 75 The selection begins with the brilliant and animated Prelude, the first part of which is given, including the refrain of the famous " Toreador Song." Then is heard (as a cornet solo) the quaint "Habanera," .'T '.?'!.*'**' n.'/."^,.' "'. "'&"?',. with its curiously varied rhythm, its chromatic melody and the changes from minor to major which are so effective. With the last note the full band takes up the rollicking chorus of street boys from Act I, and after a few measures there , a t n ^._ M _UM'Z1- C >- r~ Ui a^cE^fcy^g: appears suddenly the weird strain from Act IV when \W * n ~^\ '^ " ^ . 1 ji. Jl'T^T" Carmen hurls at Don Jose her last defiance. ** "^ " "' ** /"*- The spirited introductory strain returns, closing the selection. VICTOR BOOK OF THE O P E R A B I Z E T* S CARMEN 16752 lO-inch, $O.75 DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS Continued Gems from Carmen Chorus, " Here They Are " Solo and Chorus, " Habanera " (Love is Like a Bird) Duet, " Again He Sees His Village Home " Sextette, " Our Chosen Trade " Solo and Chorus, " Toreador Song " Finale. By Victor Light Opera Company (In English) 31843 12-inch, si.oo An amazing number of the most popular bits of Bizet's masterpiece have been crowded into this attractively arranged potpourri. (Habanera (Whistling) By Guido Gialdim I \ The Pretty Maiden (Xylophone) By Peter Lewin} I Toreador Song By Alan Turner, Baritone (In English) | Trooatore Tempest of the Heart [ 16521 lO-inch, .75 By jllan Turner, Baritone (In English)] /Prelude (Overture) By La Scala Orchestrai, sne . . . 1 Damnation of Faust Hungarian March By Sousa 's Band] 68 52 12 - inch - l - 25 [Prelude (Overture) By La Scala Orchestra) I Scena delle carte (Card Song) By Lavin de Casas, Mezzo- V62617 lO-inch, .75 Soprano (Piano ace.) (In Italian)} f Canzone del Toreador (Toreador Song) By F. Cigada, Bari- 1 tone: G. Huguet, Soprano; I. Salvador, Mezzo-Soprano; L,, Aia lf - u -- La Scala Chorus ( [In Italian) 62618 1O -' nch < - 75 [ Cavalleria Rusticana Intermezzo By Pryor's Orchestra) (Intermezzo Acto III, Aragonaise La Scala Orchestra, Milan ISe tu m'ami (If You Love Me) By Inez Salvador, Mezzo- Soprano: F. Cigada, Baritone (In Italian) f Je suis Escamillo (I Am Escamillo!) By Leon Beyle, Tenor; | \ Hector Dufranne, Baritone (In French) [&275O lO-inch, .75 I Valse des looses (Metro) By Mile. Lucette Korsoff, Soprano (French) J (Preludio. Acto IV By La Scala Orchestral \ NormaMira o NormaBy Ida Qiacomelli, Soprano; Una Mileri, ^62 1 1 1 0-inch, . 7 5 I Contralto (In Italian)] /Carmen Selection (Xylophone) By Wm. Reitzi . , I BohlmeMusetta Waltz (Whistling) D - ^ !j - ^ -'->-- f l By Guido Cialdini] 62102 10-inch, .75 lO-inch, .75 CAVALLERIA'RUSTICANA (Kah-vahl-lay-ree'-ah Roos-tee kah'-nah) RUSTIC 'CHIVALRY OPERA IN ONE ACT Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by Mascagni. First production in Rome, May 17, 1890. First London production at the Shaftesbury Theatre, 1891. First American production in Philadelphia, 1891. Cast SANTUZZA, (San-loot' -zah) a village girl . . . LOLA, (Lou/ -/a/,) wife of Alfio TURIDDU, (Too-ree -doo) a young soldier ALFIO, (Af-fee-oh) a teamster LUCIA, (Loo-chee -ah) mother of Turiddu Soprano . . . Mezzo-Soprano Tenor Baritone . . .Contralto Chorus of Peasants and Villagers. Chorus behind the scenes. The scene is laid in a Sicilian village. Time, the present. THE COMPOSER Pietro Mascagni, son or a baker in Leghorn, was born December 7, 1863. Destined by his father to succeed him in business, the young man rebelled, and secretly entered the Cherubini Conservatory. He began composing at an early age, but none of his works at- tracted attention until 1890, when he entered a contest planned by Sonzogno, the Milan publisher. Securing a libretto based on a simple Sicilian tale by Verga, he composed the whole of this opera in eight days, producing a work full of dramatic fire and rich in Italian melody, and easily won the prize. Produced in Rome in 1890, it created a sensation, and in NOTE The quotation, from Cavalleria Rusticana are gioen by kind permission of G. Schirmer. (Copy't 1891.) 01 VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA a short time has become one of the most popular of operas. THE STORY Turiddu, a young Sicilian peasant, returns from the war and finds his sweetheart, Lola, has wedded Alfio, a carter. For consolation he pays court to Santuzza, who loves him not wisely but too well. Tiring of her, he turns again to Lola, who seems to encourage him. Prelude By La Scala Orchestra *35104 12-inch, $1.25 By Vessella's Italian Band 31831 12-inch, l.OO The Prelude takes the form of a fantasia on the principal themes of the opera. Mascagni's lovely melodies are played with exquisite tone and expression, while at the climaxes the entry of the brass is most artistically managed. This is band playing of a high order, and certainly the best record of the Prelude we have heard. The La Scale Orchestra record is also a most interesting one. During the prelude Turiddu 's voice is heard in the charm- ing Siciliana, in which he tells of his love for Lola : Siciliana (Thy Lips Like Crimson Berries) By Enrico Caruso, Tenor (Harp ace.) (In Italian) 87O72 By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81O3O By George Hamlin, Tenor (Harp ace.) (In Italian) 64387 By Leo Slezak, Tenor (In German) 612O2 By Carlo Caffetto, Tenor (Piano ace.) (In Italian) * 62 620 It is sung behind the scenes, before the rise of the cur- tain, making it peculiarly effective. At the close of the number Turiddu 's voice is heard dying away in the distance. This decrescendo passage is exquisitely sung by Caruso. This delightful serenade, one of the most popular of the Caruso records, is almost the only bright spot in Mascagni's passionate and tragic operatic melodrama. The best of the many translations (Schirmer Edition, copy't 1891) is given here. 10-inch, $2.OO lO-inch, 2.0O lO-inch, l.OO 10-inch, 1.00 10-inch, .75 like crimson berries, w of love deepening TURIDDU: O Lola, with thy lip Eyes with the gl them, Cheeks of the hue of wild, blossoming cherries, Fortunate he who first finds favor to win them ; Yet tho' I died and found Heav'n on me beaming, Wert thou not there to greet me, grief I should cherish! Fine renditions in German by Slezak and in Italian by Hamlin and Caffetto are also listed. SCENE A Square in a Sicilian Village After the Siciliana the chorus of villagers is heard, also behind the scenes, and during this chorus the curtain rises, showing a square in the village, with the church at one side and the cottage of Turiddu's mother on the other. *Douole-Faccd Record For title of opposite side see double-faced list, page 66. 62 TAMAGNO AS TURIDDU VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA Gli aranci olezzano (Blossoms of Oranges) By New York Grand Opera Chorus (In Italian) 64O48 10-inch, $1.OO By La Scala Chorus (In Italian) *68218 12-inch, 1.25 This beautiful chorus is rendered here both by the famous organization of La Scala, Milan, and the New York Grand Opera Chorus. It is Easter Day and crowds of villagers cross the stage and enter the church. Santuzza enters, and knocking at Lucia's door, asks her if she has seen Turiddu. His mother replies that he is at Francofonte, but the jealous girl refuses to believe it, and suspects that he is watching for Lola. The cracking of a whip and shouts of the villagers announce Alfio, who appears and sings a merry song. II cavallo scalpita (Gayly Moves the Tramping Horse) By Pasquale Amato, Baritono (with Metropolitan Opera Cho.) (In Italian} 87O9Z lO-inch $2.OO By Renzo Minolfi, Baritone (In Italian) *45O03 10-inch, 1.00 He is happy and free, his wife Lola loves him and guards his home while he is gone this is the burden of his air. The peasants disperse and Alfio is left with Lucia and Santuzza. When he says he has just seen Turiddu, Lucia is surprised, but at a gesture from Santuzza she keeps silent. After Alfio has entered the church, the Easter music is heard within and all kneel and join in the singing. Regina Coeli (Queen of the Heavens) By La Scala Chorus (In Italian) *68218 12-inch, $1.25 This great number, given by La Scala Chorus, has been combined with the opening chorus noted above on one double-faced record. All go into the church except Lucia and Santuzza, and the agitated girl now sings her touching romanza, beginning: as she pours out her sad history to the sympathetic Mamma Lucia. This is one of the most powerful numbers in Mascagni's work. Voi lo sapete (Well You Know, Good Mother) By Margarete Matzenauer, Soprano (In Italian) 88430 12-inch, $3.00 By Emma Calve, Soprano (In Italian) 88O86 12-inch, 3.OO By Emma Eames, Soprano (In Italian) 88O37 12-inch, 3.OO Stung with the remembrance of her great wrong she sings of vengeance, but love over- powers revenge, and in spite of herself, she cries * Double-Faced Record For title of opposite aid: see double-faced list, page 66. 63 VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA Then the thought of her rival, Lola, returns and she gives way to despair, throwing herself at the feet of the gentle mother of Turiddu, who is powerless to aid her and who can only pray for the wretched woman. SANTUZZA: Well do you know, good mother, Ere to the war he departed Turiddu plighted to Lola his troth, Like a man true-hearted. And then, finding her wedded Loved me! I loved him! She, coveting what was my only treasure Enticed him from me! She and Turiddu love again! I weep and I weep and I weep still! Three fine renditions of this dramatic number, by three famous sopranos, are offered to music lovers. Lucia tries to comfort her and passes into the church just as Turiddu appears. He asks Santuzza why she does not go to mass. She says she cannot, and accuses him of treachery, which puts him in a rage, and he tells her brutally that she is now nothing to him. Tu qui Santuzza (Thou Here, Santuzza!) By B. Besalu, Soprano, and G. Ciccolini, Tenor (In Italian) *55O22 12-inch, $1.5O No, No, Turiddu By Besalu and Ciccolini (Italian) *55O22 12-in., 1.5O This scene is now interrupted by Lola 's voice, heard behind the scenes. None like to him so bright That land discloses, My king of roses! LOLA (behind the scenes) : My king of roses, Radiant angels stand In Heav'n in thousands; She enters, and divining the situation, shows her power by taking Turiddu into the church with her. Frantic with jealousy, Santuzza turns to Alfio, who now enters, and tells him that his wife is false. Two records are required to present this powerful scene. Turiddu mi tolse (Turiddu Forsakes Me !) By B. Besalu and E. Badini (In Italian) *55021 12-inch, $1.5O By Clara Joanna, Soprano, and Renzo Minolfi, Baritone (In Italian) *450O2 10-inch. l.OO Ad essi io non perdono CTis They Who Are Shameful) By Clara Joanna and Renzo Minolfi (In Italian) *450O2 10-inch, $ l.OO Alfio swears vengeance, while Santuzza already regrets her disclosure, but is powerless to prevent the consequences of her revelation. They go out, leaving the stage empty, and the beautiful Inter- mezzo follows. Intermezzo By Victor Herbert's Orchestra 6OO74 10-in., $0.75 Pryor's Orchestra *62618 lO-in.. .75 Victor Orchestra 4184 10-in., .60 The instantaneous popularity of this selection was remarkable, and in no small measure helped to make Caoalleria Rusticanathe tremendous success (DESTINN AND CARUSO) that it was. These records bring out the beautiful melody the harp lending a lovely back- ground of peaceful harmony and makes the Intermezzo a tone picture of exquisite coloring. * Double-Face J Record For title of opposite side see double-faced list, page 66. 64 VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA After the storm and passion of the first scene, this lovely number comes as a blessed relief. The curtain does not fall during the playing of the Intermezzo, although the stage is empty. PART II A casa, a casa (Now Homeward) By La Scala Chorus (In Italian) *45O14 lO-inch, $1.0O The services being over, the people now come from the church, and Turiddu in a reck- less mood invites the crowd to drink with him, and sings his spirited Brindisi. Brindisi (Drinking Song) By Enrico Caruso, Tenor (In Italian) 81O62 lO-inch, $2.00 By George Hamlin, Tenor (In Italian) 64245 10-inch, l.OO In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry drinking song, which Turiddu sings as gaily as if he had not a care in the world, although at that moment the culminating tragedy of the duel was close at hand. Turiddu calls to the crowd about the inn : then sings the Brindisi, which has a most fas- cinating swing: TURIDDU: I fail the red wine richly flowing, In the beaker, sparkling, glowing, Like young love, with smiles bestowing, Now our holiday 'twill bless. Alfio now enters, and when Turiddu offers him a cup refuses, saying: Thank you! Poison I might be drinking. Turiddu throws out the wine, saying carelessly : Very well! suit your pleasure! The seriousness of this scene is not lost on the peasants, who now leave the young men together. The challenge is quickly given and accepted after the Sicilian fashion, Turiddu viciously biting Alfio's ear, and they arrange to meet in the garden. Turiddu now calls his mother from the cottage, and asks for her blessing, bidding her, if he does not return, to be a mother to Santuzza. Addio alia madre (Turiddu' s Farewell to His Mother) Hail the wine that flows and bubbles, Kills care, banishes all troubles, Brings peace, pleasure it redoubles, Causes sweet forgetfulness! By Riccardo Martin, Tenor By Gennaro de Tura, Tenor By G. Ciccolini, Tenor By Giorgio Malesci, Tenor (Pi .TURIDDU (calling): Mothe > ( Exciting (Enter Lu .) ely that wine was. I must have taken Too many cups While we were drinking! For a stroll I am going, But first, I pray you, Give your son your blessing As when I left you To become a soldier! If I return not, you must not falter (In Italian) 88277 12-inch, $3.0O (In Italian) 76015 12-inch, 2.00 (In Italian) *55021 12-inch, 1.5O ace.) (In Italian) *62620 10-inch, .75 To Santuzza be a mother! I have sworn to shield her And lead her to the altar. LUCIA: Why speakest thou so strangely? My son, oh, tell me? TURIDDU (nonchalantly): Oh, nothing! the wine Has filled my brain with vapors! O pray that God forgive me! One kiss, dear mother! And yet another! (He rushes off.) Finale to the Opera By Clara Joanna, Soprano ; Sra. Rumbelli, Mezzo-Soprano ; and Chorus (In Italian) *45OO3 10-inch, H.OO Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are now heard and a woman screams " Turiddu is murdered I " Sanluzza and Lucia sink down senseless, and the curtain slowly falls. * Double-Faced Record For title of opposite side see double-faced list, page 66. 65 VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA Selection Part I By Victor Orchestra 31O57 Selection Part II By Victor Orchestra 31O58 Gems from " Cavalleria Rusticana " " Blossoms of Oranges " "Alfio's Song " Lola's Ditty, " My King " Santuzza's Aria " " Drinking Song " " Easter Chorus " By Victor Opera Company (In English) 31874 [Turiddu, mi tolse (Turiddu Forsakes Me !) By I B. Besalu, Soprano, and E. Badini, Baritone (In Italian) | Mamma, quel vino e generoso (Mother ! the "Wine [ Cup too Freely Passes) By G. Coccolini, Tenor (In Italian) (Tu qui Santuzza (Thou, Santuzza) By Besalu and Ciccolini \No, No, Turiddu By Besalu and Ciccolini (In Italian) (Prelude By La Scala Orchestral,,.. . (Selection ("Alfio's Song." "Easter Chorale," "Intermezzo") Pryor'sBj 4 (Coro d' Introduzione By La Scala Chorus (In Italian) \Regina Coeli By La Scala Chorus (In Italian) I Turiddu, mi tolse 1'onore (Turiddu Forsakes Me !) By Clara Joanna and Renzo Minolfi (In Italian) Ad essi io non perdono By Joanna and Minolfi (In Italian) I Finale dell' Opera By Clara Joanna, Soprano; Sra. < Rumbelli, Mezzo-Soprano ; and La Scala Chorus (In Italian) }45003 ill cavallo scalpita By Renzo Minolfi, Baritone (In Italian) (A casa, a casa (Now Homeward !) La Scala Chorus (Italian) \ Guglielmo Ratcliff Padre Nosiro Mussini and Molinari (Italian), Intermezzo By Pry or 's Orchestra] Carmen Toreador (Bizet) [62618 By Cigada, Huguet, Salvador and Chorus (In Italian) \ Addio alia madre (Piano ace.) By Giorgio Malesci, Tenor\ Siciliana (Piano ace.) By Carlo Caffetto, Tenor] RECORDS 12-inch, $1.OO 12-inch, l.OO of Roses " 12-inch, l.OO 55021 12-inch, 1.5O 12-inch, 1.50 12-inch, 1.25 12-inch, 1.25 68218 45002 10-inch, l.OO 45014 6262O 10-inch, 1.00 10-inch, 1.00 10-inch, .75 10-inch, .75 Destinn Gatti-Cazza/a Martin Homer GO LES CLOCHES DE CORNEVILLE (English) THE CHIMES OF NORMANDY COMIC OPERA IN THREE ACTS Text by Clairville and Gabet ; music by Robert Planquette. First produced at the Folies Dramatiques, Paris, April 19, 1877. First N. Y. production at the 5th Avenue Theatre, 1877. Characters HENRI, the Marquis of Valleroi .... GRENICHEUX, a young villager .... GASPARD, a miser SERPOLETTE, the good-for-nothing . GERMAINE, the lost Marchioness . . SHERIFF... Baritone Tenor Bass Soprano . Mezzo-Soprano Time and Place : Normandy ; lime of Louis XV. The Chimes of Normandy abounds in striking numbers, and the music is full of gayety and French grace. It has had no less than six thousand performances, a testimony to its enduring place in popular appreciation. The opera opens in an old Norman village, where a fair is in progress. Henri, the Marquis of Valleroi, has just returned to his native town after an absence of many years. The village gossips are discussing with vehemence scandals about Serpolette, the village good-for-nothing, who arrives just in time to vindicate herself by turning the tables on her traducers. Gaspard, the miser, has a plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him that if she must wed she feels it her duty to marry Grenicheux, a young villager, in gratitude for his saving her life. To escape the marriage, which is distasteful to both Germaine and Grenicheux, and to fly from the vengeance of Gaspard and the sheriff, she and Grenicheux take advantage of the privileges of fair time and become servants of the Marquis. In the second act ths ghosts are reported to be roaming the Castle of Valleroi. The Marquis does not credit these stories and soon discovers it is only old Gaspard, the miser, who, when found out, goes crazy through fear of losing the treasures he has concealed there. In the last act the castle is restored to its former splendor and the Marquis is giving a fete to which he invites all the villagers, including the crazy Gaspard. Serpolelte is there as a fine lady with Grenicheux as her factotum. After a love scene between the Marquis and Germaine, it is discovered that the latter is the rightful heiress and true claimant to the title of Marchioness. The story comes to a fitting conclusion with the betrothal of the Marquis and Germaine, over whom the bells of Corneville ring out sweetly and gladly to tell the happy news. The Victor offers three band records of the principal airs, and an unusually effective sslection of five of the most popular numbers in the opera by the Victor Light Opera Company. Gems from ** Chimes of Normandy " Chorus, "Silent Heroes" "Just Look at This, Just Look at That" "Cold Sweat is on My Brow" "That Night I'll Ne'er Forget" "Bell Chorus" Finale. By the Victor Light Opera Company 31788 12-inch, $1.OO Selection of the Principal Airs By Sousa's Band (Selection of the Principal Airs By Sousa's Band) \ Naila Intermezzo (Pas des Fleurs) /Selection of the Principal Airs \ Poet and Peasant Overture ( von Suppe) By Pryor's Band I By Pryor's Band\ By Pryor's Bandj 35134 12-inch, 12-inch, 1 00 1.25 16385 12-inch, .75 LA DAMNATION DE FAUST (Lah Dan-nah-see-on' deh Fowst) (English) DAMNATION OF FAUST Hector Berlioz's dramatic legend in four parts ; book based on de Nerval's version of Goethe's poem, partly by Gandonniere, but completed by Berlioz himself. First performed December 6, 1846, at the Opera Comique, Paris, in concert form, and in New York under Dr. Leopold Damrosch in 1880. It was given at Monte Carlo as an opera in 1903. First American performance of the operatic version in New York, 1908. MARGUERITE (Mahr-guer-eet) FAUST (FOUJS/) MEPHISTOPHELES (Me/-.-/o/ -*/./<**) BRANDER . . Soprano Tenor .Baritone or Bass . . Bass A Ger village. THE COMPOSER No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising his originality, his spontaneous force and immense creative power. Le Damnation de Faust, his best known work, originally written as an oratorio, but which has since been adapted for the stage, was first produced in 1846 and met with a cold reception. Ten years after his death, however, what a change began! A Berlioz memorial in Paris, at the Hippodrome, where thousands were turned away; Berlioz monuments erected in Grenoble and other cities of France ; and finally, the production of Damnation of Faust as an opera at Monte Carlo in 1903, amid scenes of the wildest enthusiasm. VICTOR BOOK OF THE O P E R A B E RL I O Z ' S FAUST rhich have been In his " Faust " Berlioz has given us a musical legend which has all the picturesqueness of the original work. Whatever severe critics may say of its merits in the highest artistic sense, it is nevertheless a wonderful work. Strange eccentricities and rare beauties are found side by side ; even the -wild orgie of fiends called " Pandemonium," which almost transgresses the license of genius, must be admired for its astound- ing orchestral effects. On the other hand, there are melodies of purest beauty, such as the numbers for Marguerite. How- ever, the most striking numbers in the opera are those written by Berlioz for Mephistopheles, three of most effectively rendered for the Victor by Plancon. THE OPERA Berlioz, disregarding Goethe's poem, located the opening scene on a plain in Hungary simply to excuse the interpolation of the Rakoczy March. We quote Berlioz himself here : " The march on the Hungarian Rakoczy theme, written one night at Vienna, made such a sensation at Pesth that I introduced it into my Faust score, taking the liberty of putting my hero in Hungary and making him witness the passage of a Hungarian troop across the plain where he is wandering in reverie." But Raoul Gunsbourg, who adapted the cantata for the stage, changed the first scene to a room with open windows showing the peasants dancing and the military passing by to the strains of the Hungarian March. Here Faust soliloquizes on the vanity of all things, while the people make merry outside, and the march of the soldiers makes an inspiring finish to the scene. Hungarian (Rakoczy) March BySousa'sBand (Double-faced, see p. 7 1) 68052 12-in., $1.25 By Sousa's Band 31424 12-in., l.OO This is Berlioz's treatment of the famous "Rakoczy March," known as a national Hungarian melody for a hundred years. Its stirring measures so fascinated the composer that, contrary to his original intention, he laid the scene of his " Faust " legend in Hungary in order that he might make use of this wild and pulse-quickening melody. His treatment of it is brilliant in the extreme, and it remains one of the most effective portions of his " Faust." In this connection it is interesting to remember that Liszt, although a warm friend of Berlioz, considered himself aggrieved and wrote to Mme. Tardieu in 1882: "My transcription of the Rakoczy March * * is twice as long as the well-known version of Berlioz, and it was written before his. Delicate sentiments of friendship for the illustrious Frenchman induced me to withhold it from publication until after his death. * * * In writing it he made use of one of my earlier transcriptions, particularly in the harmony." Scene II shows Faust alone in his study, as in the Gounod version. He is about to take poison, -when the strains of the Easter hymn come from the adjoining church and arrest his purpose. Mephistopheles then appears and suggests that they go forth and see the world together, to which Faust consents. In the third scene Faust and Mephistopheles go to a beer cellar in Leipsic, where students and soldiers are carousing. Brander sings i^^n^Lfo .^iniKi.N', Lun- _ r I . 1 x-> 1 CEPTION OF MEPHISTO his song of the rat, which as in the Gounod opera, meets witn UU S STRIKING CON- VICTOR BOOK OF THE O P E R A B E R L I O Z 'S FAUST but ironical praise from Mephistopheles, and he volunteers his famous " Romance of the Flea," a curiosity of music as effective as it is difficult to render. Chanson de la puce (Song of the Flea) By Pol Plan?on, Bass (In French) 81O87 lO-inch, $2.00 Gounod's Mephistopheles is mild and innocent by the side of the strange utterances of the Devil as portrayed by Berlioz. This is one of the most interesting numbers in the work, for Berlioz has described, by means of clever forms in the accompaniment, the skipping of the flea in various directions. The words are most fantastic Once a king, be it noted, had a fine and lusty flea, And on this flea he doted, cherish'd him tenderly, ailpr, and to the tailor spake: So he sent fc make!" In velvet and in satin He now was duly drest Had jewels rare his hat in. And medals deck'd his breast! Faust dislikes the scene, and the two vanish from the gaze of the astonished students amid a fiery glow. Voici des roses ('Mid Banks of Roses) By Mattio Battistini, Baritone (In Italian) 92O23 12-inch, $3.00 We next discover Faust asleep in a lonely forest on the banks of the Elbe, where the demon murmurs a softly penetrating melody into his ear, lulling him to slumber with these seductive words 'Mid banks of roses, softly the light reposes, On this fair, fragrant bed, rest, O Faust, rest thy head- Here slumber, while lovely visions haunt thy dream Of radiant forms, rare lips and eyes that fondly beam! while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seen for the first time. The next scene corresponds to the Garden Scene of Gounod, and shows a room in Marguerite 's cottage. The demon now sum- mons the will - o'- the- wisps in this evocation : The sprites come flying to Marguerite's door to aid in her enchantment, and the demon continues : Ye spirits of raprice and of evil, conspire To enchant and subdue, and win a maiden soul. Now dance, ye sons of Evil, dance in the name of the devil, \\ill-o-the-wisp and gnome, dance, or away you go! Then follows the beautiful dance of the will-o'-the-wisps, after which Mephistopheles sings "To this lute, I'll sing a serenade . . . One that shall please the lady .... It is moral, her tastes to suit!" Serenade Mephistopheles By Pol Plancon. Bass (In French) 81O34 10-inch. $2.OO Mephistopheles then warbles in his scoffing voice this mocking serenade : DH, M~. , UU *>~ of U, to, _ ~ i Jd i <*< *>" # T tor - ; in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by pizzicato crescendos for strings. 70 VICTOR BOOK OF THE O P E R A B E R L I O Z ' S FAUST Dear Katharine, why to the door of thy lover, Drawest thou nigh? Why there timidly hover? why art there? Oh, sweet maiden, beware; come away do not enter; It were folly to venture. Refrain, nor enter there! Ah, heed thee well, fair lass, Lest thy lover betray thee; Then good night, alas! From ill-hap what shall stay thee? But let thy lover prove the truth of his advances; When the ring brightly glances, Ah! then only, believe his love! Berlioz's Mephistopheles is BOYEB FOURTH ACT SETTING DAMNATION OF FAUST a much more sardonic and less gentlemanly devil than the one we are accustomed to see in Gounod's opera. Plancon interprets this difficult character admirably, and delivers this sneering serenade with great effectiveness. While the sprites dance Marguerite apparently sleeps, but soon comes from the house in a kind of trance. She tries to enter the church, but the influence of Mephistopheles prevents, and she returns to the house and falls into the arms of Faust. The last act contains four scenes. Scene I shows a moonlit room where the unhappy Marguerite sings her lament. This changes to a rocky pass where Mephistopheles informs Faust that Marguerite is about to be executed for the murder of her mother. Faust demands that she be saved, but is first required by Mephistopheles to sign the fatal contract which pledges his soul to the Devil. Summoning the infernal steeds Vortex and Giaour, the wild Ride to Hell commences, shown by a striking moving panorama, while at the close the angels are seen hovering above the town to rescue the soul of the pardoned Marguerite. DOUBLE-FACED DAMNATION OF FAUST RECORDS {Hungarian March Carmen Prelude By Sousa's Bandl By La Scala Orchestra 12 $1.25 THE RIDE TO HELL ACT V (English) DAUGHTER OF THE REGIMENT LA FILLE DU*REGIMENT (Lah Fee\>eh deh Rezh' -ee-mong ) COMIC OPERA IN TWO ACTS Words by Bayard and St. Georges. Music by Donizetti. First produced at the Oper> Comique, Paris, 1840; Berlin, 1842; London, 1847. Characters TONIO, a peasant of Tyrol SULPIZIO, Sergeant of the 21st. .. MARIE, Vivandiere of the 21st . . . . MARCHIONESS OF BERKENFIELD . Tenor Bass Soprano . . .Mezzo-Soprano The scene is laid in the Swiss Tyrol. Donizetti's Daughter is a brilliant little opera, with its rollicking songs, its drums, its vivacious heroine and its comic old Corporal. At the beginning of the opera Marie is a beautiful girl of 1 7, who had been found on the battlefield as an infant, and brought up by Sulpizio as the daughter of the regiment. Marie is loved by Tonio, a young peasant, who had saved her life in the Alps and who follows the regiment to be near her. The young girl returns his affec- tion, and they decide to appeal to Sulpizio. In asking for Marie's hand in marriage Tonio's suit is brought before the regiment, which decides that he may have the Vicandiere providing he joins the army, which he promptly does. Sulpizio meets the Marchioness of Berken- field and gives her a letter which he had found addressed to her at the time the baby Marie was found on the battlefield. The Marchioness, who had married a French army captain far beneath her own rank, immediately rec- ognizes the young girl as her daughter. 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 Marchioness declares Marie to be her niece, and dismisses Tonio as a totally unfit person to wed a high-born maiden. Marie assumes her proper position in society, her "aunt" selecting a wealthy Count as a future husband for her. However, in the midst of all her beautiful surroundings Marie continues to long for her sweetheart Tonio. Her mother, still pretending to be her aunt, endeav- ors to persuade her to give up Tonio and marry the Count, but Marie flatly refuses. In desperation the Marchioness 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 Marchioness consents to allow her to marry Tonio, who in the meantime, through rapid promotion, has reached a high rank in the French army under Napoleon. The Victor offers three records from this charming opera ; the first being the tuneful Per vioer vicino, the song of the lover Tonio. Mr. McCormack gives a spirited performance of this delightful Romanza. Two splendid band records are also offered a Pryor's Band rendition of the gay and spirited Overture and a Vessella Band record of the principal airs in the opera. Per viver vicino (To Be Near Her) By John McCormack, Tenor (In Italian) 74221 12-inch, $1.50 DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS /Overture By Pryor's Band \_ Dance of the Serpents (Boccalari) By Pryor's Band 12-inch. $1.25 Principal Airs of the Opera Fra Diavolo Selection (Auber) By Vessella's Band\,, 1Q1 By Vessella's Band}** 1 * 72 12-inch, 1.25 DINORAH (Din-oh'-rah) OPERA IN THREE ACTS Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris, 1859. First London production, under direction of Meyerbeer, July 26, 1859. First New York production, Opera Comique, 1864, with Cordier, Brignoli and Amodio. HOEL, a goatherd CORENTINO, bag-piper DINORAH, betrothed to Hoel .... HUNTSMAN . . Cast . . Tenor . Soprano . . Bass Place : Breton village of Ploermel. Although the name of Meyerbeer is usually as- sociated with Robert le Diable, Prophete and Huguenots, his opera, Pardon de Ploermel (afterwards revised and renamed Dinorah), was at one time a favorite work with opera-lovers. The revival of Meyerbeer's sparkling opera during the last Manhattan season was most welcome, not only for its tunefulness, but because it was an ideal medium for the exhibition of Mme. Tetrazzini's marvelous gifts. Old opera-goers in America will remember the productions of the past that arranged for Marie Van Zandt in 1892; Patti's famous performance a dozen years before ; and the fine impersonations of Gerster, di Murska and Marimon. But it is safe to say that no exponent of the part of the wandering Breton shepherd- ess has ever excelled Mme. Tetrazzini in the role. The plot is utterly absurd its demented goat-girl, seeking a runaway lover; the lover himself, who con- trary to operatic precedent is a baritone, and who spends a year chasing an imaginary treasure; a weak- kneed bag-piper. These are the principal characters. But in the music Meyerbeer has atoned for the triviality of the libretto, and the audience listens to the delightful melodies and pays little attention to the plot. The action is laid in Brittany. Dinorah, a maiden of the village of Ploermel, is about to be wedded to Hoel, a goat-herd, when a storm destroys the house of the bride's father. Hoel resolves to rebuild it, and goes off to seek treasure in a haunted region, while Dinorah, thinking herself deserted, loses her reason, and wanders through the country with her faithful goat, seeking the absent Hoel. Overture By La Scala Orchestra 68010 12-inch, $1.25 ACT I As the curtain rises, Dinorah enters in her bridal dress, seeking her goat, and finding the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object. Si, carina caprettina (Yes, My Beloved One) By Giuseppina Huguet, Soprano (In Italian) *35180 12-inch, $1.25 Mme. Huguet has sung this pretty air with charming fluency, and the record is one of the most attractive in her list. The translation follows: Slumber, darling, sweetly slumber, Perchance she has wandered on the hills Sleep, my belov'd one, sleep! Amid the thorns! Soft the evening breeze is playing, Ah ! wert thou to be seized by the wolf fear not! ^Neath the cooling shadows here I will be there to defend thee fear not! streamlet, fresh and clear, Yes, darling sleep in peace. FAURE AS HOEL, 1 859 Swift, among the Alas! six days has Nor yet returns! Sweet little My beauteous c Awake her not! i your warbling cease, e must sleep. Yet softer still! *Double.Faced Record On opposite side is the Mad Scene from Hamlet, b u Mme. Huguet. 73 VICTOR BOOK OF THE OPERA ME YERBEER'S DINORAH Corentino, a bag-piper, enters and is terrified at the sight of Dinorah, believing her to be an evil fairy about whom he had heard, who causes the runaway traveler to dance till he dies. Dinorah, in a spirit of mischief, makes him dance until he is exhausted, and runs away laughing. Hoel enters, still seeking the treasure, and confides in Corentino, telling him that the wizard with whom he had lived for a year had instructed him to seek for a white goat which would guide him to the gold. The bell of Dinorah's goat is heard, and Hoe'l pursues it, dragging with him the terrified Corentino. ACT II The second act begins with the famous shadow dance, for which Meyerbeer has furnished some most beautiful music. Dinorah enters, and seeing her shadow in the moonlight, imagines it is a friend and sings and dances to it. Ombra leggiera (Shadow Song) By Luisa Tetrazzini. Soprano 88298 12-inch, $3.0O By Maria Galvany. Soprano 88222 12-inch, 3.OO Light flitting shadow, companion gay Go not away! Play here beside me, dark fears betide me When thou dost go far from me! Ah! go not away, go not away! Eacli coming morn I thee would find, Ah prithee stay and dance with me! If thou wilt stay, nor go avyay, Thou thus shall hear me sing. Know'st thou not that Hoel loves me? That as his bride he claims me! Love well hath known Our two hearts to unite! (A cloud passes orer the moon the shadow disappears.) This dance is accompanied by a waltz, which is full of the most brilliant vocal effects, including a florid cadenza for voice and flute, as in Lucia. The act closes with the rescue of Dinorah by Hoel when the bridge, on which she was crossing a ravine, gives away. ACT III Act III opens with the famous "Hunter's Song," long a favorite concert number. Chant du Chasseur (Hunter's Song) TETRAZZIN By Pol Plancon, Bass (Piano ace. ) (In French] 81O65 On, on to the hunt! To follow the trace of beast or bird The day is awake, The mist from the lake Rising, passes over, Plays light in the trees, . Like a young, a young and h Hunting is jolly, when night lO-inch, $2.OO .ppy lover! Hoel enters, bearing the form of Dinorah, who is still senseless. Thinking her dead, he bitterly reproaches himself in the great air, Sei vendicala When from the tempest an asyluirTmy Dinorah sought ; Within these arms I pressed her; and now! ah! heaven. I'll not believe it yet! Dead! (He anxiously watches Dinorah, who gradu- ally recovers.) Great heaven! my pray'r hath risen unto thee! Yes! she breathes again; her eyes she opens! But why thus fixedly they gaze upon me? O heaven, I had forgotten That grief of reason had bereft her! now opens her eyes and recognizes Hoel, her reason having been restored by the shock. The reunited lovers go to the village, are greeted by their friends, and the curtain tails on preparations for the wedding. . Look up again, dear angel, thy pardon I ir plore! SCENE FROM DON CARLOS DON CARLOS (Don Kahr'-los) OPERA IN FOUR ACTS Libretto by Mery and Du Locle ; music by Verdi. First produced at Paris, March 11, 1867; in London, at Her Majesty's Theatre, June 4, 1867. Original Paris Cast PHILIP II DON CARLOS MARQUIS DE POSA .... GRAND INQUISITOR ... ELIZABETH DE VALOIS. PRINCESS EPOLJ . . . Obin, Bass Morere, Tenor Faure, Baritone Belval, Bass Sass, Soprano . Gueymard, Soprano The libretto is based on Schiller's drama of Don Carlos, and tells of the erratic and morbid son of Philip II of Spain, who was engaged to Elizabeth of France, but subsequently became her stepson. The conduct of Don Carlos finally became so scandalous that his father placed him under arrest and confined him in the Madrid prison, where he died in 1568, at the age of twenty-three. The same plot had previously been used by Bona, Milan, 1847; Costa, London, 1844; Moscuzza, Naples, 1862; and also by Ferrari. Don Carlos is not one of Verdi's popular operas, but the music is dramatic, effective and full of genuine Italian warmth and passion. Schiller's drama has been much changed, and made to conform to the dramatic requirements of the stage and the music. VICTOR BOOK OF THE OPERA VERDI'S DON CARLOS Don Carlos, son of Philip II of Spain, is in love with Elizabeth of Valois, daughter of the French King, Henry II. For state reasons, however, Henry has arranged that his daughter shall marry King Philip, and accordingly the royal ceremony takes place. The passion which Carlos feels for his young stepmother is as intense as ever, and he confides in Rodrigo, Marquis of Posa, who entreats the Prince to leave the Spanish Court in the hope that he will forget his love. Carlos begs the Queen to obtain Philip's permission for him to join the Flemings in their struggle against the cruelties of the Spaniards. Time seems to have but strengthened the mutual affection of the pair, and the Queen is unable to conceal from Carlos the fact that her love for him is greater than ever. Princess Eboli, who is herself in love with Carlos, learns of the Queen 's affection for the Prince. Her jealousy is aroused and she tells all to Philip. This maddens the King, who is already angry with his son for his sympathy with the Flemings, and, on the advice of the Grand Inquisitor, thrown into prison. Rodrigo visits the Prince there, and is shot by friends of the King, who suspect him of helping the Flemings. Carlos is freed and goes to St. Just Monastery to keep a tryst with Elizabeth. The King surprises them there, and his anger being once more aroused, he hands over Carlos to the Officers of the Inquisition, who bear him away to his death as the curtain falls. O don fatale (Oh, Fatal Gift!) By Janet Spencer, Soprano (In Italian) 74253 12-inch, $1.5O Dio che nell* alma (God in My Soul) By Enrico Caruso and Antonio Scotti (In Italian) 89O64 Per me giunto e il di supremo (The Supreme Day) By Titta Ruffo, Baritone (In Italian) 92038 FAURE AS DON Carlos 12-inch. 4.00 DOUBLE-FACED DON CARLOS RECORD {Grand March By Sousa's Band) Tannhauser Pilgrims ' Chorus ( Wagner) Victor Brass Quartet) 12-inch. 3.0O 10-inch. $0.75 (Italian) DON GIOVANNI (Don Joh-oahn' -net} (French) DON JUAN (Don Huahn) OPERA IN TWO ACTS Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced at Prague, October 29, 1787, and at Vienna, May 7, 1788. First London production April 12, 1817; produced in New York May 29, 1826. Some notable revivals occurred in 1898 with Sembrich, Nordica, Eames and Plancon, and in 1909 with Russ, Donalda, Bonci and Renaud. Cast DON GIOVANNI, a licentious young nobleman DON OCTAVIO, (Oct-tah 1 -vee-oh) betrothed to Donna Anna. . LEPORELLO, (Lep-oh-rel'-low) servant of Don Giovanni DON PEDRO, (Pay.dro) the Commandant DONNA ANNA, his daughter MASETTO, ( Mas-set -to) & peasant ZERLINA, (Zer-lee'-nah) betrothed to Masetto DON ELVIRA, a lady of Burgos . Peasants, Musicians, Dancers, Demons. ... Baritone Tenor Bass Bass .... Soprano Bass ... Soprano .... Soprano Scene and Period : Seville, in the middle of the seventeenth century. Mozart's Don Giovanni was written in 1787 and produced during the same year at Prague. Da Ponte, the librettist, was a Viennese Court dramatist, who had also written Le Nozze di Figaro. The plot of the opera was probably founded upon a play entitled El Burlador de Sevilla y Convirada de piedra, attributed to Tirso de Molina, a Spanish monk and prior of a monastery at Madrid. This had also served as a basis for numerous other "Don Juan" plays and operas by Fabrizzi, Gardi, Raimondi, Carnicer and latterly Dargo- myszky, the Russian composer. ACT I SCENE I The Courtyard of the Commandant's Palace at Seville. It is Night The wicked Don Giovanni, ever pursuing his gay conquests, attempts to enter Donna Anna 's apartments. She cries for help and he tries to escape, but is pursued by the angry girl, who endeavors to penetrate his dis- guise. Her father comes to the rescue and is mortally wounded by the Don, who makes his escape, followed by Leporello, his servant. Donna Anna is overcome with grief, and charges her betrothed, Don Octavio, to avenge her father's death. SCENE II An Inn in a Deserted Spot Outside Seville Don Giovanni and Leporello enter and conceal them- selves as a lady approaches in a carriage. Hoping for a new conquest, the Don comes forward, hat in hand, but is surprised to find that it is Donna Elvira, a young woman whom he has lately deceived and deserted. She denounces him for his baseness and he makes his escape, leaving Leporello to explain as best he can. Leporello rather enjoys the situation, produces his diary and adds to the lady's anger by reading a list of the mistresses of the Don. This list is recited by Leporello in the famous // catalogo. 77 SCOTTI AS DON GIOVANN VICTOR BOOK OF THE OPERA MOZART'S DON GIOVANNI Madamina, il catalogo (Gentle Lady, this List) By Marcel Journet. Bass (In Italian) 6415O lO-inch, $1.OO By Arcangelo Rossi, (Double-faced See page 81) (Italian) 62623 lO-inch, .75 Nella bionda (The Fair One) By Marcel Journet, Bass 74191 12-inch, $1.50 (In Italian) LEPORELLO: Ev'ry country, ev'ry township, fully confesses Those of the sex whom to his rank he presses. Gentle lady, this my catalogue numbers All whose charms lent my master beguiling. 'Tis a document of my compiling. An it please ye, peruse it with me. In Italia, six hundred and forty: Then in Germany, double fifty seem plenty; While in old Spain here, we count thousands three! Some you see are country damsels, Waiting-maids and city ma'amselles, Countess', duchess', baronesses, Viscount' ev'ry kind of 'esses. Womenfolk of all conditions, Ev'ry form and ev'ry state! Journet's Leporello is a unique performance of its kind, and his characterization always stands forth as an admirable foil to the polished villainies of the suave and distinguished Don. This great buffo number, usually called the Catalogue SongJ is full of the broadest humor, and is given by this artist with all the sly humor, gaiety, irony and sentiment which it requires. Donna Elvira is horrified and drives off, swearing vengeance. SCENE III In the Suburbs of Seville. Don Giovanni 's Palace Visible on the Right A rustic wedding party comprising Zerlina, Maselto and a company of peasants are enjoy- ing an outing Don Giovanni and Leporello appear, and the Don is charmed at the sight of so much youthful beauty. He bids Leporello conduct the party to his palace and give them re- freshments, contriving, however, to detain Zerlina. Masetlo protests, but the Don points significantly to his sword and the bridegroom follows the peasants. The Don then proceeds to flatter the young girl and tells her she is too beautiful for such a clown as Masetlo. She is impressed and coquettes with him in the melodious duet. La ci darem, the witty phrases and delicate harmonies of which make it one of the gems of Mozart's opera. La ci darem la mano (Thy Little Hand, Love !) By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone (In Italian) 89O15 12-inch, $4.0O By Emma Eames, Soprano, and Emilio de Gogorza. Baritone (In Italian) 89005 12-inch, By Graziella Pareto. Soprano, and Titta Ruffo, Baritone (In Italian) 925O5 12-inch, LEPORELLO 4.00 By Mattia Battistini, Baritone, and Emilia Corsi, Soprano 4.OO (In Italian^ 92O24 12-inch. 3.00 ELSEN AS ZERLINA VICTOR BOOK OF THE OPERA MOZART'S DON GIOVANNI This celebrated number, which has been sung by many famous artists during the one hundred and twenty years since its first hearing, is one of the best examples of the many spark- ling concerted numbers which Mozart has written. Always interesting, it is wholly delightful when sung by such artists as those who have rendered it for the Victor. Not less than four versions, by famous exponents of the characters of Zerlina and Don Giovanni, are presented here. DON GIOVANNI: Nay, bid me not resign, love, coldly the hand I press, Oh! say thou wilt be mine, love, breathe but that one word "yes." ZERLINA: I would and yet I would not, I feel my heart misgive, Shouldst thou prove false, I could not, become thy scorn and live. DON GIOVANNI: Come then, oh come then, dearest. ZERLINA: Yet should thy fondness alter. DON GIOVANNI: Nay, love, in vain thou fearest. BOTH: Yes, hand and heart uniting, each other's cause requiting, Our joy no bounds shall know! Miss Farrar's Zerlina is a dainty and fascinating character, and she sings the music brilliantly. It is hardly necessary to s DON GIO- say anything about Scotti's Don Giovanni, as it is quite familiar to JUT AS A opera-goers, ranking among his best impersonations. The LONDON, ,875) re ndition by Mme. Eames and Mr. de Gogorza is a most delight- ful one, while two other records by famous European artists are also offered. Giovanni is about to lead Zerlina away, when Donna Elvira, who has been watching, rescues the young girl and carries her off, to the chagrin of the Don. Donna Anna now enters with Octavio, who asks the help of his friend Don Giovanni in tracing the murderer of Donna Anna 's father. The Don assures them of his devotion, and goes to his palace, while Donna Anna tells her lover that she recognizes by his voice that Don Giovanni is the one who slew her father. They depart, and Leporello and the Don enter. The serv- ant tells his master that when Donna Elvira and Zerlina arrived at the palace, and Elvira attempted to tell the peasants the truth about the Don, he led her gently out- side the gate and then locked it. He is complimented by his master, who bids him prepare for the feast of the evening. Left alone, the gay Don sings his brilliant Drinking Song, famous in every land. The scene changes to Don Giovanni's garden. Zerlina is endeavoring to make her peace with Masetto, but he is sulky. She then sings her lovely Baiti, batti. Batti, batti, o bel Masetto (Scold Me, dear Masetto) By Marcella Sembrich, Soprano (In Italian) 88O26 12-inch. $3.00 This gentle number is in striking contrast to the brilliant writing in the lighter bits of Zerlina 's music. Chide me. dear Masetto, ' HOT B " G Chide Zerlina at your will: ABOTT Like the patient lamb I'll suffer, Meek and mute and loving still. Ah! I see, love, you're relenting, Night and day, to thee. devoted, DON GIOVANNI Pardon, kneeling, I implore! ere I vow to 79 VICTOR BOOK OF THE OPERA MOZART'S DON GIOVANNI Masetto is only half appeased, but goes in to dance with his bride. Donna Anna, Donna Elvira and Don Octavio, disguised and masked, enter and sing a trio, in which they pledge them- selves to have revenge on the traitor. The scene changes to the interior of the palace, where the ball is in progress. Don Giovanni continues his efforts to get Zerlina away from her jealous and watchful lover, and finally succeeds, but Zerlina calls for help and Masetto and the three conspirators rush to her assistance. They denounce Don Giovanni, who defies them with drawn sword, and makes his escape from the palace. ACT II SCENE I A Square in Seville. Donna Elvira's Residence on the Left. It is a Moonlight Night Don Giovanni, followed by his servant, enters, wrapped in a mantle and carrying a mandolin. He has heard of a pretty servant whom Donna Elvira possesses, and is plotting to get the mistress out of the way. As Elvira sits at her window, he addresses her, pretending to be repentant, but when she comes out he pushes Leporello Jtorward to impersonate him. While they are conversing, the Don makes a great outcry and the pair run off in fright. The coast clear, the Don sings his famous Serenade to the fair waiting maid. Serenata, "Deh vieni alia finestra" (Open Thy Window, Love) By Antonio Scotti, Baritone (In Italian) 88194 12-inch, $3.OO By Titto Ruffo, Baritone (In Italian) 87112 10-inch, 2.00 By M. Hector Dufranne, Baritone (In French) *45O11 10-inch, l.OO By Giuseppe de Luca, Baritone (Piano ace.) (In Italian) *62623 10-inch, .75 DON GIOVANNI: Ope, ope thy casement, dearest, Thyself one moment show; Oh, if my pray'r thou hearest, Wave but that arm of snow. Canst thou my ceaseless sighing With cold indif'rence greet? Ah! wouldst thou see me dying Despairing, at thy feet? Thy lip outvies Hymettian-honied bowers; Virtue worthy an . aneel, thy heart doth cherish; Thy sigh were balm amid a heav'n of flowers; O, for one kiss, this soul would perish! Ruffo's impersonation of Don Giovanni is admir- able in every respect. He is the profligate nobleman and irresistible wooer to the life, and sings the EENAUD AS DON GIOVANNI difficult score with ease. Scotti's rendition of this famous serenade is given by the baritone with the grace and ease which never fail him, while two lower priced records are also offered. His amours are rudely interrupted by Masetto, who appears with a company of villagers, all armed with muskets, seeking the villain. The Don, pretending to be Leporello, offers to put them on the right track. Then follows a series of amusing situations, ending with the capture of the supposed Don by the three conspirators, but it proves to be Leoorello, who takes advantage of the situation to make his escape. * Double-Faced Record For title of opposite side see DOUBLE-FACED DON GIOVANNI RECORDS, page 81. VICTOR BOOK OF THE OPERA MOZART'S DON GIOVANNI Tfie next scene shows the Cathedral Square, with the statue of the murdered Commandant in the centre. The Don and Leporello enter, and are discuss- ing the events of the evening, when the statue speaks to them. Leporello is terrified, but the Don defies all spirits and boldly in- vites the statue to supper. The scene changes to the banquet hall in the palace of the Don. In the midst of the festivities a loud knocking is heard. The guests flee in terror, the lights go out, and the gigan- tic figure of the Commandant appears at the door. Leporello cowers in terror under the table, but Don Giovanni is defiant until the ghost seizes his hand, when he feels for the first time a ter- rible fear. The statue sinks, flames appear on all sides, and demons rise and seize the guilty libertine. /Minuet from Act I By Victor Dance Orchestra \ Forward March TTVO Step By Victor Dance Orchestra {Serenade By M. Hector Dufranne, Baritone (In French} Si j 'etais Roi Lin regard de ses yeux ! Leon Beyle, Tenor (French) ( |Madamina, il catalogo By Arcangelo Rossi, Bass (In Italian) {Serenata Deh! vieni alia finestra (Open Thy By Giuseppe de Luca, Baritone 62623 .75 DONNE CURIOSE "THE CLUB, ACT I (German) DIE NEUGIERIGEN FRAUEN LE DONNE" CURIOSE (Don-neh Koo-nx-oh' -xh) (English) INQUISITIVE WOMEN MUSICAL COMEDY IN THREE ACTS Libretto by Luigi Sugana, after Carlo Goldoni ; music by Ermanna Wolf-Ferrari. Produced in Munich in 1903 as Die Neugierigen Frauen. First production at the Metropolitan Opera House, New York, January 3, 1912, with Farrar, Jadlowker, Scotti, Fornia and Murphy. Characters OTTAVJO, a rich Venetian BEATRICE, his wife ROSAURA, his daughter FLORINDO, betrothed to Rosaura PANTALONE, a Venetian merchant LELIO, k r i LEANDRO, f hls fnends COLOMBINA, Rosaura's maid ELEANORA. wife to Lelio ARLECCHINO, servant to Pantalone Servants, gondoliers, men and women of the populace Bass Mezzo-Soprano Soprano Tenor .Buffo- Baritone (Baritone ' | Tenor Soprano Soprano . Buffo-Bass Time and Place : Venice ; the middle of the eighteenth century. VICTOR BOOK OF THE OP ER A INQU I S ITI V E WOMEN Le Donne Curiose is a genuine comedy. The plot is very simple, and deals with the schem- ing of Beatrice, Rosaura, Eleanora and Colombina to gain entrance to the Friendship Clubhouse, of which their husbands and lovers are mem- bers. Over the door of the club may be seen the motto, " No Women Admitted." Each woman has her own theory as to the doings behind closed doors, and they seek in various ways to gain an entrance. In reality the men are enjoying themselves with simple masculine pleasures, and chuckling over the intense curiosity of their wives and sweethearts. With the help of Colombina and Arlecchino, 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 dis- covered by the husbands they are forgiven, and the evening ends happily with a merry dance. The Victor offers two interesting airs from Act II. The first, Tulla per te mio bene, is sung by Rosaura as Beatrice and Colombina go off together to try to effect an entrance into the Club, and the second is the love duet of Rosaura and Florindo, sung after she has induced him to give her the keys. Tutta per te, mio bene (Only For Thee, My Sweetheart) By Geraldine Farrar, Soprano (In Italian) 88356 12-inch, $3.0O II cor nel contento (My Heart, How it Leaps in Rejoicing) By Geraldine Farrar and Herman Jadlowker (Italian) 88359 12-inch, $3.0O SCENE FROU ACT III 84 THE GARDEN ACT III DON PASQUALE (Don Pahis-quah'-leh) COMIC OPERA IN THREE ACTS Text and music Dy Gaetano Donizetti. Libretto adapted from the older Italian opera Ser Marc' Antonio, by Camerano. First presented at the Theatre des Italiens, Paris, on January 4, 1843. First production in Paris in French, 1864. First London production June 30, 1843. First New York production March 9, 1846, in English, and in 1849 in Italian. Recently revived at the Metropolitan with Sembrich, Scotti and Rossi; and at the Bos- ton Opera House with Nielsen, Bourrillon, Antonio Pini-Corsi and Fornari. Characters DON PASQUALE, an old bachelor DR. MALATESTA, his friend, a physician ERNESTO, nephew of Don Pasquale NORINA, beloved of Ernesto A NOTARY Bass Baritone ............. Tenor . . Soprano Baritone Chorus of Valets and Chambermaids, Majordomo, Dressmaker and Hairdresser. Scene and Period : Rome ; the beginning of the nineteenth century. This brightest of genuine lyric comedies always appeals to that class of opera-goers who find the present-day comic opera or musical comedy to be cheap, gaudy and lacking in genuine humor. Don Pasquale is pure entertainment, nothing else, the true spirit of comedy being found in the music as well as the plot; and both are delightful when the opera is presented by such artists as the Victor has assembled for this series. VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE ACT I SCENE A Room in Don Pasquale 's House The Don is eagerly awaiting the arrival of Dr. Malatesta, who has promised to obtain for him a young and lovely bride. Son nov'ore CTis Nine O'Clock !) By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone (In Italian) *68273 12-inch, $1.25 The Doctor enters, declares he has found the bride, and proceeds to describe the charmer. The Don is overjoyed, and insists on seeing the lady at once. When the Doctor leaves, Pasquale gives vent to his feelings in an amusing air. Un foco insolito (A Fire All Unfelt Before) By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone (In Italian) *62104 10-inch. $0,75 PASQUALE: A fire, all unfelt before, Ah! hasten speedily, Burns in my heart's core: Sweet little bride, to me! 1 can resist no more Yes, I am born again! Now for my nephew, I'll strive no longer. By playing thus the careless, heedless hair- Of old age enfeebling me, brain, Forgot is the misery, See what it is the wise and wary gain ! Feeling still young to be (Looking off.) Than twenty much stronger. Ah! here the very man comes, apropos! His nephew enters, and is again urged by his uncle to give up Norina, whom the uncle calls a vain, coquettish widow. Ernesto refuses, and Don Pasquale announces his intention of marrying and disinheriting his nephew. The young man, at first incredulous, is finally convinced that his uncle is in earnest and gives way to despair, beginning his first air : Sogno soave e casto (Fond Dream of Love) By Giuseppe Acerbi, Tenor (In Italian) *62624 10-inch, $0.75 ERNESTO: Sweet holy dreams I loved to cherish But now, poor and abandon'd, I, Of early youth, adieu! ye vanish! Reduc'd from my condition high, If I e'er long'd for riches, splendor, Sooner than thee in misery see, It was but for thee, love; Dearest, I'll renounce thee. Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don Pasquale says it was the Doctor himself who proposed the plan and offered his own sister as the happy bride. Ernesto is astonished to hear that the Doctor, who he thought was his friend, had deserted him. SCENE II A Room in Norina' s House Norina is reading a romance, and at the beginning of her air quotes from the book: Quel guardo (Glances so Soft) By Giuseppina Huguet, Soprano (In Italian) *68272 12-inch, $1.25 NORINA: "Glances so soft revealing To that sweet maiden kneeling The flame of truest love, He swore he'd faithful prove!" Cavatina So aneh'io la virtu magica (I, Too, Thy Magic Powers Know) By Amelia Pollini, Soprano (In Italian) *62103 10-inch, $0.75 She then declares that she too knows the value of a glance and smile. NORINA: I, too, thy magic virtues know. I know the mode, oh, dear, Of glance well tim'd and tender, Of love's bewitching wiles, A gentle smile, born to beguile, His facile arts and guiles. . . . I know an old offender! To lure with wanton smiles. A hidden tear, a languor near, I know the modes, oh, dear! *Do U ble-F a ced Record For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 90. VICTOR BOOK OF THE OPERA DONIZETTrS DON PASQUALE A servant gives her a letter from Ernesto, just as the Doctor enters and informs her that he has conceived a scheme to force her lover's guardian to consent to the marriage. Norina declares she will have nothing to do with it, bidding him to read Ernesto's despairing letter, in which the young man tells her he is disinherited and will leave Rome, bidding her a last farewell. The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals the details of the plot against Don Pasquale, in which he proposes to play on the vanity of the old bachelor, by pretending to find him a young and lovely wife. They decide that Norina shall play the part of this girl, and go through a mock marriage with Don Pasquale. Norina is delighted and begins to rehearse her new role. This takes the form of a charming duet, which ends the first act and which is always greatly admired. Two records of this sprightly duet, at widely varying prices, are cataloged here. Pronta io son (My Part I'll Play) By Marcella Sembrich, Soprano, and Antonio Scotti, Baritone (In Italian) 89002 12-inch, $4.OO By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone (In Italian) *68272 12-inch. 1.25 NORINA: DOCTOR: My part I'll play, if not offending Bravo, bravo, capital! Against my lover's repose and quiet; It can't be better all goes well! Well the plot with me will fare! NORINA: DOCTOR: Head turned aside "Oh fie! oh fie!" Our plot but tends, you may believe, DOCTOR: Don Pasquale to deceive. Pursed-up mouth "Ashamed am I." NORINA: NORINA: We're quite agreed, and I'm enlisted. "I'm quite confus'd, my thoughts take wing " Would you have me gay or tearful? DOCTOR: DOCTOR: Oh, clever creature! Just the thing! Listen, and you'll all be told: BOTH: You must play simplicity. Of this old fool, all sense who spurn'd; NORINA: This time the head will be quite turn'd! I'll lessons give leave that to me. "I'm so confused I'm young, you know Thank you Your servant, Yes, sir, Oh!" The scene is continued in another sprightly duet, which closes the act. Vado corro (Haste We !) By Giuseppina Huguet and Ernesto Badini (Italian) *62097 lO-inch, $O.75 ACT II SCENE A Richly Furnished Hall in Don Pasquale' s House Don Pasquale, in the most youthful of wedding garments, enters and struts up and down, admiring himself, until the Doctor arrives with Norina, who is closely veiled. She pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous trio, the first of the concerted numbers in this act, begs her to have courage. The pretended notary now arrives, and another comical scene ensues as the mock ceremony is performed. Pasquale, so much in love that his judgment is clouded, is not only induced to sign over one-half his property to his wife, but agrees that she shall be absolute mistress of the house. As Norina is signing, Ernesto's voice is heard outside demanding admittance, having come to bid his uncle farewell. He is amazed to see Norina posing as the Doctor's sister and about to be wedded to his uncle, and tries to interfere, but is restrained by Malatesta. The moment Norina affixes her signature to the contract her manner changes, and when Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her choice. Don Pasquale is thunderstruck and attempts to protest, but Norina warns him that if her words are not sufficient to keep him in his place she will beat him! This is the last straw, and the bewildered old man stands in a daze, his brain refusing to comprehend what has happened ! This tableau is followed by the quartet, E rimasto. *Double-Faced Record For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 90. 87 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE E rimasto la impietrato (He Stands Immovable) By Linda Brambilla, Soprano ; Antonio Pini-Corsi, Baritone ; Gaetano Pini-Corsi, Tenor : Agusto Scipioni, Bass PASQUALE: (In Italian) *16566 10-inch, $0.75 Dream I? Sleep I? What's amiss? To know not if he wakes or dreams! Kicks cuffs: good a fine pretext He's like a man by lightning struck: "Tis well she warn'd me now of this what's No drop of blood runs in his veins. that mean? MALATESTA: We shall see what's coining next! Take heart, Pasquale, my old buck, I, Don Pasquale, she'd think meet Don't be discouraged, use your brains. To trample underneath her feet! NORINA: NORINA AND ERNESTO: Now then, at least, my worthy friend, He stands petrified, and seems You must begin to comprehend. The great finale to Act II then follows, and the curtain always descends amid a gale of laughter from the audience. Norina rings a bell, summoning the servants, and announces that she is now sole mistress of the house. She orders new servants engaged, two carriages, new furniture, etc., planning expenditures on a lavish scale. Don Pasquale attempts to pro- test, but is silenced, and in a voice choked with rage and astonishment begins the finale. Son tradito (I Am Betrayed !) By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass PASQUALE- (In Italian) *62097 10-inch, $0.75 I am betray'd, trod down and beat, ALL (pointing to Don Pasquale) : A laughing stock to all I meet; Don Pasquale, poor, dear wight, Oh! with mingled rage and spite Is nearly suffocated quite! I am suffocating quite! MALATESTA (to Pasquale): NORINA (to Ernesto) : You're a little heated, really Now you see, ungrateful heart, Do go to bed, dear Don Pasquale. How unjust was your suspicion: (To Norina, in a tone of reproof.) Love, to bring him to submission, On my brother-in-law to play Counsell'd me to play this part. Thus, I'll not endure, I say! ERNESTO (to Norina): (To the lovers, who are embracing behind Don You are justified, dear heart; Pasquale' s back.) Momentary my suspicion. Silly ones, for Heaven's sake, pray, Love, to bring him to submission, Don't, I beg, yourselves betray! Counsell'd thee to play this part. ACT III (Same as Act I On the floor and furniture are piled up dresses, bandboxes, furs, etc., in great pro- fusion. Servants are running to and fro with bustle and excitement) Don Pasquale is seen amid the confusion, looking with utmost consternation at a huge pile of bills. He throws them down in despair, and as Norina approaches resolves to make one last attempt to remain master in his own house. Signorina in tanta fretta (My Lady, Why This Haste ?) By Emilia Corsi, Soprano, and Antonio Pini-Corsi, Baritone (In Italian) *68273 12-inch, $1.25 She is dressed to go out, and is hastening to her carriage when Don Pasquale begins : (H'ith great heat.) PASQUALE: Why, you impertinent! Prithee, where are you running in such haste, But there take what you well deserve, sir! Young lady, may I beg you will inform me? (Boxes his ears.) NORINA: PASQUALE: Oh! that's a thing that very soon is told: Ah! I'm going to the theatre to divert me. (It is all over with you, Don Pasquale! PASQUALE: All that now remains for you to do But the husband, with your leave excuse me Is quietly to go and drown yourself!) T Saying so may perchance object to it. NORINA: NORINA: (I must confess, 'tis rather hard a lesson; The husband sees, and wisely holds his tongue: Yet was required to have its due effect.) For when he speaks there's no one listens to (To Don Pasquale) : him. I'm going now, then PASQUALE (with rising warmth): PASQUALE: Not to put me to the trial, Madame, Oh, yes, certainly! It is for your own good that I advise you But do not take the trouble to return. You'll to your chamber go, this very instant NORINA: Remain content at home stay in the house. Oh, we shall see each other in the morning. NORINA (ironically): PASQUALE: Oh, really! A face of wood a closed door, you will find. "Doubt-Faced Record For title o/opporffc side 3ee DOUBLE-FACED DON PASQUALE RECORDS, page 90. VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE As she goes out she intentionally drops a note which Don Pasquale seizes and peruses. He is petrified to find that it reads : "Adored Sophrania Between the hours of nine and te I shall be at the bottom of the garde By the small grated gate. Tis is in a song 1 shall announce my coming: Thine to command thine faithfully; adieu." This is too much, and the unhappy man runs in search of Malalesia. Ernesto and the Doctor enter, discussing the plot, and the young man, after being instructed to be at the garden rendezvous at nine that evening, goes out. Pasquale returns, and going solemnly up to the Doctor, exclaims : PASQUALE: Brother-in-law, in me, alas, you see A dead man, walking upright! and tells him of the contents of the note. Malatesta pretends to sympathize and proposes that they lie in wait for the guilty lovers that evening and teach them a severe lesson. Pasquale gloats over his coming triumph, and begins the duet. Aspetta aspetta cara esposina (Wait, 'Wait, Dear Little Wife) By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone (Double-FacedSee page 90) (In Italian) 621O3 ID-inch, $0.75 PASQUALE: Wait, wait, dear little wife, I soon reveng'd will be: E'en now 'tis near, my life. This night, without delay, Thou must the reckoning pay! Thou'lt see what little use Now will be each excuse Useless thy tender smiles. Sighs, and tears and wiles All I have now at stake, Conquer'd, again I'll take! MALATESTA (aside) : Oh, the poor fellow! Vengeance he's prating; Let the dolt bellow He knows not what's waiting! He knows not he is building rare Castles in the empty air: He sees not, the simpleton That in the trap, poor elf, lie of his own accord Now goes to throw himself! (Exit together.) SCENE II Don Pasquale s Garden It is Night Ernesto is Discovered Waiting This scene begins with the beautiful serenade, the most melodious of the airs in Donizetti's work. Serenata Com' e gentil (Soft Beams the Light) By Enrico Caruso, Tenor (In Italian) 85048 12-inch, $3.00 By Aristodemo Giorgini, Tenor, and La Scala Chorus (In Italian) 76010 12 -inch. ERNESTO: Oh! summer night, thy tranquil light Was made for those who shun the busy day, Who love too well, yet blush to tell The hopes that led their hearts astray! All now is still, on dale, on hill, 2.00 And none are nigh, with curious eye; Then why, my love, oh, why delay? Your lattice open to the starry night, And with your presence make the world more bright! Two renditions of this exquisite air are listed here, headed by Caruso's, familiar to admirers of the great tenor. A fine record by Giorgini, a tenor now much liked in Italy, follows. Norina joins Ernesto, and they are reconciled in a duet, Tell Me Again. Pasquale and the Doctor, with dark lanterns, enter softly and hide behind the trees, but the irate old man can contain himself no longer and rushes out to denounce the lovers. Ernesto vanishes and Norina calmly declares there was no one with her, that she had merely come out to get fresh air. Pasquale is so beside himself with rage and chagrin that Malatesta considers it time to end the farce, and proposes to rid Pasquale of his bride by marrying her to Ernesto, revealing that the first marriage was not a real one, and that the lady was not his sister but Norina. Pasquale is so glad to be rid of such an extravagant termagant that he pardons the deception, consents to the union, and settles an income on the happy pair. 89 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE DOUBLE-FACED DON PASQUALE RECORDS ISignorina in tanta fretta (My Lady, Why This Haste ?) 1 By Emilia Corsi and Antonio Pini-Corsi (In Italian) I, ,-,,,_, Son nov' ore (Tis Nine O'clock !) By Antonio Pini-Corsi and Ernesto Badini (In Italian)) (D'un guardo, un sorrisetto (Glances So Soft) By Giuseppina Huguet, Soprano IProntaioson (My Part I'll Play) (In Italian) (In Italian) 68272 By La Scala Orchestral, Rmn By La Scala Orchestra^ 8010 62104 By Giuseppina Huguet and Ernesto Badini /Overture I Barbiere di Siciglia Manca un foglio Un foco insolito (A Fire All Unfelt Before) By Antonio Pini-Corsi and Ernesto Badini (In Italian) Vado, corro (Haste \^e !) By Emilia Corsi, Soprano, and Ernesto Badini, Baritone (In Italian) E rimasto la impietrato (He Stands Immovable) By Linda Brambilla, Soprano ; Antonio Pini-Corsi, Baritone ; Pini-Corsi, Tenor ; Scipioni, Bass (In Italian) Elisir d'amore lo sonno ricco (I Have Riches) By Passari, Soprano; A. Pini-Corsi, Baritone; and Chorus (In Italian) Cavatina So anch'io lo virtu magica (I, Too, Thy Magic Virtues Know) By Amelia Pollini, Soprano (In Italian) Aspetta aspetta cara esposina ("Wait, Wait, Dear Little Wife) By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone (In Italian) Sogno soave e casto (Fond Dream of Love) | By Giuseppe Acerbi, Tenor (In Italian) [62624 Faust Coro de soldados (Soldiers ' Chorus) La Scala Chorus] Vado corro (Haste We) By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone (In Italian) Son tradito By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto Badini, Baritone (In Italian) 12-inch, $1.25 12-inch, 1.25 12-inch, 1.25 lO-inch. .75 16566 10-inch. .75 62103 10-inch, .75 lO-inch, .75 62O97 lO-inch, .75 SCENE FOR ACT II AT METROPOLITAN OPERA L'ELISIR"D'AMORE (Au-lee-zee/ Jam-oh' -reh) (English) THE ELIXIR OF LOVE OPERA IN TWO ACTS Text by Romani. Music by Gaetano Donizetti. First produced in Milan in 1832. First London production December 10, 1836. First New York production in 1838. First Paris production in 1839. Cast ADINA, a wealthy and independent young woman Soprano NEMORINO, a young peasant, in love with Adina Tenor BELCORE, sergeant of the village garrison Bass DOCTOR DULCAMARA, a quack doctor Buffo GlANNETTA, a peasant girl Soprano A Landlord, a Notary, Peasants, Soldiers, Villagers. Scene and Period : A little Italian village ; the nineteenth century. This delightful example of Donizetti's work is a real opera bouffe, and while simple and unconventional in plot, it has always been a favorite because of the lovely songs with which it abounds. Adina, a lively village beauty and heiress, is loved by a young peasant, Nemorino, who although handsome and manly, is afraid to press his suit; but while the beauty treats him rather coolly she is by no means indifferent to him. ACT I SCENE The Homestead of Adina' s Farm Adina and her companion are seated under a tree reading. Nemorino is near, pensively observing his innamorata, and sings his first Caoatina. Quant'e bella ! (Ah ! How Lovely) By Emilio Perea. Tenor (In Italian) *62626 10-inch, $O.75 NEMORINO: Ah! how lovely! ah! how dear to me! While I gaze I adore more deeply; Ah! what rapture that soft bosom With a mutual flame to move. Rut while reading, studying, improving, She hath learning and every attainment, While I can nothing do but love! Adina then reads to her friends a legend of a cruel lady who coldly treated a knight who loved her, and only smiled on him when he gave her a love potion. Nemorino wishes he could find the receipt for this potent elixir. Martial music is heard and Belcore, a dashing sergeant stationed near the village, appears with a bouquet for Adina. She has but few smiles for the military man, which cheers Nemorino somewhat, and when Belcore departs he renews his suit, but the fair one tells him that it is useless. A commotion among the villagers is heard, and Dulcamara, a quack doctor, comes on the scene, riding in a splendid carriage. He announces his wonderful medicines in a famous song, Udile, udite o rustici, the delight of buffos for more than eighty years. Udite, udite o rustici (Give Ear, Ye Rustics) By Antonio Pini-Corsi, Baritone (In Italian) *68152 12-inch, $1.25 By Emilio Perea, Tenor In Italian) *62626 10-inch, .75 * Double-Faccd Record For title of opposite tide see list on page 93. 91 VICTOR BOOK OF THE OPERA ELIXIR OF LOVE After the Doctor has recited the wonderful effects of his medicines, saying: DULCAMARA: I cure the apoplectical, The asthmatical, the paralytical, The dropsical, the diuretical, Consumption, deafness, too, The rickets and the scrofula All evils are at once upset By this new and fashionable mode! Nemorino exclaims, " Heaven itself must have sent this miraculous doctor to our village ! " He draws the quack aside, and asks him if he has an elixir that can awaken love. The Doctor, of course, says that he is the original inventor of the liquid, and soon has Nemorino 's last coin in exchange for the coveted potion, which is in reality a bottle of strong wine. This scene is in the form of an amusing duet, Obbligaio. Obbligato, obbligato (Thank You Kindly) By Fernando de Lucia, Tenor, and Ernesto Badini, Baritone (In Italian) 91079 lO-inch, $2.0O As soon as the Doctor has departed Nemorino drinks the elixir, and at once feels a new courage in his veins. He begins to sing and dance, and Adina, coming in, is astonished to see her love-sick swain so merry. Feeling sure that the potion will bring the lady to his feet, he pays no attention to her, which piques her so much that when the sergeant arrives and renews his suit, she consents to wed him in three days. Nemorino laughs loudly at this, which further enrages the lady, and she sets the wedding for that very day. This sobers Nemorino, who fears that the marriage may take place before the potion works, and he pleads for delay. Adina and Be/core laugh at him, and the curtain falls as preparations for the wedding are begun. ACT II SCENE I Interior of the Farmhouse The wedding feast is in progress, but the notary has not arrived. Dulcamara is present, and produces the latest duet from Venice, which he asks Adina to sing with him. lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) By Mme. Passari, Soprano ; Antonio Pini-Corsi, Baritone ; La Scala Chorus (In Italian) *16566 10-inch, $O.75 This amusing dialogue, supposed to occur between a rich old man and a young girl, is given here by two well-known singers of La Scala, supported by the chorus. The company now goes to an adjoining room to dance ; all but the Doctor, who says he doesn't know when another free dinner will come his way, and therefore remains at the feast. Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken effect. " Take another bottle," says the Doctor, " only twenty crowns." Nemorino says he has no money, so the Doctor promptly pockets the bottle and goes in to the dancers, telling the unhappy youth to go out and raise the amount. Belcore, the sergeant, comes in, and learning that Nemorino's distress is caused by lack of money, suggests that he enlist as a soldier and be richer the fee of twenty crowns. Nemorino jumps at the chance, signs the articles, runs in search of the Doctor, and drinks the second bottle I The peasant girls, having heard that the death of Nemorino's uncle has just made him rich, begin to pay him attentions. The Doctor tells Nemorino that this popularity is the result of the elixir he has just sold him. Adina, woman-like, when she sees her lover in such demand, promptly regrets having treated him so coldly, and runs out on the verge of tears. Nemorino, noting her downcast looks, feels compassion for her, and gazing after her sadly, sings the lovely romanza, famous in every land. Una furtiva lagrima (Down Her Cheek a Pearly Tear) By Enrico Caruso, Tenor (In Italian) 88339 12-inch, $3.OO By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81027 lO-inch, 2.OO By John McCormack, Tenor (In Italian) 74219 12-inch. 1.50 By Florencio Constantino, Tenor In Italian) 74065 12-inch, 1.5O By Emilio Perea, Tenor (In Italian) * 681 52 12-inch, 1.25 * Double-Faced Records For title of opposite side see page 93. 92 VICTOR BOOK OF THE OPERA ELIXIR OF LOVE ADINA: With respect to your elixir, One more potent, sir, have I Through whose virtues Nemorino, Leaving all, to me will fly! DULCAMARA (aside): Oh! she's far too wise and cufining; These girls know even more than I. Neglected as the opera, as a whole, has been for many years, this lovely romanza, the song which Nemorino sings to the tear that stood in his Adina's eye, will always keep the opera from being forgotten. This is one of the most famous of the Caruso records, and his exquisite singing of this beautiful number is something to be long remembered. Down her soft cheek a pearly tear Stole from her eyelids dark. Telling their gay and festive cheer, It pained her soul to mark; Why then her dear presence fly? When all her love she is showing? Could I but feel her beating heart Pressing against mine own; Could I my feeling soft impart, and mingle sigh with sigh, But feel her heart against mine own, Gladly I then would die, All her love knowing! Mr. McCormack's rendition is also a most attractive one. Very few English sing- ers are able to sing an Italian aria in a man- ner that would be acceptable to Italian audi- ences, but McCormack is one of these, and his rendering of Donizetti's exquisite air is an example of this mastery of the old school of vocalization. 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: With a tender look I'll charm him With a modest smile invite him With a tear or sigh alarm him With a fond caress excite him. Never yet was man so mulish. That I could not make him yield. Nemorino's fate's decided! When Nemorino has sung his air Adina comes on with the soldier's contract, which she has bought back, and tells him that he must not go away. All misunderstandings are now cleared away, and Belcore arrives to find his bride-to-be embracing another. However, he is philosophical and saying, " There are other women ! " marches off, while the villagers tell Adina and Nemorino of the latter's good fortune. The Doctor claims credit for the reconciliation, and the curtain falls as he is relieving the peasants of their wages in return for bottles of his wonderful Elixir of Love ! DOUBLE-FACED L'ELISIR D'AMORE RECORDS fUdite. udite o rustici (Give Ear, Rustics!) I Una furtiva lagrima (In Italian) By A. Pini-Corsi, Baritone (In Italian] (A Furtive Tear) By Emilio Perea, Tenor Quant'e bella ! (Ah. How Lovely !) By Emilio Perea, Tenor Udite, udite o rustici By Arcangelo Rossi, Bass lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) By Maria Passari, Soprano; Pini-Corsi and Chorus (In Italian) Don Pasquale Quartet, Act II By Linda Brambilla, Soprano; Antonio Pini-Corsi. Baritone; Gaetano Pini-Corsi, Tenor ; and Augusto Scipioni, Baritone (In Italian') 68152 12-inch, $1.25 (In Italian) [62626 (In Italian) \ 10-inch, .75 16566 10-inch. .75 (Italian) ERNANI (French) HERNANI (Aur-nah 1 -nee) (Her-nah'-nee) OPERA IN FOUR ACTS Libretto adapted by Maria Piave ; from Victor Hugo's drama "Hernani;" music by Giuseppe Verdi. First production in Venice, March 9, 1344. First London production at Her Majesty's Theatre, March 8, 1845. First New York production, 1846, at the Astor Place. At its Paris production, January 6, 1846, the libretto was altered at Victor Hugo's request, the characters being made Italians and the name of the opera changed to // Proscritto. Cast of Characters DON CARLOS. King of Spain DON RUY GOMEZ DE SILVA, a Grandee of Spain .... ERNANI. a bandit chief DON RICCARDO, an esquire of the King lAGO, (Ee-ah'-go) an esquire of Don Silva ELVIRA, (El-oee'-rah) betrothed to Don Silva GIOVANNA, (Gee-oh-vah' -nah) in attendance upon her. . . . Chorus of mountaineers and bandits, followers of Don Siha, ladies of Eloira, followers of the King, Spanish and German nobles and ladies, electors and pages. Scene and Period : Aragon ; about 1519. 94 . Baritone Bass . . .Tenor . . .Tenor Bass . .Soprano . Mezzo-Soprano VICTOR BOOK OF THE OPER A V ERDI'S ERNANI ACT I SCENE I The Mountains of Aragon Elvira, a Spanish lady of rank, is about to be married to the elderly Don Gomez de Silva, a Grandee of Spain. Ernani, a bandit chief (in reality John of Aragon, become a brigand after his estates -were confiscated), loves Elvira and resolves to prevent this unwelcome marriage. The first scene shows a mountain pass where Ernani 's men are encamped. Beviam, beviam (Comrades, Let's Drink and Play) By La Scala Chorus (In Italian) *35168 12-inch, $1.25 The opera opens with this spirited chorus of bandits and mountaineers, who are drinking and gambling in their stronghold. With reckless satisfaction in their lot they sing: "What matters to the bandit If hunted and branded So wine be his share!" Ernani, their chief, appears on a neighboring height with a melancholy brow. His men remark at his gloomy appearance, and he tells them that he is powerless to prevent the mar- riage of his betrothed to the aged Silva on the morrow. He describes the peerless Elvira in a fine aria, The Sweetest Flow'r. Come rugiada al cespite (The Sweetest Flow'r) By Luigi Colazza, Tenor (In Italian) *62627 10-inch, IO.75 The bandits offer their lives, if need be, in the service of their chief, and it is decided to rescue Elvira that night. O tu che Talma adora (O Thou, My Life's Treasure) By Martinez Patti, Tenor, and La Scala Chorus (In Italian) *16567 lO-inch, $0.75 Ernani, in this passionate aria, sings of the charms of his beloved. ERNAN.: Oh thou, my life's sole treasure, I love thy starry glances, Come, come to my arms adoring, Thy smile my heart entrances, Death at thy feet were pleasure, Most blessed he of mortals The joy of heav'n is mine where'er thou art. To whom thou gav'st thy heart! Ernani and his men depart in the direction of Siloa 's castle and the scene changes. SCENE II Elvira 's Apartment in the Castle Elvira is discovered alone, brooding over the prospect of the sacrifice, which she seems powerless to prevent. ELVIRA: 'Tis near the dawning, and Silva yet returns not! Ah! he camt confirm!: my odi Ernani! loving, mor vould deeply Ernani involami (Ernani. Fly with Me) By Marcella Sembrich 88022 12-inch, $3.0O By Frieda Hempel, Soprano 88383 12-inch, 3.00 By Maria Grisi *63173 10-inch. .75 In this beautiful but despairing number she calls on her lover to save her, singing : Ernani. fly with me; Prevent this hated marriage! With thee, e'en the barren desert Would seem an Eden of enchantment! Two brilliant renditions of this famous number are given, by Mme Sembrich and Mme. Hempel; while a popular- priced record is contributed by Mme. Grisi, of La Scala. Elvira's ladies-in-waiting now enter, bringing her wedding gifts, and in the graceful chorus with which this record begins, congratulate her. * Double-Faced Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, page 100. VICTOR BOOK OF THE OPER A V ERDI'S ERNANI Quanta dTberia giovani (Noble Hispania's Blood) By Ida Giacomelli and La Scala Chorus (In Italian) *16567 10-inch. $0.75 She thanks them, saying: "Each kindly wish awakes a response in my own heart;" then sings, aside, a second number, " Tutlo sprezzo che d'Ernani, " in which she tells of her hope of rescue. The chorus joins in the concluding strain. Da quel di che t'ho veduta (From the Day when First Thy Beauty) By Angela de Angelis, Soprano ; Francesco Cigada, Baritone (In Italian) *35168 12-inch, $1.25 We come now to one of the greatest scenes in the opera. Elvira, who has left the room with the ladies, returns and is amazed to discover in her boudoir the King, who has been secretly in love with her. She appeals to his honor, saying : "In pity, sire, leave me!" The record begins with the dramatic dialogue between Carlos and Elvira. Carlos then declares his love in the aria "Da quel di" leading up to a dramatic duet, which concludes this sixth number. Tu se 1 Ernani ! (Thou Art Ernani!) By Giacomelli. Martinez-Patti and Pignataro (Italian) *16568 10-inch, 10.75 The King, maddened by Elvira 's resistance, is about to carry her away by force. She snatches a dagger from Carlos' belt and Cries : "Go, tor with this dagger 1 will slay us both !" The King is about to summon his guard, when suddenly a secret panel door opens and Ernani appears. Carlos recognizes him and exclaims : " Thou art Ernani, the assassin and bandit," and in the spirited trio which follows the rivals declare their hatred, while Elvira, almost distracted, endeavors to protect her lover. Infelice e tu credevi (Unhappy One !) By Marcel Journet. Bass (In Italian) 740O8 12-inch. $1.50 By Perello de Segurola. Bass (In Italian) *55OO7 12-inch. 1.50 By Aristodemo Sillich, Bass (In Italian) *63421 10-inch. .75 In the midst of this thrilling tableau now appears Silva, who does not recognize the King and who is naturally astounded to find two rivals in the apartments of his future bride, quarreling for her possession. He summons his squires and soldiers, then addresses himself to Elvira and reproaches her in this well-known and impressive Infelice, one of the most beautiful of bass arias. Four records of this favorite number are available by Journet (in both 10 and 12-inch), by de Segurola and by Sillich. The editor regrets that he is unable to give satisfactory English translations for the ma- jority of the Ernani airs, but most of the available translations of Ernani are so distorted as to 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 nowadays, cannot be permanently successful without new translations for some of the older works. For instance, here is a specimen translation of the text of this very air of Infelice. Ah, to win, to win back summer's blossom Far congealing unto the core. In my breast were tho't toe gainless, Winter lords it in this bosom. Winter lords it within this my bosom. Far congealing, far congealing to the core, Far congealing, far congealing to the core, Unto the core, congealing unto the core! Far congealing unto the core, Now anyone who can tell just what this means is certainly a highly gifted individual ! In this connection, however, it should be stated that several American music publishers are entitled to praise for their efforts to improve opera translations, especially G. Schirmer, with many beautiful new editions of the older operas and collections of opera airs ; and Oliver Ditson Company, whose Musicians' Library, a splendid piece of music typography, contains many new translations. The editor of this catalogue is indebted to both these firms for permission to quote from their new translations. * Double-Faced Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 99 and 1 00. 96 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI Vedi come il buon vegliardo (Well I Knew My Trusty Vassal) By Maria Grisi, Soprano ; Carlo Ottoboni, Bass; Remo Sangiorgi, Tenor; and Giuseppi Sala, Baritone (In Italian) *35169 12-inch, $1.25 Having reproached his bride for her supposed treachery, Silva thinks of vengeance, and calling for his armor and a sword, demands that the intruders follow him to combat. Before they can reply, the King's squires enter and salute their sovereign. The astounded Silva, though secretly enraged, kneels to his King, say- ing : "Duty to my King cancels all offences." The great finale then begins with Carlos ' solo, sung aside to his squires : "Well I knew my trusty vassal Fierce in hate, in passion tender Would his wrath and love surrender In the presence of his King." This is one of the most impressive records of the Ernani series. Finale, Act I By Maria Grisi, Soprano ; Carlo Ottoboni, Bass; Remo Sangiorgi, Tenor; and "^^^Pfc~ W'~*' ~ Giuseppi Sala, Baritone THE KING PLEADS HIS LOVE (In Italian) *16568 10-inch, $0.75 The finale to Act I is continued in this record. The situation at the close of the act may be understood by these quotations from the words the librettist has given to the various characters: CARLOS (to Ernani): I will save thee! (Aloud to Sili'a): Let this trusty friend depart. ERNANI . I thy friend? Never! unto death my ven geance will pursue thee! ELVIRA: Fly, Ernani, let love teach thee prudence! Ernani yields to Elvira's pleadings and in the confusion makes his escape. The curtain falls on an impressive tableau. ACT IT SCENE A Hall in Silva' 's Castle After his escape from the castle, nothing has been seen of Emani. Elvira believes the rumors of his death and despairingly consents to wed Don Silva. Esultiam (Day of Gladness) By La Scala Chorus (In Italian) *16569 lO-inch. $O.75 The first scene of Act II occurs in a magnificent hall in the castle. The company of knights and pages of Silva, and ladies in attendance on Elvira sing the opening chorus in praise of the noble Siloa and his peerless bride. Oro quant* oro (I am the Bandit Ernani) By Maria Bernacchi, Soprano; Luisi Colazza, Tenor ; and Torres de Luna, Bass (In Italian) *16569 lO-inch, $O.75 Silva, attired as a Grandee, enters. His squire, /ago, announces a holy man, who craves the hospitality of the castle. Ernani, disguised as a pilgrim, enters, then throws off his disguise and exclaims, beginning this fine trio : "I am the bandit Ernani . . . My men are dead or in chains . . . My enemies are without the castle . . . Seize me and deliver me up, for I am weary of life!" Silva, however, refuses to betray one whom he has received as a guest. The trio, which is one of the great scenes of the opera, then follows. '^Double-Faced Record For title of opposite side *x DOUBLE-FACED ERNANI RECORDS, page, 99 and 100. 97 CARLOS: Power, dominion and love's delights, All these are mine all my will must obey! SILVA: From my eyes a veil has fallen . . . I can scarce believe my senses! COURTIERS: Well doth Silva hide his anger But within it still doth smolder! VICTOR BOOK OF THE OPER A V ERDI'S ERNANI La vedremo, o veglio audace (I "Will Prove, Audacious Greybeard) By Mattia Battistini, Baritone, and Aristodemo Sillich, Bass (In Italian) 920O7 12-inch, $3.OO By Ernesto Caronna, Baritone, and Torres de Luna, Bass (In Italian) *1657O 10-inch, .75 The retainers bring news that the King and his warriors are without the castle. Si'/va hides Ernani in a secret passage and orders that the King be admitted. Don Carlos inquires, with irony, why Siha 's castle is so well guarded, and demands that he surrender Ernani or lose his own life. Silva refuses. The soldiers are ordered to search the castle. This duet then occurs, beginning : CARLOS: I will prove, audacious greybeard, If thou'rt loyal to thy King! In my wrath I will destroy thee! SILVA: Oh King, be just; I cannot yield! Vieni meco (Come, Thou Dearest Maiden) By Emilia Corsi, Sopr'nc- Mattia Battistini, Baritone; and La Scala Chorus (In Italian) 920O8 12-inch, I3.OO By Maria Grisi, Soprano ; Francesco Cigada, Baritone; Carlo Ottoboni, Bass ; and La Scala Chorus (In Italian) *1657O 10-inch, .75 This record begins with a chorus of soldiers, who have explored the castle but have found no trace of Ernani. The King is about to torture Silva into revealing the secret, when Elvira rushes in and begs the mercy of his Majesty. Carlos turns to her, and sings consolingly of the bright future before her as his Queen, and in the great trio which follows the con- flicting emotions of those in the scene are expressed in Verdi's fiery music. A te scegli, seguimi (Choose Thy Sword, and Follow!) By Luigi Colazza, Tenor, and Torres de Luna, Bass (In Italian) *35169 12-inch, $1.25 The King, his followers, and the Lady Elvira having retired, Silva exclaims: "Hell cannot hate with the hatred I bear thee, vile King!" He then takes down two swords from the armory, and releasing Ernani from his hiding place, challenges him to com- bat. Ernani refuses, saying that his life belongs to Siha, who has saved it. Silva taunts him with cowardice and Ernani consents to fight, but asks for one look at Elvira. Silva replies that the King has taken her away. " Fool ! " cries Ernani to the astonished Grandee, , " the King is our rival I " and agrees to combine with Silva against their mutual foe. Once their revenge is accomplished, Ernani agrees to yield his life at Silva 's call, and gives him a hunting horn which i shall be the signal for his (Ernani 's) death. For this magnificent num- FjPBKrflT'' ber Verdi has written some of his most dramatic music. In arcion, cavalieri (To Horse, Ye "Warriors) By Giuseppi Sala, Tenor; Cesare Preve, Baritone; and La Scala Chorus (Italian) *16571 10-inch, $O.75 The act closes with the spirited duet and chorus by Ernani, Silva and the warriors of the Don, who prepare to pursue the King to the death. ACT III SCENE A Vault in Aix-la-Chapelle Cemetery O de' verd' anni miei (Oh Bright and Fleeting Shadows) ByMarioAncona.Baritone (Italian) 88O62 12-inch, $3.OO VAN DYCK AS KRNANI * Double-Faced Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 99 and 1 09. VICTOR BOOK OF THE OPER A V ERDI'S ERNANI The third act occurs in the Tomb of Charlemagne at Aix-la-Chapelle. Carlos con- ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who are plotting against him. He is depressed and melancholy, and sings this famous O de oerd, in which he pledges himself to better deeds should the Electors, then in session, proclaim him Emperor. Si ridesti il Icon di Castiglia (Rouse the Lion of Castile) By La Scala Chorus (In Italian) *16571 10-inch, $O.75 The conspirators, among whom are Ernani and Silva, assemble at the tomb. Emani is chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father will at last be avenged. The great ensemble then follows. sommo Carlo (Oh Noble Carlos) By Mattia Battistini, Baritone ; Emilia Corsi, Soprano ; Luigi Colazza, Tenor; Aristodemo Sillich, Bass ; and La Scala Chorus (In Italian) 92046 12-inch, I3.OO By Maria Grisi, Remo Sangiorgi, Francesco Cigada and La Scala Chorus (Double-faced See below) (In Italian) 35170 12-inch, 1.25 The booming of cannon having announced that Carlos is proclaimed Emperor, he comes from the tomb and surprises the conspirators. At the same time the Electors and the King's courtiers enter from a secret door. Carlos condemns the plotters to death, when Elvira rushes to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Ehira and Ernani. In this great finale all glorify the Emperor except Silva, who still secretly cries for vengeance. ACT IV SCENE Terrace of a Palace in Aragon Festa da ballo (Hail, Bright Hour of Gladness) By La Scala Chorus (In Italian) *16572 10-inch, $O.75 The lovers are now happily united, and this scene shows them atErnani's palace, which, with his estates, has been restored to him. A chorus of ladies, masks and pages greets the happy pair. Ferna crudel, estinguere (Stay Thee, My Lord !) By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor; and Torres de Luna, Baritone (Double-faced See below) (In Italian) 35170 12-inch, $1.25 Elvira and Ernani are alone on the terrace, oblivious to all but each other, when a blast from a horn is heard. Ernani awakes from his dream of bliss and recognizes the sound of his own hunting horn, which he had given to Silva as a pledge to die when the revengeful Don should demand his life. The distracted Elvira pleads with Silva for her husband, but in vain. After an affecting farewell Ernani fulfills his vow, stabs himself and dies, while Elvira falls lifeless on his body. The curtain falls as the cruel and remorseless Silva is gloat- ing over his terrible revenge. DOUBLE-FACED ERNANI RECORDS (Infelice e tu credevi By Perello de Segurola, Bassl, * nn - ,~ * *i 35168 Soprano, and Francesco Cigada, Baritone (In Italian)] (O tu che 1'alma adora By Martinez-Patti, Tenor, and Chorus (In Italian) Quante d'Iberia giovani By Ida Giacomelli, Soprano, and Chorus (In Italian) Finale, Act I By Maria Grisi, Soprano; Carlo Ottoboni, 1 Bass; Remo Sangiorgi, Tenor; and Giuseppi Sala, Tenor I Tu se' Ernani By Ida Giacomelli. Soprano ; Martinez- [ Patti, Tenor; and Enrico Pignataro, Baritone (In Italian)) [Esultiam! By La Scala Chorus (In Italian) I Oro quant' oro By Maria Bernacchi, Soprano ; [ Luigi Colazza, Tenor ; and Torres de Luna, Bass (In Italian) La vedremo By Ernesto Caronna, Baritone, and Torres de Luna. Bass (In Italian) Vieni meco By Maria Grisi, Soprano ; Francesco Cigada, Baritone ; Carlo Ottoboni, Bass ; and Chorus (In Italian)^ In arcion, cavalieri ! By Giuseppi Sala, Tenor; | Cesare Preve, Bass ; and Chorus (In Italian) [ 165 71 Si ridesti il Icon di Castiglia By La Scala Chorus (Italian)] Festa da ballo " O come felici " By La Scala Chorus (In Italian) Hamlet O vin, discaccia la tristezza By Francesco Cigada, Baritone, and Chorus Ernani involami (Ernani, Fly -with Me) By Maria Grisi, Soprano Ballo in Maschera O Figlio d" Inghilterra By Huguet, Salvador, Cigada, Sillich, and Chorus Infelice e tu credevi (Unhappy One!) By Aristodemo Sillich, Bass Manon Oh, Manon, sempre la slressa By Giorgio Malesci, Tenor Come rugiada al cespite By Luigi Colazza O tu che 1'alma adora By Martinez-Patti, Tenor, and Chorus 12-inch, $1.25 16567 lO-inch, 16569 lO-inch, (In Italian) (In Italian) (In Italian) (In Italian) .75 lO-inch, .75 .75 16570 10-inch, .75 lO-inch, 16572 lO-inch, 63173 lO-inch, .75 63421 lO-inch, .75 (In Italian) (In Italian)] 1&2627 (In Italian)] lO-inch, .75 VERDI'S BIRTHP (Italian) FALSTAFF COMIC OPERA IN THREE ACTS Text by Boito, taken from Shakespeare's comedy, The Merry Wives of Windsor. Music by Verdi. First production, Milan, March, 1893. First American production at the Metro- politan Opera House, New York, February 4, 1895, under the direction of Maurice Grau. Characters and Original Metropolitan Cast SIR JOHN FALSTAFF ............................ Baritone . FENTON, a young gentleman ........................ Tenor. Maurel . Russitano FORD, a wealthy burgher DR. CAIUS, a physician ** < MRS. ALICE FORD NANETTA, her daughter MRS. QUICKLEY MRS. MEG PAGE Baritone . . . Campanari Tenor Vanni (Tenor .... Rinaldini ' (^ Bass Nicolini Soprano Eames Soprano . . . de Lussan Contralto Scalchi . 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 his dream was realized. The music of Falstaff denotes in all things almost the antithesis of the style and methods and ideals of Verdi's early operas. The music is vivacious and sparkling, being interspersed with delightful fragments of melody. Sir John Falstaff is a merry rogue, so conceited as to be- lieve himself irresistible to all womankind. His egotism leads him to think he has fascinated both Mistress Page and Mistress Alice Ford, and he writes each of the ladies a love letter identical in contents. The two women compare the notes and plan to punish the Knight for presuming to address them in such terms of affection. Ford learns of Falstaff 's advances to his wife and flies into a jealous rage. Mistress Ford sends Dame Quic^ley to Sir John with an invitation to call, which he is quick to accept. Scarcely does he arrive at Ford's house than Dame Quickley reports the coming of Mistress Page, and Falstaff is com- pelled to hide behind a screen. Then the angry Ford appears with his friends, determined to capture Falstaff, but VICTOR BOOK OF THE OP E R A V E R D I 'S FALSTAFF the latter takes refuge in a clothes basket. Mistress Ford has the basket thrown into the ditch, and the unlucky suitor receives a good shaking-up before the jeering crowd. Falstqff, undaunted by his basket experience, arranges to meet Lady Ford again, the trysting place this time being at Herne's Oak, in Windsor Park. Ford and his men, in- cluding Pislola and Bardolfo, who have turned against Fal- staff because of his bad treat- ment of them, overhear the arrangements and plan to be therealso. No-w, Ford's daugh- ter, Nanetta, is in love with Fenton, but her father de- mands that she marry Dr. Caius. Ford tells the doctor that this is a good time for him to secure Nanetta, and promises to aid him. Dame SCOTTI AS FALSTAFF Quiclfley, however, learns of this, and the women plan to have Fenton spoil the designs of the phy- sician. Falstaff's love scene with Mistress Ford is inter- rupted by Ford's friends, disguised as elves and fairies, who thrash the fat knight soundly. In the confusion Dr. Caius mis- takes Bardolfo for Nanetta, Ford is finally won over, and his daughter and Fenton are happily mar- ried. The Victor offers two very fine records of two of the best known airs from the opera: the Quand' era paggio, sung by Falstaff to Mistress Alice Ford in Act II; and the Sul fil d'un soffio from Act III, sung by Nanetta as the pre- tended fairies gather in Windsor Park. Quand' ero paggio (When I Was Page) By Antonio Scotti, Baritone (In Italian') 88194 12-inch, $3.OO Sul fil d'un soffio (Borne on the Breeze) By Frances Alda, Soprano (In Italian) 88247 12-inch, $3.OO 102 FAUST (Fowsf) OPERA IN FIVE ACTS Words by Barbier and Carre, founded upon Goethe's tragedy. Music by Charles Gounod. First produced at the Theatre Lyrique, Paris, March 19, 1859. First performance in London June 11, 1863; in New York November 26, 1863, at the Academy of Music, with Kellogg, Mazzoleni, Biachi and Yppolito. Some famous American productions were in 1883, with Nilsson, Scalchi, and Campanini ; and the same year with Nor- dica (debut) as Marguerite; in 1892 with Eames, the de Reszkes and Lasalle ; ^?j and recently with Caruso and Farrar. Characters FAUST (Fowrf) Tenor MEPHISTOPHELES (Mepw-fo/' -/-/<**) Bass VALENTINE (v a f*n-i that dark slran-gerfore told me What my fate must be. * Doable-Faced Record For titlt of ophite ,ide xx DOUBLE-FACED FAUST RECORDS, page 125. 110 VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST But the happy thought occurs to him to dip his fingers in the font of holy water by the side of the cottage. He does so, and is delighted to find the spell broken. The first strain then reappears, closing the aria. This popular number is offered in Italian by Homer and Zaccaria, in French by Fornia and in English by Miss Morgan. Salut demeure (All Hail, Thou Dwelling) By Enrico Caruso (In French) 880O3 12-inch, $3.OO By John McCormack (In Italian) 7422O 12-inch, 1.5O Mephistopheles and Faust, who have been secretly watching Siebel, now appear; the Tempter being in high spirits at the appar- ent success of his schemes, while Faust gazes in rapture at the garden where his beloved one is wont to walk, and sings his lovely cavalina. He thus rhapsodizes the modest dwelling of Marguerite : All hail, thou dwelling pure and lowly! Home of an angel fair and holy, What wealth is here, what wealth outbidding gold, Of peace and love, and innocence untold! Bounteous Nature! 'Twas here by day thy love was taught her. Here thou didst with care overshadow thy daughter Here, waving tree and flower Made her an Eden-bower of beauty and delight. The Caruso record of this number, which the tenor sings in French, is one of the finest in his entire list ; while the other ren- dition is a splendid one by McCormack, in Italian. While Faust is singing his apostrophe to Marguerite's dwelling, Mephistopheles, with an eye to more practical things, has replaced Siebel 's humble nosegay with a splendid bouquet, a more fitting accompaniment to the casket of jewels with which Marguerite is to be tempted. Marguerite enters the garden, pen- sively dreaming of the handsome stran- ger she had met in the market place. Her entrance is announced on the clari- nets and violins in a lovely strain sug- gesting the coming song. She seats herself at the spinning wheel and murmurs dreamily: I wish I could but know who was he that addressed me; If he was noble or at least what his name is. ... Le Roi de Thule (Ballad of the King of Thule) By Geraldine Farrar, Soprano (French) 88229 12-in., *3OO Then rebuking herself for her idle fancies, she applies herself to her spin- ning and begins this plaintive chanson : "Once there was a king in Thule Who was until death always faithful, And in memory of his loved one Caused a cup of gold to be made." VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST Then her thoughts return to Faust, and breaking off the song, she sings as if to herself : Adagio. qu'it me sem - bear ing his voice was so kind. Again impatient with her wandering mind, she finishes the ballad. Miss Farrar sings this beautiful folk-song with surpassing loveliness of voice, and in the dreamy sentimental style which it requires. Finding herself in no humor to spin, Marguerite moves toward the house and sees the flowers, which she stops to admire, thinking them from Siebel. The box of jewels then catches her eye, and after some misgivings she opens it. Then follows the bright and sparkling "Jewel Song," or Air des bijoux, in which childish glee and virginal coquettishness are so happily expressed. "Oh Heav'n! what brilliant gems! Can they be real? Oh never in my sleep did I dream of aught so lovely!" exclaims the delighted Marguerite. Air des Bijoux ( Jewel Song) By Nellie Melba, Soprano (In French) 88066 12-inch, $3.0O By Marcella Sembrich, Soprano (In French) 88O24 12-inch, 3.OO By Geraldine Farrar, Soprano PATTI AS MARGUERITE 1875 (In French) 88147 12-inch, 3.OO By G iuseppina Huguet (Double-faced Seepage 125) (In Italian) 6816O 12-inch, $1.25 No less than four fine records of this well-known and popular air are presented for the choice of Victor opera lovers. Melba's rendition is a most delightful one, her voice exhibiting the most entrancing smoothness ; in its loveliness, flexibility and brilliancy it seems absolutely without a flaw. Sembrich's Marguerite was always a fine imper- sonation, and her delivery of the number is exceed- ingly artistic, being one of the cleanest and most finished bits of colorature singing ever heard in opera. Miss Farrar's brilliant Marguerite has been much admired during the past few seasons, and this number shows well the loveliness and flexibility of her voice. A fine record at a lower price is con- tributed by Mme. Huguet, doubled with the Ker- messe record described in Act II. Quartet Seigneur Dieu ! (Saints Above, What Lovely Gems !) By Geraldine Farrar, Soprano ; Enrico Caruso, Tenor; Marcel Journet, Bass; and Mme. Gilibert, Mezzo-Soprano (In French) 95204 12-inch, $5.0O The first of the great quartet records begins with the entrance of Martha, a susceptible matron who is companion to the motherless girl. The duenna is struck with astonishment at the sight of VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST the jewels, and begins to question Marguerite, when she is interrupted by Mephistopheles, who appears with Faust ; and to excuse his entrance tells Martha that her husband is dead. This announcement is received with cries of grief and sympathy from the women, and the impressive pause which ensues is followed by the beautiful quartet, in which Gounod expresses the various emotions of the characters. Mephistopheles then begins to flatter the vain matron and pay her mock attentions, so that Faust may have an opportunity to plead his cause without interruption. This dialogue with the susceptible duenna furnishes the only touch of comedy in the opera. MEPHISTOPHELES: Happy will be the man Whom you choose for your next! I trust he may be worthy! Faust urges the timid girl to take his arm, at which she demurs, while the crafty Tempter continues his flattering attentions to Martha. The second quartet bit then follows, closing the record. Quartet Eh quoi toujours seule ? 1863 > (But Why So Lonely ?) By Geraldine Farrar, Soprano; Enrico Caruso, Tenor; Marcel Journet, Bass; and Mme. Gilibert, Mezzo-Soprano (In French) 952O5 12-inch, $5.OO The second part of the scene begins with the beautiful dialogue between Marguerite and Faust. She confides to him her loneliness, and in an exquisite passage speaks of her dead sister. MARGUERITE: My mother is gone; At the war is my brother; One dear little sister I had, But the darling, too, is dead! Faust is tender and sympathetic, and the im- pressionable girl's heart turns more and more toward the handsome stranger, who seems all that a lover should be. The record closes with the final quartet pas- sage, by far the most effective bit of concerted writ- ing in the opera. It is magnificently sung here, the balance of the voices being absolutely perfect. The recording of so complex and varied a piece of concerted music as is contained in these two records is a marvelous piece of work, and one of the most amazing achievements in the reproduction of operatic music yet heard. The solo, duet, and quartet parts which constitute it, the short pieces of dialogue between various persons, not forgetting the important orchestral interludes all these are portrayed with the utmost fidelity, making a marvelous musical picture of one of the most interesting pages of Gounod's charming score. Mephistopheles has succeeded in getting rid of Martha, who vainly looks for him in the garden, and he now watches with satisfaction the lovers, who are wandering among the trees in the moonlight. 113 QUARTET ACT Marguerite's Surrender VICTOR BOOK OF THE O P E R A - G O U N O D ' S FAUST 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, Draw Thy Curtain!) By Marcel Journet, Bass (In French) 64119 10-inch, $1.0O Stretching out his arms, he invokes the powers of Night, that its mysterious scents and seductive charms may aid him in his work of the lovers' undoing. In this stately passage the singer drops for a time the satirical vein of the previous quartet, and gives the invo- cation with befitting solemnity and grandeur. MEPHISTOPHELES: It was high time O night! draw around them thy curtain! See, 'neath the balmy linden. Let naught waken alarm, or misgivings ever! Our lovers devoted approaching; 'tis well! Ye flowers, aid the enchanting charm, Better leave them alone, Her senses to bewilder; till she knows not With the flow'rs and the moon. Whether she be not already in Heaven! This is the most impressive passage in the whole part of Mephistopheles, and it is mag- nificently sung by Journet. The lovers appear again, and Mephistopheles discreetly retires from view. The first part of the exquisite duet then follows. Tardi si fa ! (The Hour is Late !) By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor (In French) 89032 12-inch, H-OO By Giuseppina Huguet, Soprano, and Fernando de Lucia, Tenor Piano Ace. (In Italian) 92053 12-inch, 3.OO Marguerite, finding herself alone with Faust, looks in vain for Martha, and not seeing her, endeavors to bid farewell to her lover. MARGUERITE: Bright and tender, lingers o'er me I The hour is late! Farewell! To love thy beauty too! FAUST: MARGUERITE: Oh, never leave me, now, I pray thee! Oh! how strange, like a spell, Why not enjoy this lovely night a little longer? Does the evening bind me! Let me gaze on the form before me! And a deep languid charm While from yonder ether blue I feel without alarm, Look how the star of eve, With its melody enwind me, And all my heart subdue! The second part of the duet begins with the lovely Sempre amar, in which Marguerite and Faust pledge their love. Dammi ancor (Let Me Gaze on Thy Beauty) By Alice Nielsen, Soprano, and Florencio Constantino, Tenor T? 11 ra rrM- N (In Italian) 74O76 12-inch, $1.5O Eternelle (Forever Thine) By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor (In French) 89031 12-inch, $4.OO And now the lovers plight their troth in the fateful word " Eternelle," which, with the solemn chords in the wood wind, sounds like a true lover's sigh. Faust, in an exquisite strain, calls on Heaven, the moon and stars to witness that his love is true. MARGUERITE: FAUST: By that tender vow that we have sworn, i^J^^JSTL. _&. F "--"---, t. .on., Hear me swear how dearly do Move thee! Oh, 'fair and tender child! (Struck with a sudden fear, the timid girl begs Angel, so holy, thou shalt control me. Faust to depart): I obey but at morn? MARGUERITE: MARGUERITE (eagerly): Ah! begone! I dare not hear! Y es . a ' morn very early! Ah! how I falter! I faint with fear! At morn > al! da y ! Pity, and spare the heart of one so lonely! One' word at parting! Thou lov'st me? FAUST (tenderly protesting) : (She hastens toward the house, but stops at the Oh, dear one, let me remain and cheer thee, door and wafts a kiss to Faust) I love thee! Nor drive me hence with brow severe! FAUST (in rapture): Marguerite, I implore thee! Were it already morn! Now away! 115 VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST Elle ouvre sa fenetre (See ! She Opens the Window !) By Geraldine Farrar, Soprano, and Marcel Journet, Bass (In French) 89O4O 12-inch, $4.OO Ei m'ama (He Loves Me !) By Celestina Boninsegna, Soprano (In Italian) 88256 12-inch, $3.OO (This is the same selection as 89040 with the short dialogue between Faust and Mephistopheles omitted) Hurrying away full of thoughts of the morrow, when he will see his Marguerite again, Faust is confronted by the sneering Mephistopheles, who bars his way. MEPHISTOPHELES (contemptuously) : Thou dreamer! FAUST: Thou hast overheard? MEPHISTOPHELES: I have your parting with its modest word! Go back, on the spot, to your school again! FAUST: Let me pass! MEPHISTOPHELES: Not a step; you shall stay and overhear That which she telleth the stars! See! She opens the window! Marguerite had entered the house, but returns to the window, looks out at the night and stars, and pours forth her soul in song. MARGUERITE (leaning out in the moon- light) : He loves me! He loves me! Repeat it again, bird that callest! Soft wind that fallest! He loves me! Ah, our world is glo- And more than Heaven above! The air is balmy With the very breath of love! How the bows embrace and murmur! Ah, speed, thou night, away ! One of the most original and beautiful of the Faust melodies, this makes a fitting termination of the ex- quisitely beautiful Garden Scene. A lovely melody in 98 time, divided between flute and clarionet, forms the basis of the movement, and in this the soprano joins in short dreamy phrases. Her longing for the passing of night and the return of Faust, ex- pressed in the last ecstatic phrase, is answered by the cry of her lover, and Mephistopheles, who has been holding Faust back, now releases him. FAUST (rushing to the window) : Marguerite! MARGUERITE: Ah! (she faints in his arms). MKPIIISTOPHELES (with sardonic laughter): There! Ha, ha, ha! ha! (The curtain slowly falls.) VICTOR BOOK OF THE O P E R A - G O U N O D ' S FAUST Fantasie from Garden Scene By Mischa Elman, Violinist (Piano ace.) 64122 lO-inch, $1.OO For those who wish to enjoy some of the exquisite melodies of this act in an instru- mental form only, the potpourri by Elman is included here. In this record the young artist does not show us feats of execution, but brings out all the sensuous beauty of the music which Gounod composed for this immortal scene. It is one of the loveliest bits of violin playing imaginable. ACT IV The Desertion Quando a te lieta (When All Was Young) By Louise Homer, Contralto (In Italian) 882OO 12-inch, $3.OO The opening of the fourth scene shows the unhappy Marguerite seated at her spinning wheel, brooding over the sorrows which have overtaken her young life. Siebel, her faithful friend, enters and talks of vengeance against the absent Faust, but Marguerite defends him and sadly goes into the house. Left alone, Siebel, with gentle melancholy, sings this exquisite ro- mance, beginning : This song has long been a favorite number with many famous contraltos, and its lovely melody is frequently used in our churches as a setting to "Come Unto Me," and other sacred words. was young and pleasant May was SIEBEL: When blc I, thy poor friend, took part with thee play: Now that the cloud of Autumn dark glooming, Now is for me, too, mournful the day! The scene abruptly changes to the square in front of the cathedral, with the house of Marguerite shown at one side. The victorious soldiers, just returned from the war, enter, accompanied by delighted wives and sweethearts, and sing their famous Soldiers* Chorus, a jubilant inspiring number, and one of the finest marches ever composed. Hope and delight have pass'd from life away! We were not born with true love to trifle! Nor born to part because the wind blows cold: What tho' storm the summer garden rifle, O Marguerite! Still on the bough is left a leaf of gold! From Ditson libretto, copy' 1 1896. Deponiam il brando (Soldiers' Chorus) By New York Grand Opera Chorus (In French) By Pryor's Band (Double- Faced See page 125) By La Scala Chorus (Double-FacedSee, page 125) (Italian) By Mountain Ash Party of "Wales (In English) 74214 12-inch, I1.5O 16502 10-inch, .75 62624 10-inch, .75 5689 10-inch, .60 VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST This number was written for a previous opera by Gounod, but was taken bodily and added to Faust, a happy thought which added another splendid touch to a successful work. Several renditions of this great chorus are offered, both vocal and instrumental, and a complete translation of the words is given. (English) (Italian) (French) The Soldiers 1 Chorus Deponiam il brando Deposons les armes Fold the flag, my brothers, Fold the flag, my brothers, Lay by the spear! We come from the battle once more; Our pale praying mothers, Our wives and sisters dear, Our loss need not deplore, Yes! 'tis a joy for men victorious, To the children by the fire, trembli arms, ious, ling by the fire, tr To old age of old time glori To talk of war's alarms! Glory and love to the men of old, Their sons may copy their virtues bold, Courage in heart and sword in hand, Ready to fight or ready to die, for Fatherland! Who needs bidding to dare, by a trumpet blown ? Who lacks pity to spare, when the field is won? Who would fly from a foe, if alone, or last? And boast he was true, as cowards might do When peril is past? Glory and love to the men of old, etc. Now to home again we come, The long and fiery strife of battle over; Rest is pleasant after toil as hard as ours Beneath a stranger sun. Many a maiden fair is waiting here To greet her truant soldier lover, And many a heart will fail and brow grow pale, To hear the tale of peril he has run! Glory and love to the men of old, etc. The unhappy Marguerite, shunned by her companions and deserted by all save the faithful Siebel, is brooding within the cottage, fearing to meet her brother, who has just returned from the war. Mephistopheles, not content with the evil he has already wrought, returns to taunt the maiden with her fault, and sings this insulting and literally infernal song, each verse of which ends with a mocking laugh. VICTOR BOOK OF THE OPER A G OUNOD'S FAUST Serenade Mephistopheles Sleeping) By PolPlancon, Bass By Marcel Journet, Bass (Catarina, "While You Play at After the second verse occurs this famous passag ad lib. MBPHISTO./^ f ^ (In French) (In French) 81040 74036 10-inch, $2.OO 12-inch, 1.5O - J J J J I Ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! with its beginning on a high G and its octave jumps to the low G, concluding with a peal of Mephistophelean laughter. Two versions, by two famous exponents of the part of Mephistopheles, are offered for your choice. MEPHISTOPHELES: Thou who here art soundly sleeping, Close not thus thy heart, Close not thus thy heart! Caterina! wake thee! wake thee! Caterina! wake! 'tis thy lover near! Hearken to my love-lorn pleading; Let thy heart be interceding, Ha, ha, ha, 'ha, ha! ha! ha! ha! ha! ha! Don't come down until, my dear, The nuptial ring appear On thy finger sparkling clearly The wedding-ring the ring shineth clear. Ha! ha! ha! ha! etc. Saterina! cruel, cruel! ruel to deny to him who loves thee And for thee doth mourn and sigh A single kiss from thy rosy lips. Thus to slight a faithful lover, Who so long hath been a rover, Too bad, I declare! Ha, ha, ha, ha, ha! Not a single kiss, my dear, Unless the ring appear! Ha, ha, ha, ha! etc. Plancon's Mephistopheles was invari- ably a finished performance witty, ele- gant, debonaire and sonorous. It is a polished Devil that he pictured; yet beneath the polish we could see the sinister Satan ever present. In his record NE of this mocking serenade he is at his best, and the number is sung with the brilliancy and vocal finish to be expected of this fine artist. Journet's impersonation has also been highly praised, and he sings the music superbly, acting with freedom and with an elegance that exhibits the Prince of Darkness as a gentleman, though we never lose sight of his inner nature. The famous serenade is given with much spirit by this artist. Que voulez-vous, messieurs? (What is Your Will?) (Duel Scene) By Enrico Caruso, Tenor; Antonio Scotti, Baritone; and Marcel Journet, Bass (In French) 952O6 12-inch, $5.00 By Ellison Van Hoose, Tenor; Marcel Journet, Bass; and Emilio de Gogorza, Baritone (In French) 74OO4 12-inch, l.SO Valentine, smarting with shame of his sister's disgrace, comes from the house and ex- claims, " What is your will with me ? " Mephistopheles replies in his most molcking voice that their " serenade " was not meant for him. " For my sister, then \ " cries Valentine in a rage, and draws his sword. The great trio then follows, leading up to a splendid climax. This thrilling trio forms one of the most effective scenes in the opera, and is closely followed by the duel, in which Valentine is wounded. 119 The Death of Valentine VICTOR BOOK OF THE O P E R A G O U N O D 'S FAUST Morte di Valentino (Death of Valentine) By Antonio Scotti, Baritone, and Grand Opera Chorus (In French) 88282 12-inch, $3.0O Leaving the wounded Valentine on the ground, the assailants rapidly de- part, and a crowd of soldiers and women assemble around the dying soldier, the chorus here crying out in accents of pity, in which Marguerite joins. Valentine, seeing his sister, utters curses upon her, the solemnity of the scene enhanced by the sustained trumpet tones in the accompaniment. The throng endeavor to mitigate the dying man's anger, and Marguerite begs for- giveness, but Valentine dies with the curse upon his lips. This dramatic scene is vividly pic- tured in the wonderful painting by Kreling, reproduced on the opposite page. Scene de L'Eglise (I) (Church Scene, Part I) By Geraldine Farrar, Soprano, and Marcel Journet, Bass (In French) 89035 12-inch, $4.OO We now come to the impressive and almost terrible scene outside the church. Marguerite, cursed by her dying brother, abandoned by all but the faithful Siebel, is kneeling at a small altar. Fearing to enter, and endeavoring to seek consolation in prayer, she supplicates Heaven to accept her repentance. MARGUERITE: Oh, Thou who on Thy throne Giv'st an ear for repentance! Here, before Thy feet, let me pray! MEPHISTOPHELES (invisible) : Xo! thou shall pray no more! Let her know ere she prayeth, Demons of ill, what is in store! CHORUS OF DEMONS: Marguerite ! MARGUERITE (faintly) : Who calls me? DEMONS: Marguerite! MARGUERITE (terrified) : I falter afraid! Oh! save me from myself! Has even now the hour of torture begun! MEPHISTOPHELES (taunting her): Recollect the old time, when the angel?, caressing, Did teach thee to pray. Recollect how thou earnest to ask for a blessing At the dawn of the day ! When thy feet did fall back, and thy breath it did falter As though to ask for aid; Recollect thou wast then of the rite and the altar In thine innocence afraid! And now be glad and hear Thy jTlaymates do claim thee from below, to their home! The worm to welcome thee, the fire to warm thee, Wait but till thou shall come! As this terrible prophecy is heard from the invisible Evil Spirit, Marguerite is overcome \vith terror and sinks down almost fainting. Scene de L'Eglise (II) (Church Scene, Part II) By Geraldine Farrar, Soprano; Marcel Journet, Bass; and Metropolitan Opera Chorus (In French) 89O37 12-inch, $4.OO The unhappy girl, beside herself with terror, cries out wildly : Ah! what sound in the gloom, Is beneath me, around me? Angels of wrath? is this your sentence of cruel doom ? 121 VICTOR BOOK OF THE OPERA-GOUNOD'S FAUST Then as the chorale is heard from within the church, she endeavors to break the encircling Satanic spell and kneels again in prayer. CHOIR (within the church): When the book shall be unsealed, When the future be revealed, What frail mortal shall not yield? MARGUERITE: And I, the frailest of the frail, Have most need of Thy forgiveness! MEPHISTOPHELES: No! Let them pray, let them weep! But thy sin is deep, too deep, To hope forgiveness! No! CHOIR: Where shall human sinner be, How lie hid in earth and sea, To escape eternity? MARGUERITE (wildly) : Ah, the hymn is around and above me, It bindeth a cord 'round my brow! MEPHISTOPHELES: Farewell, thy friends who love thee ! And thy guardians above thee! The past is done! the payment now! MARGUERITE AND CHOIR: O Thou! on Thy throne, who dost hear me, Let a tear of mercy fall near me, To pity and save! MEPHISTOPHELES: Marguerite! Mine art thou! MARGUERITE: Ah! Tormented beyond further en- durance, the unhappy girl's reason gives way, and with a terrible cry she falls lifeless before the church. ^^ords are pitiful things in de- KStLIM! scribing such a scene as this, given as these two artists render it. The conflict in the soul of Marguerite, the taunting apos- trophe of Mephistopheles as he strives to prevent his victim from praying, while the sombre strains of the Dies irae issue from the church, form a musical picture which cannot be adequately described. ^ WALpURG , s NIGHT At the period of the first production of Faust, a ballet was an absolutely essential part of an opera, if it were to be given at the Paris Opera, though to-day it is seldom performed. Gounod placed his ballet between the death of Valentine and the Prison Scene ; called it a Walpurgis Night, set it in a mountain fastness amid ruins, and called to the scene the classic queens, Helen, Phryne and Cleopatra, who danced to weird and distorted versions of melodies from the opera. Ballet Music (Part I Valse, "Les Nubiennes") 12-inch, $1.OO lO-inch, .75 By L'Orchestre Symphonique, Paris By Vessella's Italian Band The first part, which in the opera ac- companies the dance of the Nubian Slaves, is a most striking portion, beginning with introductory chords, followed by the violins in this delicious melody : afterward repeated with bassoon obbligato. Ballet Music No. 2 Adagio (Cleopatra and the Golden Cup) By L'Orchestre Symphonique, Paris 58O18 12-inch, $1.OO The second part is the adagio movement accompanying the scene in which the Nubian Slaves drink from golden cups the poisons of Cleopatra, who herself moistens her lips from a vase in which she has dissolved her most precious pearls. *~Doublc.Faccd Record For title of opposite side see DOUBLE-FACED FAUST RECORDS, page 125. 122 VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST Ballet Music Nos. 5 and 6 (Les Troyennes et Variation) By L'Orchestre Symphonique, Paris 58O2O 12-inch, $1.OO By Vessella's Italian Band *17284 lO-inch, .75 These two parts are heard during the appearance of the goddess Phryne, who rises, a veiled apparition, and commands the dance to recommence. Ballet Music Finale, " Danse de Phryne " By L'Orchestre Symphonique, Paris 58O21 12-inch, $1.0O The finale is brisk in movement, rising to a wild climax and ending suddenly with a crashing chord. It is a most effective and exciting bit of ballet composition, and accom- panies the dance of Phryne, who surpasses all her rivals and wins the favor of Faust, arousing the anger and jealousy of the courtesans Helen, Cleopatra, Aspasia and Lais and the dance develops into a bacchanalian frenzy, graphically pictured in Gounod's music. ACT V SCENE The 'Prison Cell of Marguerite The short final act of Faust is truly one of the grandest of operatic compositions, Goethe's story giving Gounod ample opportunity for some most dramatic writing. Marguerite's reason is gone grief and remorse have driven her insane, and. in a frenzy she has destroyed her child. Condemned to death, she lies in prison, into which Mephistopheles and Faust, defying bolts and bars, have entered. " Mon coeur est penetre d'epouvante ! " (My Heart is Torn) By Geraldine Farrar and Enrico Caruso (In French) 89033 12-inch, $4.OO Gazing at the unhappy girl, who is sleep- ^-g L p^^=^ ing on a pallet of straw, Faust cries : and, as the full measure of his own guilt comes to him, continues : FAUST: MARGUERITE (awaking): Oh, what anguish ! She lies there at my feet Ah, do I hear once again, the song of time A young and lovely being, imprisoned here gone by As if herself, not I, were guilty! 'Twas not the cry of the demons No wonder that her fright has reason ta'en "Tis his own voice I hear! away! Marguerite! Marguerite! She forgets all but that her loved one is before her, and sings in a transport of love MARGUERITE: FAUST (supporting her tenderly): Ah! I love thee only! Yes, I love thee only! Since thou cam'st to find me Let who will, now goad No tears more shall blind me! Or mock me, or upbraid. Take me up to Heaven, Earth will grow as Heaven. To Heaven by thy aid! By thy beauty made! Attends ! voici la rue (This is the Fair) By Geraldine Farrar and Enrico Caruso (In French) 89O34 12-inch, $4.OO Marguerite's mind wandering, she sings dreamily of the Fair, where first Faust appeared to her: 'Tis the Fair! Where I was seen by you, in happy days The day your eye did not dare To meet my eye ! Marguerite now rehearses the first meeting with Faust, his respectful greeting, and her modest and dignified reply : "High born and lovely maid, forgive my hum- Every flower is incense breathing, ble duty; And through the still evening air Let me your willing slave, attend you home A cloud of dew, with perfume wreathing; to-day?" Hark! how the nightingale above "No my lord! not a lady am I, nor yet a To every glowing crimson rose beauty, Fondly murmurs thy love! Not a lady, not a beauty, FAUST (urging her) : And do not need an arm to help me on Yes! but come! They shall not harm thee! my way!" Come away! FAUST (in despair): There is yet time to save thee! Come away! If thou lov'st me! Marguerite! Thou shalt not perish! MARGUERITE (dreamily her thoughts in the MARGUERITE (listlessly) : Past): 'Tis all too late! Here let me die! How my garden is fresh and fair! Farewell! My memory live to cherish! *Douife-Fac/ Record For title o/opp; nn ^ i <* 1 Crown Diamond's Overture By Victor Bandf 35016 12 - mch ' * /Flower Song By Corinne Morgan (In English)} ,*, . , . _- \ Drink To Me Only With Thine Eyes By Harry Macdonou g h{ 35O8& 12 - lnch ' (Aria dei gioielli (Jewel Song) By Huguet (In Italian)}, ai ,_ , . , , ,,, (La Kermesse (Kermesse Scene) By La Scala Chorus (In Italian) f b816 12-mch, 1.25 /Dio possente By Francesco Cigada (In Italian)}, at?* 11 u i << \ Favorita Quando le soglie By Mileri and Minolfi (In Italian) ,f 68275 12-mch, 1.25 (Alerte ! ou vous etes perdus ! Huguet, Lara and De Luna ( ,,,,, , n . . _- \Le parlate d'amor (Flower Song) By Emma Zaccariaf 62085 - mch ' ' 75 (Deponiam il brando (Soldiers' Chorus) By La Scala Cho\ ,_,,., . . . 7 ,- I DonPasqualeSognosoaveecasto ByAcerbi, Tenor (In Italian) / &2d24 |Io voglio il piacer By Pini-Corsi and Sillich (In Italian) \ ^ j ? . ifj-inch 75 \ Forza del Destino Solenne in quest' ora Colazza and Caronna\ JSoldiers' Chorus Pryor's Bandl , , - n9 , o i -- 1 Devil's March (von Suppe) Pryor's Bandf 165 2 ] - mch ' ' 75 ("Waltz from Kermesse Scene Pryor's Band\ .,-,_ , n i 7 * < tit n f / r jr ' \ /ii T" fi.'OjoL iu men, -t D \ In Happy Moments (jrom Montana) Jtlan turner] (Ballet Music "Dance of Nubian Slaves" Vessella's Band! Ballet Music ("Dance of the Trojan Maidens" and "Mirror 17284 lO-inch, .75 Dance") By Vessella's Italian Band] (German) (Italian) DIE FAVORITIN LA FAVORITA (Dee Fah-ve-ree'-tin) (Lah Fah-ooh-ree' -tah) (English) THE FAVORITE OPERA IN FOUR ACTS Text by Alphonse Royer and Gustave Waez, adapted from a drama of Baculard- Darnaud, " Le Comte de Comminges." Music by Gaetano Donizetti. In its present form it was first produced at the Academic, Paris, December 2, 1840. First London production Feb- ruary 16, 1847. Produced in America July 29, 1853. Cast ALPHONSO XI, King of Castile Baritone FERDINAND, a young novice of the Convent of St. James of Compostella, afterwards an officer Tenor DON CASPAR, the King's Minister Tenor BALTHAZAR, Superior of the Convent of St. James Bass LEONORA Ol GUSMANN, the King's favorite Soprano INEZ, her confidante Soprano Courtiers, Guards, Monks, Attendants, etc. Scene and Period : The action is supposed to tal^e place in Castile, about the year 1 340. Favorita so abounds with charming airs, fine music and striking dramatic situations that it is difficult to account for the neglect of it in America. The opera was revived, it is true, in 1905, with Caruso, Walker, Scotti and Plancon, but has not since been given. However, for the consolation of those who admire Donizetti's beautiful work, the Victor has collected all the best airs and several of the stirring concerted numbers, so that the opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home. ACT I SCENE The Monastery of St. James The rise of the curtain discloses a Spanish cloister with its secluded garden and weather- stained wall, while in the distance is a glimpse of the tiled roofs of the city. Ferdinand, a novice in the monastery, confesses to the Prior, Balthazar, that he has seen a beautiful woman and has fallen in love with her. He describes his meeting with the fair one in a lovely song, Una Vergine. Una vergine (Like An Angel) By Florencio Constantino, Tenor (In Italian) 64O9O lO-inch, $1.0O The good Prior is horrified and urges him to confess and repent. Non sai tu che d'un giusto (Know'st Thou) By Gino Martinez- Patti, Tenor, and Cesare Preve, Bass (Double-faced See page 130) (In Italian) 62635 lO-inch, $O.75 BALTHAZAR: Ah, my son, my life's latest solace, FERDINAND (in rapture) : May thy innocence rescue thee still! Yes, ador'd one! this heart's dearest idol! Thou, thou who shouldst be my successor, For thee I will break ev'ry tie! And all my solemn duties fill. To thee all my soul I surrender FERDINAND: At thy dear feet content to die! Ah, father, I love her! Forgive me! Father, I go! BALTHAZAR: BALTHAZAR: This woman, wretched one! oh, knowest thou Hence, audacious! away in madness! Who has lur'd thee thus to shame? I'll not curse thee! no depart! Knowest thou her, for whom thy holiest vow If Heaven spare thee, soon in sadness, Is forfeit? Her rank her name? Thou'lt hither bring a broken heart! FERDINAND: FERDINAND: I know her not; but I love her! Ah, dear Idol! this heart so enchaining, BALTHAZAR: In vain thy spell I strive to break! Begone! too profane! Fly these cloisters To thee only my truth maintaining, Far, far from hence! avoid my sight. My cloister I forsake! VICTOR BOOK OF THE OPERA LA FAVORITA The Prior's pleading fails to restore Ferdinand to his duty, and he leaves the convent to search for the beautiful unknown. As he goes he turns and stretches out his arms toward Balthazar, who averts his head. The scene changes to the Island of Leon, where Inez, an attendant of Leonora, and a chorus of maidens are gather- ing flowers. They sing a melodious chorus, Bei raggi lucenti (Ye Beams of Gold) By Ida Roselli, Soprano, and La Scala Chorus (In Italian) *62635 lO-inch, $O.75 which tells of the love which their mistress feels for a hand- some youth whom she has seen but once, and who is now on his way to the Isle at Leonora's request. Ferdinand, who, shortly after his departure from the monastery, had received a note bidding him come to the Isle of Leon, now arrives in a boat, blindfolded, is assisted to land by the maidens, and the bandage removed. He gazes around him wonderingly, and asks Inez the name of the unknown lady who has sent for him. She smilingly refuses, and tells him only her mistress may reveal the secret. Leonora now appears, and the maidens depart. A tender love scene follows, but theFavorite is anxious, fearing that Ferdi- nand will learn that she is the King's mistress. She shows him a parchment which she says will insure his future, and then bids him leave her forever. Fia vero ! lasciarti ! (Fly From Thee!) By Clotilde Esposito and Sig. Martinez-Patti *683O9 12-inch, $1.25 Ferdinand, beginning the duet, indignantly refuses, saying : FERDINAND: 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 restor'd be Farewell! Go; forget me! By anguish or tears! Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora 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. ACT II SCENE Gardens of the Alcazar Palace The King enters and admires the beauty of the palace, which he has just acquired from the Moors by the victory of his army, led by the young captain, Ferdinand. A message comes from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 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 Cigada, Baritone (In Italian) *68O61 12-inch, $1.25 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 Mileri and Renzo Minolfi (In Italian) *68275 12-inch, $1.25 Ah ! 1'alto ardor (Oh, Love !) By Margarete Matzenauer and Pasquale Amato 89O62 12-inch, $4-OO Leonora recalls the circumstances connected with her departure from her father's home. *boubl e -FaceJ Record For IHk o/opposrte side ** DOUBLE-FACED LA FA VORITA RECORDS, page 130. 127 VICTOR BOOK OF THE OPERA LA FAVORITA LEONORA: When from my father's halls you bore me, A poor simple maiden, betray'd, deceived, Alas! within these walls I hop'd, fulfilled Would be those vows so sworn! KING (with remorse): No more! LEONORA: Silent and alone, shunned by the world, Live I in the dark: the mistress of the King. Vainly glitter these jewels, Vainly bloom these flowers around me. The lip may smile, but the heart is weeping! KING: But tell me the cause of your grief. LEONORA: Ah! ask not to know it. Permit me, sir, to leave this court! KING: No man can love thee more than I! LEONORA: I dare not look so high as thee. KING (aside) : Oh, love! soft love! her bosom filling, With sweet response each fibre thrilling, Inspire her heart! LEONORA (aside) : Oh, love, alas! this bosom filling, With secret woe each fibre thrilling! KING: Disperse this gloom; enjoy the feasts ^^^ Spread 'round thee by my tender love! MLLE. BAILAC AS FAVORITA They are interrupted by the entrance of Balthazar, who brings the mandate from the Pope. The King defies him, saying : KING: This lady I shall wed, and whoever My will is sacred! On my brow Doubts my right shall feel Rests the royal diadem! The anger of a monarch! Balthazar then begins the finale, one of the most impressive of the concerted numbers. Ah! paventa il furor (The Wrath of Heaven) By Amelia Codolini, Francesco Cigada, Aristodemo Sillich and La Scala Chorus (In Italian) *16536 lO-inch, $O.75 BALTHAZAR: KING: Do not call the wrath of God, Still this sudden tempest Avenging upon thee; Shall not bend me nor break me; For it visiteth terribly Calm thee, my Leonora, Those who do not bow to His will. Bright is thy destiny. LEONORA AND CHORUS: BALTHAZAR (denouncing Leonora): I tremble with fear All ye that hear me In my inmost heart, Shun the adultress; Lest this terrible blow Accurs'd of Heaven is she! Should crush my fondest hopes. The curtain falls on a dramatic tableau, Leonora weeping with shame, the King hesita- ting between love and ambition, while the terrible Balthazar thunders the papal curse down upon the guilty pair. 12-inch, $3.OO 12-inch, 3.OO 10-inch, .75 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 Mario Ancona, Baritone (In Italian) 88O63 By Mattia Battistini, Baritone (In Italian) 92O45 By Francesco Cigada, Baritone (In Italian) *16536 ALFONSO: Thou flow'r belov'd. And in hope's garden cherish'd, With sighs and tears refresh'd, Both night and morn: Fad'st from my breast, Thine ev'ry beauty perish And in thy stead alone ha re left a thorn! ^Double-Faced Record-Far title of opposite side see DOUBLE-FACED LA FA VORITA RECORDS, page 130. 128 VICTOR BOOK OF THE OPERA LA FAVORITA He consents to the marriage, however, and announcing that they must prepare to wed in an hour, goes out with Ferdinand. Leonora, left alone, decides to sacrifice her own feeling and renounce Ferdinand. She gives expression to her mingled joy and despair in a noble air : O mio Fernando (Oh, My Ferdinand) By Margarete Matzenauer, Mezzo-Soprano (In Italian) 88363 12-inch, $3.0O LEONORA: And thou deceive, I'll die! Oh, my Ferdinand, were mine this earth's Oh, Death! Where art thou? whole treasure I call thee! I await thee! Mine, too, each star of yon blue heav'n: Approach! lead to the tomb. To purchase thee one pleasure, O'er this brow pale cypress twine, All, all at once by this fond hand were giv'n ! Roses are too bright and glowing All should be thine, save my poor name de- O'er this face a dark veil throwing; graded; Tears, for smiles, be sadly flowing And thine should be, too, my life's latest sigh! Deck with sable plumes the shrine: Ah! But ere I give to thee a name thus Yes, I'll die, my shame avowing, clouded, Ere, despis'd, I will be thine! 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, seized with sudden remorse, begins the great finale to Act III. Orsu, Fernando (Stay! Hear Me, Ferdinand!) By Maria Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor; Francesco Cigada, Baritone (In Italian) *62659 lO-inch, $O.75 Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves the Court, followed by Balthazar. Leonora faints as the curtain falls. ACT IV SCENE The Cloisters of the Monastery The opening number in this act is the impressive Splendon piu belle, considered by many critics to be the finest of the Favorita numbers. The scene represents the cloister at the Convent of St. James of Compostella, illumined by the rays of the rising sun. The monks have assembled to welcome back the prodigal Ferdinand, who, heartbroken at the falseness of Leonora, is returning to renew his vows. The ceremonies are conducted by Balthazar, who begins this great number. Splendon piu belle in ciel le stelle (In Heavenly Splendor) By Marcel Journet and Metropolitan Chorus 74273 12-in., $1.5O By Torres de Luna, Bass, and La Scala Chorus (In Italian) *68061 12-in., 1.25 By Perello de Segurola, Bass, and La Scala Chorus (Italian) *16551 lO-in., .75 Balthazar entreats him to lift his eyes from earthly things and contemplate the stars, which typify a forgiving Heaven. The monks now go into the chapel to prepare for the final rites, and Ferdinand, left alone, casts a look behind him to the world he has left forever, and sings his lovely Spirto gentil. Spirto gentil (Spirit So Fair) By Enrico Caruso, Tenor (In Italian) 88OO4 12-inch. $3.OO By Gennaro de Tura, Tenor (In Italian) 76O12 12-inch, 2.00 By Evan Williams, Tenor (In English) 74141 12-inch, 1.50 * Double-Face J Record For title of opposite ,ide see DOUBLE-FACED LA FA VORITA RECORDS, page 130. 129 VICTOR BOOK OF THE OPERA LA F AV O R I TA FERDINAND: In thee delighting, all else sec Spirit so fair, brightly descending, A father's warning, my country, nx Then like a dream all sadly ending, Ah, faithless dame, a passion inviting, Hence from my heart, vision deceiving, Fair honor blighting, branding my name, Phantom of love, grief only leaving, Grief alone thou leav'st, phantom of love! The monks now lead Ferdinand to the chapel. Leonora, who has come hither disguised as a novice to entreat forgiveness of her lover, hears him take the final vows and despair- ingly falls at the altar. Ferdinand comes from the chapel, and seeing a poor novice, assists him to rise. He is at first horrified to recognize Leonora, and bids her begone, but she pleads for mercy. LEONORA: Waken once more in my heart! Ah, heavenlike, thy mercy showing, (Impetuously.) Turn not thy heart away from me! I love thee! FERDINAND (his love returning) : Come, ah, come, 'tis vain restraining From tears thy words persuasion borrow, Passion's torrent onward that dashes, Like a spell their softness impart, O'er my bosom still art thou reiening Those sighs, the hope of some bright morrow And we together will live and die! Pietoso al par d'un Nume (As Merciful as God) By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor (Double-faced See below) (In Italian) 62659 lO-inch, $O.75 Again gently reminding him of his vows, she falls from weakness and privation. LEONORA: LEONORA (feebly): No, no! 'Tis Heaven calls thee! Heav'n forgive me, now I'm dying, FERDINAND (recklessly) : Ferdinand, I am happy, 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 I would not brave, (She dies.) Aye, here and hereafter! (Curtain) DOUBLE-FACED AND MISCELLANEOUS FAVORITA RECORDS (Quando le soglie (From My Father's Halls) By Lina } Mileri, Contralto, and Renzo Minolfi, Baritone (Italian) [68275 12-inch, $1.25 Faust Dio possente (Gounod) By Francesco Cigada (In Italian)} (Fia vero! lasciarti! (Fly From Thee!) Clotilde Esposito, Soprano, and Sig. Martinez-Patti, Tenor (In Italian) 683O9 12-inch, 1.25 Norma In mia mono alfin tu sei Giacomelli and Martinez-Patti Vien Leonora (Leonora, Thou Alone) By Francesco ] Cigada, Baritone (In Ilalian)( , Qn , . ._ - , , ~ f Splendon piu belle in ciel (In Heavenly Splendor) By 68 61 12 - mch < 1 ' 2j Torres de Luna, Bass, and La Scala Chorus (In Italian)} 1A tanto amor (Flow'r Beloved) By Cigada (In Italian)} Ah! paventa il furore (The Wrath of Heaven) By Il6536 lO-inch, .75 Codolini, Cigada and Sillich (In Italian) } on sai tu che d'un giusto (Know'st Thou) By Gino Martinez-Patti, Tenor, and Cesare Preve, Bass (Italian) Bei raggi lucenti (Ye Beams of Gold) By Ida Roselli, Soprano, and La Scala Chorus (In Italian) Orsu, Fernando (Stay ! Hear Me, Fernando !) By Maria Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; Francesco Cigada, Baritone (In Italian) Pietoso al par d'un Nume (As Merciful as God) By Clotilde Esposito, Soprano, and Gino Martinez-Patti, Tenor (In Italian) (Splendon piu belle in ciel le stelle (In Heavenly Splendor) By Perello de Segurola, Bass, and Chorus (In Italian) ManonEt je sais ootre nom (If I Knew But Your Name) By Mile. Kirsoff, Soprano, and Leon Beyle, Tenor (In French) F 62635 10-inch, .75 62659 lO-inch, .75 16551 lO-inch, .75 EETHOVEN (German) FIDELIO (FeeJeV-lce-oh) or, CONJUGAL LOVE GRAND OPERA IN TWO ACTS Words adapted by Joseph Sonnleithner from Bouilly's Ltonore, oti I'Amour Conjugal (Leonora, or Conjugal Love). Music by Ludwig von Beethoven. First produced at the Theatre an der Wein, Vienna, November 20, 1805, in three acts, the cast including Weinkoff, Meier, Demmer, Milder and Rothe. A revised version was given in 1806 and a third production in 1814. Produced in London, at the King's Theatre, May 18, 1832. In English at Covent Garden, June 12, 1835. In Italian at Her Majesty's, May 20, 1851. In Paris at the Theatre Lyrique, translated by Barbier and Carre, and in three acts, May 5, 1860. First American performance in New York, September 9, 1839, with Giubilei, Manvers and Poole. Other notable productions were in 1857, with Johannsen, Weinlich and Oehrlein ; in 1858, with Mme. Caradori and Karl Formes; in 1868, with Mme. Rotter, Habelmann and Formes; the Damrosch production of 1884, with Mme. Brandt, Mile. Belz and Herr Koegel ; and in 1 90 1 , with Ternina as Leonore. Characters DON FERNANDO, Minister .' Baritone DON PIZARRO, Governor o the State Prison Baritone FLORESTAN, a prisoner . . . . f . Tenor LEONORE, his wife, known as Fidelio Soprano ROCCO, jailor Bass MARZELUNE, his daughter ~ Soprano JAQUINO, gatekeeper Tenor CAPTAIN OF THE GUARD Bass LIEUTENANT Bass Soldiers, Prisoners, People, etc. Place : A Spanish Slate prison in the vicinity of Seville, 131 VICTOR BOOK OF THE OPERA BEETHOVEN'S FIDELIO N OPERA HOUSE Fidelia must ever be regarded with great interest as being the only opera written by one of the greatest composers. Originally given as Fidelia, it was rewritten and condensed into two acts by Breuning, still a third revision being made in 1814 by Treitschke. At the time of the second production in 1806 the title was changed to Leonore, Beethoven writing a new overture, now known as Leonore No. 3. A portion of this splendid number has been played here by Pryor's Band, while the complete overture is given in three parts by the Victor Concert Orchestra. Leonore Overture No. 3 By Victor Concert Orchestra (Parts I and II) 35268 12-inch, $1.25 IBy Victor Concert Orchestra (Part III) Adagio from Fourth Symphony (Beethoven) Vessella's Italian B 35269 12-inch, 1.25 The action of the opera occurs in a fortress near Seville. Don Florestan, a Spanish nobleman, has been imprisoned here for life, and to make his fate certain his mortal enemy, Don Pizarro, Governor of the prison, has announced his death, meanwhile putting the unfortunate man in the lowest dungeon, where he is BEETHOVEN (1770-1827) expected to die by gradual starvation, thus rendering unnecessary a resort to violent means. One of the best numbers in the opera is this fine air in D minor, which has been sung for the Victor by Mr. Goritz. Ha, welch ein Augenblick (Fateful Moment) By Otto Goritz, Baritone (In German) 64165 10-inch, $1.OO In this the wicked Governor unfolds his hatred and his malignant intentions toward Florestan. VICTOR BOOK OF THE OPERA BEETHOVEN'S FIDELIO GOVERNOR: Fateful moment! My revenge is near! Long I've waited for this hour, Fearful lest he should escape me! Over my enemy 1 triumph; He who would my life have taken ! Oh, fateful moment! Ah, what a day is this! My vengeance shall be sated, And thou, thy doom is fated. Once in the dust I trembled Beneath thy conquering steel, But fortune's wheel is turning In torments thou art burning The victim of my hate! An extremely pleasant and agreeable person this Spanish Governor must have been ! Goritz, whose Pizarro is one of his greatest impersonations, sings this striking air in a highly effective manner, fairly exuding the spirit of revenge. Don Florestan, however, has a devoted wife who re- fuses to believe the report of his death. Disguising herself as a servant, and assuming the name of Fidelia, she secures employment with Rocco, the head jailor. Rocco's daughter falls in love with the supposed hand- some youth, and he is soon in such high favor that he is permitted to accompany Rocco on his visits to the prisoner. Hearing that the Minister of the Interior is coming to the prison to investigate the sup- posed death of Florestan, the Governor decides to murder him, and asks Rocco 's help. Fidelia overhears the conversation and gets Rocco to allow her to dig the grave. Just as Don Pizarro is about to strike the fatal blow, Fidelia rushes forward, proclaims herself the wife of the prisoner and shields him. The Governor is astonished for a moment, but recovers himself and is about to sacrifice both, when a flourish of trumpets announces the coming of the Minister, and Don Pizarro is soon disgraced, while Florestan is pardoned and given back to his faithful wife. THE PHANTOM SHTP (German) DER FLIEGENDE HOLLANDER (Dehr Flee'-gen-Jeh Hot -lan-der) (English) FLYING DUTCHMAN 1" Sorflfflutifl ini ifrtfn dnifllid) @d*fif(t>f afl, Kn 2. 3nnuor 1843. flicpik l^Ittnfor. ' 9Jomamif(t)t CpttTn bm Sfrim, - 5 Ubt. Slnraug urn 6 Ubr, i&iSc gtgm -J Ubt. (Italian) II Vascello Fantasma (e/ Vaa-sel-low Fahn-tahz' -mah) A ROMANTIC OPERA IN THREE ACTS Text and score by Richard Wagner. First produced at the Royal Opera in Dresden, January 2, 1843, with a Paris production the following year under the title of Le Vaisseau Fantome. First London production July 23, 1870; and in English by Carl Rosa in 1876; first New York production, in English, January 26, 1877; in German, March 12, 1877. Cast , a Norwegian sea captain Bass SENTA, his daughter Soprano ERIC, a huntsman Tenor MARY, Senta's nurse Contralto DALAND'S STEERSMAN Tenor THE DUTCHMAN Baritone Sailors, Maidens, Hunters, etc. ORIGINAL PROGRAM DRESDEN, 1843 Place : On the coast of Norway VICTOR BOOK OF THE OPERA FLYING DUTCHMAN THE STORY One of the most melodious of Wagner's operas, and the most popular in Germany to-day, Fliegende Hollander is also the one which was most promptly condemned by the critics after its production. Its present vogue is a notable example of the change in musical taste since 1843. Wagner was led to write the Flying Dutchman after reading Heine's legend of the unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had sworn that he would not desist if he had to sail on the ocean to eternity. To punish his blasphemy he is condemned to the fate of the Wandering Jew, his only hope of salvation lying in his release through the devotion unto death of a woman; and to find such a maiden he is allowed every seven years to go on shore. Flying Dutchman Overture By Pryor's Band 31787 12-inch, $1.00 The overture is a complete miniature drama, em- bodying the events of the opera to follow. Driven by the gale, the Phantom Ship approaches the shore, while amid the fury of the tempest is heard the theme of The Curse : The storm increases and reaches its height in a won- derful piece of writing. No composer ever succeeded in portraying a raging storm with such vivid effect. Amid a lull in the tempest, we hear the melancholy complaint of the Dutchman from the great air in the first act, ' ' Wie oft . . . Mein Grab, es schloss sich nicht ? ' ' (Mygr strain HANDWRITING -I find it not I) A gleam of hope appears in the Redemption theme, and a joyous heard from the sailors of Daland's ship, which is safe in the harbor. Thus the various events of the drama are presented in miniature; and the overture is in fact a complete resume' of the opera, summarizing the leading motifs. It is superbly played by Mr. Pryor's fine organization. A.CT I SCENE The Coast of Norway The curtain rises showing a rocky sea coas 1 in Norway, with the ship of Daland anchored near the shore. As the crew furl the sails, Daland goes ashore, and climbing the cliff, sees that he is only seven miles from home, but as he must wait for a change in the wind, bids the crew go below and rest. The Steersman remains on watch, and to keep awake sings a sailor ballad : STEERSMAN: Through thunder and wars of distant seas, My maiden, come I near! Over towering waves, with southern breeze, My maiden am I here! My maiden, were there no south wind, I never could come to thee; O fair south wind, to me be kind! My maiden, she longs for me! Ho-yo-ho! Hallo-ho! From the shores of the south, in far-off lands, I oft on thee have thought; Through thunder and waves from Moorish strands. A gift I thee have brought. My maiden, praise the sweet south wind " bring thee a golden ring. kind! RENAUD AS THE DUTCHMAN O fair south wind, to me be Hallo-ho! My maiden doth spin and sins Ho-yo-ho! VICTOR BOOK OF THE OPERA FLYING DUTCHMAN He soon falls asleep, however, and fails to see the Flying Dutchman, which now appears, with blood-red sails and black masts, for one of her periodical visits. Wie oft in Meeres tiefsten Schlund (In Ocean's Deepest Wave) By Otto Goritz, Baritone (In German) 7423O 12-inch, $1.5O The spectral crew furl the blood-red sails and drop the rusty anchor. The Dutchman stands on the deck, and delivers his great soliloquy. He gloomily gazes at the land, and sings his preliminary recitative : The term is past, and once again are ended the seven long years; The weary sea casts me upon the land. Ha! haughty ocean! A little while and thou again wilt bear me! Though thou art changeful, unchanging is my doom! Release, which on the land I seek for, Never shall I meet with! True, thou heaving ocean, am I to thee Until thy latest billow shall break, Until at last thou art no more! An introduction in 6-8 allegro molto leads to the aria: DUTCHMAN: Engulf'd in ocean's deepest wave, Oft have I long'd to find a grave; But ah! a grave, I found it not! I oft have blindly rushed along, To find my death sharp rocks among; But ah! my death, I found it not. And oft, the pirate boldly daring, My death I've courted from the sword, Here, cried I, work thy deeds unsparing, My ship with gold is richly stor'd! Alas, the sea's rapacious son, But sign'd the cross, and straight was gone Mine is a curse of living breath. Thee do I pray Bright angel sent from Heaven. Was there a fruitless hope to mock me given, DalanJ comes on deck and is astonished to see the strange ship. He wakes the Steersman and they hail the stranger, who asks DalanJ to give him shelter in his home, offering him treasure from his ship. On hearing that DalanJ has a daughter he proposes marriage. The simple Nor- wegian is dazzled by such an honor from a man apparently so wealthy, and freely con- sents, providing his daughter is pleased with the stranger. The wind changes and DalanJ sails for his home, the Dutchman promising to follow at once. ACT II SCENE A Room in DalanJ's Home Traft ihr das Schiff (Senta's Ballad) By Johanna Gadski. Soprano When thou didst tell me how to gain release? A single hope with me remaineth, A single hope still standeth fast; When all the dead are raised again, Destruction then I shall attain. Ye worlds, your curse continue not! Endless destruction be my lot! FIRST ACT SETTING USE (In German) 88116 12-inch. $3.OO VICTOR BOOK OF THE OPERA FLYING DUTCHMAN The maidens are busily spinning all but Senta, Z)a/am/'s daughter, who is idly dreaming, with her eyes fixed on the fanciful portrait of the Flying Dutchman which hangs on the wall. The legend of the unhappy Hollander has made a strong impression on the young girl, and he seems almost a reality to her. The maidens ridicule her, saying that her lover, Eric, will be jealous of the Dutchman. Senta rouses herself and commences the ballad, which begins with the motive of The Curse. With growing enthusiasm she goes on, describing the unhappy lot of the man condemned to sail forever on the sea un- less redeemed by the love of a woman. 1 hen with emotion she cries : This is the theme of Redemption by Woman 's Love, and as Senta sings the beautifully tender and melodious phra.se, she runs toward the portrait with outstretched arms, hardly conscious of the now alarmed maidens. SENTA: Yo-ho-hoe! Yo-ho-hoe! Yo-ho-hoe! Yo-ho-hoe! Saw ye the ship on the raging deep Blood-red the canvas, black the masti On board unceasing watch doth keep The vessel's master pale and ghast! Hui! How roars the wind! Yo-ho l hoe! Yo-ho-hoe! Hui! How bends the mast! Yo-ho-hoe! Yo-ho-hoe! Hui! Like an arrow she flies Without aim, without goal, without rest! (She gazes at the portrait with growing excitement) Yet can the spectre seaman Be freed from the curse infernal, Who'll pledge him her love eternal. Ah! that the unhappy man may find her Pray, that Heaven may soon In pity grant him this boon! Mme. Gadski, whose Senta is always a fine impersona- tion, sings this dramatic number most expressively. The difficult attack on the high G, which occurs several times, is beautifully taken and perfectly recorded. GADSKI AS SENTA The maidens are so alarmed at Senta' s outburst of passion that they run out and call Eric, who meets them at the door with news of the Dutchman 's arrival. They run to the shore while Eric remains and reproaches Senta. She refuses to listen and the distracted lover runs out. Suddenly the door opens and the Dutchman appears. Senta is transfixed with surprise as she involuntarily com- pares the portrait with the living man. A long silence fol- lows. The Dutchman, his eyes fixed on the glowing face of the maiden, advances toward her. Daland soon observes that the others pay no attention to him, and well satisfied with the apparent understanding between the stranger and his daughter, leaves them together. The Hollander sees in Senta the angel of whom he had dreamed and who is to banish the curse, and she sees the original of the portrait on which the sympathy of her girlish and romantic heart had been lavished. The Hol- lander asks Senta if she agrees with her father's choice of a husband. She gladly consents, and a long love duet follows, the final theme of which is " faith above all." \^ie aus der Feme (Like a Vision) By Otto Goritz, Baritone (In German) 74322 12-inch, $1.50 Versank ich jetzt (Do I Dream ?) By Johanna Gadski, Soprano, and Otto Goritz, DESTINN AS SENTA Baritone (In German) 883 7O 12-inch, $3.OO Wohl konn' ich Weibes (Woman's Holy Duties) By Johanna Gadski, Soprano, Otto Goritz, Baritone (German) 88371 12-inch, $3.OO VICTOR BOOK OF THE OPERA FLYING DUTCHMAN At the close of the duet, The Dutchman and Senta rejoice at his deliverance from the spell: THE FLYING DUTCHMAN: A healing balm for all my sorrows From out her plighted word doth flow. SENTA: 'Twas surely wrought by pow'r of magic That I should his deliv'rer be. THE FLYING DUTCHMAN: Hear this! Release at last is granted! Hear this, ye mighty: Your power is now laid low! SENTA: Here may a home at last be granted, Here may he rest, from danger free! What is the power within me working? What is the task it bids me do? Almighty, now that high Thou hast raised me, Grant me Thy strength, that I be true! Daland re-enters and is delighted to find such a complete understanding between the two. He invites the Dutchman to the fete that evening in celebration of the safe arrival of the Norwegian ship. Senta repeats her vow unto death, and a magnificent trio closes the act. ACT III SCENE Daland's Harbor SCHUMANN-HEINK AS MARY This scene shows the ships anchored in the bay near Daland's home. Daland's vessel is gay with lanterns, in contrast to the gloom and silence which marks the Dutchman 's ship. A gay Norwegian chorus is followed by a spirited hornpipe with a most peculiar rhythm. Bits of these numbers are to be heard in the Pryor's Band records of the Overture and Fantasia. The maidens now appear with baskets of eatables, and are joyfully received by the sailors. Having supplied the wants of their own countrymen, they approach the Dutchman's ship and call to the sailors, but only a ghostly silence rewards them. Piqued at this neglect, they turn their remaining baskets over to the Norwegian sailors and return home. Suddenly the sea around the Dutchman begins to rise, and a weird glow lights the ship. The crew appear and begin a sepulchral chant, which causes the gay Norwegians to cease singing and cross themselves in terror, and finally to go below. With mocking laughter, the crew of the Dutchman also disappear and the ship is in darkness. Senta and Eric appear and a stormy scene ensues. He has heard of her engagement to the strange captain, and is be- side himself. He kneels and begs her to have pity on him. Suddenly the Hollander comes upon the scene and is horror- stricken at the tableau. Be- lievingSen/atobe false.he cries, "All is lost; Senla, farewell!" The crews of both ships appear and the townsmen rush to the scene. The Dutchman reveals his 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. Senta, in wild exaltation, rushes to the highest rock, calling to the departing vessel, " OM " Ol "'' SENTA is FAITHFUL UNTO DEATH 139 VICTOR BOOK OF THE OPERA FLYING DUTCHMAN " I am faithful unto death," and throws herself into the sea. The Flying Dutchman sinks be- neath the water, and rising from the wreck can be seen the forms of Senta and the Dutchman clasped in each other's arms. The curse has been banished true love has triumphed ! This brilliant selection contains some of the finest music of this wonderful masterpiece, in which Wagner has portrayed the story of the Dutchman condemned to sail forever on the stormy sea unless redeemed by the love of a woman. Two variations of the exquisite theme representing Redemption by Woman 's Love are given. We first hear the magnificent strain played by the orchestra in Act III when Senta plunges into the sea, after the Dutchman, believing her false, has sailed away; then follows the theme first heard in Senta's ballad, one of the finest numbers in the opera. Then appears the second of the two principal themes : the Flying Dutchman motive : V a weird melody representing the restless wanderer. In strong contrast comes the rollick- ing chorus of Daland's sailors, "Steersman, Leave the Watch," and the fantastic dance which follows : The Fantasia is brought to an effective close with a portion of the great duet between Senta and the Dutchman, leading up to a splendid climax. MISCELLANEOUS FLYING DUTCHMAN RECORDS /Flying Dutchman Fantasia By Pryor's Band 1 , , . ,, ... , 4 . - \ Pagliacci Prologue By Pryor's BanJf 35156 12 - lflch $1 - 25 (FROl PRINT) LA FORZA DEL DESTINO (La Forf-zah delDa-tetf-noK) THE FORCE*OF DESTINY OPERA IN FOUR ACTS Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- ber 11, 1862; and in London at Her Majesty's Theatre, June 22, 1867. First New York production February 2, 1865, with Carozzi-Zucchi, Massimilliani and Bellini. CHARACTERS MARQUIS OF CALATRAVA, (KaUh-trah'-oah) DONNA LEONORA.I , . DON CARLO. } KlS DON ALVARO. (Ahl-oah'-roh) ABBOT OF THE FRANCISCAN FRIARS MEUTONE. a friar CURRA, Leonora's maid ............................ .................. TRABUCO, muleteer, afterwards a peddler ......................... Tenor A SPANISH MILITARY SURGEON ............................... Tenor AN ALCADE ................................................. Bass Muleteers, Spanish and Italian Peasants and Soldiers, Friars of the Order of St. Francis, etc. Bass /Soprano \Baritone Tenor Bass Baritone Scene and Period : Spain and Italy ; about the middle of the eighteenth century. Verdi's opera of La Forza del Destino -was never a great success ; its story, which is taken from a drama of the Duke of Rivas, entitled Don Alvaro o la Fuerzer del Sino, being doleful and so crowded with horrors that not even the beautiful music could atone for the gloomy plot. Old opera- goers well remember the last production of the opera at the Academy in 1881, with Annie Louise Cary, Campanini, Galassi and Del Puente in the cast. The only production in America subsequent to that time was that of the Lombard! Opera Company in San Francisco several years ago. The overture is a most interesting and rather elaborate one. Overture (Double-faced See page 145) By Arthur Pryor's Band 35215 12-inch, $1.25 /Overture, Parti La Scala Orchestra), enno 10 < , ,,- (Overture, Part II La Scala Orchestra/ 680 ' ' 12 - inch l - 2 * 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 string This is the beautiful subject of the Madre Pielosa, afterwards heard with such mag- nificent effect in the opera. Part II opens with a light and pretty pastoral melody quite in the Italian vein. A notably brilliant passage for strings brings us again to the Madre Pielosa melody, this time delivered in a triumphant fortissimo, after which the overture works up to a truly animated and powerful finale. VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO ACT I SCENE Drawing Room in the House of the Marquis of Calatrava Don Alvaro, a noble youth from India, becomes enamored with Donna Leonora, the daughter of the Marquis of Calatrava, who is strongly opposed to the alliance. Leonora, knowing her father's aversion, determines to make her escape with Alvaro, aided by Curra, her confidant. She is in the act of eloping when her father appears, and is accidentally slain by her lover. Leonora, horror-stricken, rushes to her father, who curses her with his dying breath. ACT II SCENE I An Inn at Hornacuelos The second act begins in a village inn, where Don Carlo, son of the murdered Marquis, is disguised as a student in order to better avenge his father. Leonora, who is traveling in male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sworn to kill her lover Alvaro and herself. She flees to the convent of Hornacuelos, arriving at nlght ' SCENE II The Convent of Homacuelos Kneeling in the moonlight, she prays to the Virgin to protect her. This beautiful prayer is splendidly sung here by Mme. Boninsegna, accompanied by the chorus of La Scala. Madre, pietosa Vergine (Holy Mother, Have Mercy) By Celestina Boninsegna, Soprano, and La Scala Chorus (In Italian) 92031 12-inch, $3.OO The effect produced by the solo voice with the background of male voices singing the Venite in the chapel is powerful and thrilling, and forms one of the finest of the Victor reproductions of Verdi's scenes. LEONORA: LEONORA: Oh, Holy Virgin, O sublime song, Have mercy on my sins! Which like incense, Send help from Heaven Ascends heavenward. To erase from my heart It gives faith, comfort, That ungrateful one. And quiet to my soul. (The friars are heard in their morning hymn.) I will go to the holy sanctuary. THE FRIARS: The pious father cannot refuse to receive me. Venite, adoremus et procelamus O Lord! Have mercy on me, An te Deum, ploremus, ploremus Nor abandon me. Coram Domino, coram Domino qui fecit nos. (She rings the bell of the convent.) Leonora is admitted to the convent by the Abbot, to whom she confesses. He procures her a nun's robe and directs her to a cave, assuring her that a curse will rest upon anyone who seeks to know her name or to enter her abode. In her gratitude she sings the second great air. La Vergine degli angeli (May Angels Guard Thee) By Celestina Boninsegna, Soprano, and La Scala Chorus (In Italian) 91O75 lO-inch, $2.OO Again we have the effect of the solemn chant of the priests blending with the prayer of Leonora. THE FRIARS: LEONORA: La Vergine degli Angeli Let the Holy Virgin Vi copra del suo manto, Cover you with her mantle, E voi protegga vigile And the angels of God Di Dio I' Angela santo. Watch over you! (Leonora kisses the hand of the Abbot and goes to her retreat. The monks return to the church.) ACT III SCENE A Military Camp near Velleiri In Act III we are transported to Italy, where we meet Alvaro, who has enlisted in the Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven for pity, O tu che in seno agli Angeli (Thou Heavenly One) By Enrico Caruso, Tenor (In Italian) 882O7 12-inch, $3.OO VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO ALVARO: prison. . . . The desert educated me; un- Life is a misery ... In vain I seek known is my royal descent! My ancestors death. . . . Seville! . . . Leonora! aspired to a throne. Alas! They were be- hast taken f Oh, memories! Oh, night! Thou all y happiness! I shall ever be unhappy. . . . So it is writ- My father tried to make his get to headed! Oh, when will my misfortune cease? Thou who hast ascended in heaven, all beau- tiful and pure from mortal sins, do not for- look on me, a poor sufferer, who with- country free, and to wear a crown by marry- out hope fights eagerly for death against ing the only daughter of Ineas. He was destiny! Leonora, help me and have mercy foiled in his design. I was born in on my sufferings! In the next scene he saves the life of Don Carlo, whose wanderings in search of ven- geance have led him to this region. Both having assumed fictitious names, they do not know each other, and swear eternal friendship. Shortly afterward, during an engagement, Don Alvaro, wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he sends away the soldiers and requests that he be left alone with Don Carlo. The great duet, the finest number in the opera, then occurs. Solenne in quest'ora (Swear in This Hour) By Enrico Caruso, Tenor, and Antonio Scotti, Baritone (In Italian) 89001 12-inch, $4-00 By Lambert Murphy and Reinald Werrenrath (In Italian) 70103 12-inch. 1.25 By Carlo Barrera and Giuseppe Maggi (In Italian) *68213 12-inch, 1.25 By Luigi Colazza and Ernesto Caronna (In Italian) *63174 10-inch, .75 The wounded man confides a case of letters to his friend Don Carlo to be destroyed, making him swear that he will not look at the contents. Carlo swears, and the friends bid each other a last farewell. ALVARO : My friend . my last wish. with me the letters. swear that you will grant my last wish. the letter CARLO: I swear! ALVARO: Look at my breast. CARLO: CARLO: A key! So be it. ALVARO (feebly) sealed Now I die happ when I am dead destroy . ALVARO: ALVARO (feebly): Open this case and you will find a sealed Now I die happy .... parcel. ... I trust it to your honor, you .... farewell ! let me embrace ... rust it to your honor, you .... farewell ! It contains a mystery which must die CARLO: Put thy trust in heaven! BOTH: Adieu! The Caruso and Scotti rendition of this number is considered by many to be one of the most perfect and beautiful of all the Red Seal Records. It is certainly the most wonder- fully lifelike reproduction of these two great voices which could be imagined. The Purple Label Record by Mr. Murphy and Mr. Werrenrath is an excellent one, exhibiting the fine voices of these two young singers to great advantage. Just at this point it may be well to settle a controversy which has been raging ever since the issue of this record in 1906. This argument concerns the identity of the voices in the opening measures, and is the natural result of a remarkable similarity between Caruso's lower register and the medium tones of Scotti's voice. The Victor Catalogue Editor now appoints himself a court of final appeal, and declares that contrary to the usual impression it is Caruso, not Scotti, who begins the record. Here are the opening measures just as sung by the artists : DON ALVAKO (CABU90). DON ALVABO (CABCRO). pa go un mio volo do not rt -fust me. Sul co - re cer c te Up on my heart you'll find Double-Faced Record For title of opposite side see the double-faced list on page 145. VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO Alvaro, however, does not die, and in the next scene his identity becomes known to Don Carlo, who challenges him. They fight, and Aloaro, thinking he has killed his enemy, resolves to end his days in a monastery. ACT IV SCENE Same as Act II, Scene II Five years have now elapsed and the last act reveals again the cloister of Hornacuelos, where Aloaro, now Father Raphael, is discovered by Don Carlo, who with a persistence rival- ing that of a Kentucky mountaineer, revives the feud and tries to force him to renew the combat. Aloaro finally consents, and they agree to fight in a deserted spot near by. This agreement is expressed in a fiery duet. Invano Alvaro ! (In Vain, Alvaro !) By Enrico Caruso, Tenor, and Pasquale Amato, Baritone (In Italian) 89O52 12-inch, $4.OO The host of Victor opera-lovers who are familiar with the wonderful duet from Act III, by Caruso and Scotti, will note with delight the issue of another famous duet from this opera, sung by Caruso and Amato. This great scene has been recorded in two parts. Carlo demands that Aloaro renew the feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him with a terrible persistence, until the monk, goaded past endurance, consents to fight to the death. CARLOS : CARLOS : 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 strength My hate and desire for vengeance That I may avenge thy crimes! Have enabled me to persist Here are two swords, Until I have discovered your retreat! Thy choice now make! In this lonely spot ALVARO : We shall not be disturbed, Leave me! By this holy habit And your blood shall wipe out Thou may'st see my repentance! The stain upon my honor; CARLOS (in fury): That I swear before God! Coward! ALVARO (recognising him): Thou shalt not hide behind thy robes! Don Carlos! Thou livest! ALVARO (agitated): Coward! Oh, God Give me strength to forgive thee! Le minaccie, i fieri accenti (Thy Menaces Wild !) By Enrico Caruso, Tenor, and Pasquale Amato, Baritone (In Italian) 89O53 12-inch, $4.OO By Titta Ruffo, Baritone, and Emanuele Ischierdo, Tenor (In Italian) 925O4 12-inch, 4.OO By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone (Double-faced See page 145) (In Italian) 68213 12-inch, 1.25 Alcaro recovers his poise and endeavors to appeal to the reason of his enemy, showing him the futility of reopening the feud. Part II begins as follows : ALVARO (firmly) : ALVARO (rising, unable to control himself) : Thy menaces wild My lineage is brighter than a jewel Be heard only by the winds, CARLOS (sneeringly) : I cannot listen! A jewel flaw'd and discolored! Brother, let us submit to fate ALVARO (in fury) : And the will of God! Thou liest! CARLOS- Give me a sword. Lead on! Thou' hast left me CARLOS: A sister deserted and dishonored! A At last! ALVARO- ALVARO (recovering himself): No 1 I swear it! ^' Satan shall not thus triumph. I adore her with a holy love. C^Kf** ^^ '"* """'^ CARLOS (furiously): Then' coward, I brand thee with dishonor! Thy cowardly pleadings (Strikes him.) Cannot move me to pity. ALVARO Take thy sword and fight! Oh, God, no moref ALVARO: (To Don Carlos) Brother, let me kneel to thee. Defend thyself! (He kneels.) BOTH: CARLOS: We both must die Ah, by such an act Our hatred will be appeased Thou showest thy base origin! And Satan will claim us for his own! VICTOR BOOK OF THE OPERA LA FORZA DEL DESTITsJO ACT V SCENE A Wild Spot Near Hornacuelos The scene changes to the vicinity of Leonora's cave. Pale and worn, the unhappy woman comes from the cave, and in another great air implores Heaven to let her die, as she is unable to forget her lover. Pace mio Dio (Mercy, O My Lord) By Celestina Boninsegna, Soprano (In Italian) 92O27 12-inch, $3.OO LEONORA : Mercy, oh Lord! My sorrows are too great to bear. This fatal love has been my undoing, But still do I love him, Nor can I blot his image from my heart; Yet 'tis Heaven's decree that I shall see him no more! Oh Lord, let me die, Since death alone can give me peace! A storm now breaks, and Leonora retires within the cave just as Aloaro and Carlo ap- pear for the final combat. Aloaro recognizes the spot as an accursed one, but declares that it is a fitting place for the ending of so deadly a feud. Don Carlo falls mortally wounded, and desiring to repent his sins asks Aloaro, who is known as Father Raphael, to confess him, but the monk* is under the curse of the cave ana cannot. He goes to call the friar who dwells in the cave ; Leonora rushes forth, sees her brother wounded and embraces him, but true to his vow made in Act I he makes a dying effort and stabs her to the heart. This dramatic scene has been put by Verdi into the form of a trio. Non imprecare, umiliati (Swear Not, Be Humble) By Ida Giacomelli, Soprano ; Gino Martinez-Patti, Tenor ; Cesare Preve, Bass (Double-faced S^ Mow) (In Italian) 68026 12-inch. $1.25 Don Aloaro then completes the catalogue of horrors by throwing himself from a cliff just as the monks arrive singing the Miserere. The curtain then falls, evidently because, as one critic has said, every member of the cast being dead, there seems to be no reasonable excuse for keeping it up any longer ! DOUBLE-FACED FORZA DEL DESTINO RECORDS /Overture By Arthur Pryor's Band\ \ Orpheus in Hades Overture (Offenbach-) By Arthur Pryor's Band} /Overture, Part I By La Scala Orchestral,. afino ,~ t, -, <,< {Overture, Part II By La Scala Orchestra} 68 lch ' 1 ' 25 Le minaccie, i fieri accenti (Let Your Menaces) By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone (In Italian) Solenne in quest'ora (Swear in This Hour) By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone (In Italian) Non imprecare, umiliati By Ida Giacomelli, Soprano ; Gino Martinez-Patti, Tenor; Cesare Preve, Bass (In Italian) Ballo in MascheraAh ! qual soaoe brivido ( Thy Words, Like Dew) By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) Solenne in quest'ora (Swear in This Hour) By Luigi Colazza, Tenor, and Ernesto Caronna, Baritone (Italian) I, r^ TII / T>I r~%i / */ ,i\ o /o raust lo voglio il placer ( 1 he Pleasures of Youth) ay G. Pini-Corsi, Tenor, and Aristodemo Sillich, Baritone (Italian)) 68213 12-inch, 1.25 68O26 12-inch, 1.25 (Italian) FRA DIAVOLO (Frah Deah'-ooh-loh) COMIC OPERA IN THREE ACTS Libretto by Scribe, devised from the story of Lesueur's earlier opera, La Caverne. Music by Daniel Francois Esprit Auber. First production at the Ope~ra Comique, Paris, January 28, 1830. Presented in Vienna, 1830. London, at the Drury Lane Theatre, in English, November 3, 1831. In Italian at the Lyceum Theatre, London, July 9, 1857. First American production at the Old Park Theatre, New York, in English, June 20, 1833. It was not until 1864 that it was given in Italian in New York, and this was at the Academy of Music, with Clara Louise Kellogg. Colonel Mapleson gave three performances of the opera at the Academy of Music in 1885. It was recently revived at the Manhattan Opera and afterwards at the New Theatre by the Metropolitan forces. Characters FRA DIAVOLO, calling himself " Marquis of San Marco "... LORD ROCBURG (Lord Allcash), an English traveler LADY PAMELA (Lady Allcash), his wife LORENZO, Chief of the Carabiniers MATTEO, the innkeeper ZERLINA, his daughter GlACOMO.-l., . , _. , Companions of hra Diavolo J . . . Tenor . . .Tenor . Soprano . . .Tenor .... Bass . Soprano f Bass ' ' \Tenor The Scene : Italy, in the neighborhood of Terracina. 146 VICTOR BOOK OF THE OPERA FRA DIAVOLO The story of Fra Diavolo is melodramatic in the highest de- gree. Lorenzo, in command of the Roman Dragoons, is leaving Matteo's inn to capture Diavolo and his brigands, just as Lord Rocburg 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, Malteo, and his daughter, Zerlina. Lorenzo is in love with Zerlina, 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. Giacomo 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 Zerlina 's room, and after she has retired they proceed to again rob Lord and Lady Allcash. Lorenzo now returns, having killed most of the band of robbers and recovered the Englishman's property. He~expects to receive the proffered reward of ten thousand piastres, and his hopes of winning Zerlina seem brighter. The soldiers arrive at the inn in time to discover the robbery, but Diavolo covers the retreat of his fellow-bandits by pretending to have a rendezvous with some lady, arousing 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 Zerlina and the peasant Francisco approach, he recognizes in the crowd Giacomo and Beppo. Both are arrested by the young captain, who through them hopes to capture the chief, Fra Diavolo. The two brigands are forced to betray Diavolo and lure him into a trap, where he is ensnared and shot. As a fitting climax, the happy Lorenzo wins Malteo' s daughter for his bride. Those who hear these records of Auber's melodious opera will be charmed by the bril- liant and fluent measures, varied here and there with pretty bits of sentiment, which go hand in hand with the romantic story of the Italian bandit. The Victor offers a fine record of the Agnese la zitella, the popular Italian melody which Diavolo sings in Act II, to warn his com- COPY-T OUPOUT -^ panions, Beppo and Giacomo, that all is quiet in the house and they may now carry out their scheme to again rob Lord Rocburg and Lady Pamela. Records of the Overture and principal selections from the opera by two famous bands are also offered, while the brilliant opera aggregation has given a tuneful presentation of some of the gems of Auber's work. Gems from Fra Diavolo Chorus, "Victoria" Solo, "Over Yonder Rock Reclining" Easter Chorus, "Hail, Blessed Morn" Chorus, "Bless'd Powers That Still the Good Protect" Solo, "Friend, Beppo, See" Finale, "Victoria." By the Victor Opera Company 31829 12-inch, $1.00 H7 VICTOR BOOK OF THE OPERA FRA DIAVOLO LORD AND LADY ALLCASH The medley opens with the chorus of greet- ing to the sol- diers : Victoria! Victoria! Joy now reigns around. Then comes a bit of Zerlina 's ballad about the dread Fra Dia- volo, "On Yonder Rock Reclining," followed by the Easter Chorus. The prayer in Act III, "Blest Powers That Still the Good Pro. tect,"next occurs. The remaining numbers are the boast of Diatiolo as he sees victory for all his schemes: "The lord's gold and his wife all are mine ! " and the chorus of thanks- giving at the final capture and death of the bandit, sung to the melody of Diavolo 's air in Act I. DIAVOLO AND ZERLINA (Overture to Fra Diavolo \ Marriage of Figaro Overture (Mozart) {Fra Diavolo Selection By Vessella's Italian Band] Daughter of the Regiment Selection (Donizetti) [35191 12-inch, 1.25 By Vessella's Italian Band] f Agnese, la zitella (Agnes, Beautiful Flower) 1 By Pietro Lara, Tenor (In Italian) L _. yi , n t, 7 < Barbiere-Guarda Don Bartolo 63171 1O - mch - ' 75 By Huguet, Corsi, Pini-Corsi and Badini) (German) (English) DER FREISCHUTZ THE FREESHOOTER (DerFn/-iheulz) ROMANTIC OPERA IN THREE ACTS Words by Friedrich Kind ; music by Carl Maria von Weber (his eighth opera) ; completed as Die Jdgarsbraut, May 13, 1820. Produced at Berlin, June 18, 1821; in Dresden, 1822; in Paris (as Robin des Bois, with new libretto by Blaze and Sauvage, and many changes), at the Odeon, December 7, 1824. Another new version, with accurate translation by Pacini, and recita- tives by Berlioz, at the Academic Royal e, June 7, 1841, under the title of Le Franc Archer. In London as Der Freischutz or The Seventh Bullel, with many ballads inserted, July 23, 1824; in Italian, as // Franco Arciero, at Covent Garden, March 16, 1850 (recitatives by Costa) ; in German, at King's Theatre, May 9, 1 832. It was revived at Astley's Theatre with a new libretto by Oxenford, April 2, 1 866. First New York production, in English, March 12, 1825. Cast PRINCE OTTOKAR, Duke of Bohemia Baritone CUNO, head ranger Bass MAX, \two young /Tenor CASPARjforesters \ Bass KlLJAN, a rich peasant . . Tenor A HERMIT Bass ZAMIEL, the fiend huntsman AGNES, Cuno's daughter, Soprano ANNIE, her cousin . . . Soprano Chorus of Hunters, Peasants, Bridesmaids, and Spirits. Scene and Period: Bohemia, shortly after the Seven Years' War. SCENE OF ACT I VICTOR BOOK OF THE OPERA DER FREISCHUTZ The word freischulz, probably better translated as " free marksman," means a Schiitz or marksman who uses charmed bullets which do not depend on the aim of the shooter. Overture to Freischutz By Sousa's Band By La Scala Orchestra (Double-FacedSeepage 75 /) (Double-FacedSee page 151} 35OOO 62636 12-inch, $1.25 10-inch, .75 4 The overture presents the story of the opera in a condensed form. An introduction with a tender horn passage leads us into the forest. Night is fall- ing and mysterious sounds are heard. The allegro, representing the doubts of the good but vacillating young hunter, begins, and the sound of the magic bullets can be heard as they drop in the melting pot. Next a beautiful melody, portraying love and happiness, appears, but this in turn is succeeded by another mood of distress. At length the triumphant strain indicative of the final victory is sounded, leading up to a splendid climax. Sousa's Band has given a stirring performance of this brilliant overture, while the rendition by La Scala Orchestra will please those who prefer orches- tral music. The story of the opera is founded on a German tradition, told among huntsmen, that whoever will sell his soul to Zamiel, the Demon Hunter, may 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. Cuno, head ranger to Ottawa f, a Bohemian prince, has two assistants, Max and Caspar, both excellent marksmen. Max is in love with Agnes, Cuno's daughter, who has promised to be his bride only on condition that he proves himself the best shot at a forthcoming contest. This contest, however, is won by Kilian, a peasant. Max, in a dramatic air, bewails his bad luck. Durch die Walder (Thro' the Forest) By Daniel Beddoe. Tenor (In English} 74244 12-inch. $1.5O He believes he is cursed by an evil spirit which causes his hand to fail. MAX: O, I can bear my fate no longer! E'en hope is banished from my soul! What unknown grief thus haunts my spirit, And o'er me works its dark control? Thro' the forests, thro' the meadows, While my rifle, never failing, Made each bird and beast my prey. When at length from chase returning, Ere home rose before my sight, Agnes, smiling met me, Cloth'd in beauty's heavenly light. But now am I by Heaven forsaken Caspar, who has already put himself in the power of Zamiel, sees here an opportunity to extend his own days of grace, and advises Max to seek the magician and secure some of the magic bullets. Neou, qu il ne m'echappe pas (Caspar's Air) By Marcel Journet, Bass (In French) 64236 10-inch, $1.00 He finally induces Max to meet him in the Wolf's Glen in order to receive the magic bullets, which he declares will always hit the mark. Max departs and Caspar gives vent to a fierce joy in this florid and dramatic number. In the meantime Agnes is anxiously awaiting her lover and is much alarmed at his non-appearance. Annie, her cousin, endeavors to cheer her by singing a gay air. 150 VICTOR BOOK OF THE OPERA-DER FREISCHUTZ THE CASTING OF THE MAGIC BULLETS Annie's Air/'Comes a Gallant Youth" By Marie A. Michailowa, Soprano (In Russian) 61134 10-inch, $1.0O She describes playfully the attitude a shy maiden should assume when the right young man happens along. ANNIE: Comes a gallant youth towards me, Be he golden hair'd or dark, Eyes that flash as he regards Him my captive I will mark! Eyes bent down to earth for shyness, As befits a modest maid, With a stolen look of slyness Yet may ev'rything he said! And if swift emotion rushes, Shot from answ'ring lip and eye, Nothing worse than maiden blushes Need the gallant stranger spy! Annie begs Agnes to retire, but the young girl says she will wait for her lover. Left alone, she draws the curtains aside, revealing a starlight night. She exclaims at the beauty of the night, and folding her hands in prayer, she prays for the safety of her lover, and asks Heaven to watch over them both. Preghiera (Agatha's Prayer) By Emilia Corsi * 62636 10-inch, $0.75 Max arrives, followed by Annie, but seems em- barrassed and says he must go to bring in a stag he has shot near the Wolf's Glen. Agnes begs him not to go near that haunted spot, but he disregards her warning and goes out. The scene changes to the Wolf's Glen, where Max meets Caspar, and the magic bullets are cast amid scenes of horror, while the demon Zamiel hovers near awaiting his prey. Max is returning with his prize when he meets the Prince, who asks him to shoot a dove. The hunter complies, just missing Agnes, who has come to the wood in search of her lover. Caspar is wounded by the very bullet which he had intended should slay Agnes at the hands of Max. Zamiel carries off his victim, while Max is forgiven and all ends happily. AGATHA AND ANNA DOUBLE-FACED FREISCHUTZ RECORDS i Overture to Freischiitz Carmen Selection Overture to Freischiitz By Sousa's Band! By Sousa's Band\ By La Scala Orchestral 35OOO 12-inch, $1.25 62636 lO-inch, .75 (Preghiera (Agatha's Prayer) Emilia Corsi, Soprano (Italian)! (I, Prayer from Freischiitz 2. Greeting Victor Brass Qt.\ .,,,, in . < Venetian Love Song (Canzone Amoroso) '"-'" ^-' lO-mch, Victor Orchestra] .75 ' Double-Face J Record For title of opposite side see aboix list. 151 (CARUSO, DESTINN AND AMATO) (Italian) GERMANIA (Jaer-mah 1 -nee-ah) A. Lyric Drama in a Prologue, Two Scenes and Epilogue Text by Luigi Illica. Music by Alberto Franchetti. First production at Milan in 1902- First American production, New York, January 22, 1910, with Caruso, Destinn and Amato. Cast of Characters GIOVANNI FILJPPO PALM Bass FEDERICO LCEWE) f Tenor CARLO WORMS ^Students ^Baritone CRISOGONO J [Baritone RICKE Soprano JANE, her sister Mezzo-Soprano LENE ARMUTH, an aged beggar-woman Mezzo-Soprano JEBBEL, her nephew Soprano STAFFS, Protestant Priest Bass LUIGI ADOLFO GUGLJELMO LtJTZOW Bass CARLO TEODORO KORNER Tenor SIGNORA HEDVIGE Mezzo-Soprano PETERS, a herdsman Bass Chief of German Police Bass Historical Personages, Students, Soldiers, Police Officers, Members and Associates of the "Tugendbund," "Louise-Bund" and " Black Knights " ; Forest Girls. Time: 1813. The opera is the work of an Italian nobleman, who, although a very wealthy man, is ambitious and makes the writing of operas his hobby. Germania is a picturesque and in- teresting opera, full of local color, describing the Germany of the time of Napoleon, with its many conspiracies ; and for this the Baron has written much effective and agreeable music. The action takes place in 1813, at the time of the battle of Leipzig. 152 VICTOR BOOK OF THE OPERA FRANCHETTI'S GERMANIA PROLOGUE SCENE An Abandoned Mill near Nuremberg A company of students, under the leadership of Giovanni Palm, have occupied an old mill, and are shipping sacks of grain, which really contain political documents intended to rouse the people to revolt. Prominent among the students is Worms, who previously had a love affair with Ricke, a young girl who is now betrothed to Loewe, the poet and warm friend of Worms. Loewe is expected to arrive at any moment, and Ricke dreads his coming, as she has made up her mind to tell him her guilty secret. Worms, however, divines her purpose and bids her keep silent, as in the duel which was sure to occur Loewe would likely be the one to die. Loewe arrives and is joyfully greeted by the conspirators. He encourages them to fresh efforts in his noble aria. Studenti, udite ! (Students, Hear Me !) By Enrico Caruso, Tenor (In Italian) 87053 lO-inch, $2.OO Caruso delivers this inspiring number with splendid effect, showing well the beauty and power of his marvelous voice. The enthusiasm which follows Loewe 's great address is rudely interrupted by the arrival of the police, who seize Palm and take him away to his death. ACT I SCENE A Cottage in the Black Forest Seven years have elapsed. Hither Loen>e has come after the disastrous cam- paign of 1806, which followed the plotting in the old mill. He lives in this hut with his aged mother and the two girls, Ricke and her sister Jane. Worms has disap- peared and is supposed to be dead. Loewe is about to be married to Ricke, and the bridesmaids now arrive to deck the cottage with flowers. Ricke, think- ing of her past, is melancholy, but the marriage ceremony is performed and the bride and bridegroom are left alone. Federico clasps her in his arms and sings his beautiful air to the eyes of his bride. Non chiuder gli occhf vaghi (Close Not Those Dreamy Eyes) By Enrico Caruso, Tenor (/ n //a/ an )87054 lO-inch, $2.00 Forgetting the past, Ricke yields herself to the joy of the moment and tenderly kisses him, when suddenly from the forest is heard a familiar voice singing an old student song. " Worms!" joyfully cries Federico, and runs out to meet his old friend, who is wasted and battle-scarred. Worms, in a dramatic aria, tells his friend how he has literally come back from the dead. He relates his thrilling escape from prison, his delight in his new-found liberty, and his earnest desire for vengeance. Ferito, prigionier (A "Wounded Prisoner) By Pasquale Amato, Baritone (In Italian) 88437 12-inch, I3.OO Amato, who was the original Worms in America, sings this great air with splendid effect. Worms is astonished to see Ricke, who has been listening half hidden behind the folds of a curtain. She looks coldly at him and he uneasily says he must be on his way. Federico 153 VICTOR BOOK OF THE OPERA FRANCHETTI'S GERMANIA protests, but Worms insists and departs. Ric^e, overcome by this reminder of her past misfortune, resolves to leave her hus- band, and writes him a note and flees into the forest. Federico returns, reads the note, and wrongfully concludes that she has fled with Worms. ACT II SCENE A Cellar in Konigsberg In this underground retreat Worms is again plotting against Napoleon. A meeting of the Council is in progress, when Federico appears and demands that Worms shall fight with him to the death, but Worms, kneeling, asks Federico to kill him. Federico replies with a violent blow in the face, at which Worms decides to fight him, and preparations for the duel are begun. They are interrupted by the entrance of Queen Louise, who suggests that such brave men had better be using their swords for their country. Fired with enthusiasm, the enemies embrace each other and swear to die for Germany. EPILOGUE SCENE The Battlefield of Leipzig The awful three days* conflict is over and the field is a mass of ruins, battered wheels and dead and wounded men. Ricfce searches for the body of Federico that she may look upon his face once more. She finds him dying, but he recognizes her, and telling her that the body of Worms is nearby, asks her to forgive him as he himself has done. Ricfye 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 death, which she feels approaching. As the sun sets the defeated Napoleon with the shattered remains of his army is seen retreating. FRANCHETTI PLAYING HIS SCORE TO D'ANNUNZIO CELLAR SCENE ACT I 154 (Italian) LA GIOCONDA (Lah Joh-kon'-dah) OPERA IN FOUR ACTS Libretto by Arrigo Boito ; music by Amilcare Ponchielli. It is an adaptation of Victor Hugo's drama, "Angelo," and was first presented at La Scala, Milan, April 8, 1876. First London production in the summer of 1883. First New York production December 20, 1883, with Christine Nilsson, Scalchi, Fursch-Madi, del Puente and Novara. Characters LA GIOCONDA, a ballad singer Soprano LA CIECA, (See-a^-kah) her blind mother Contralto ALVISE, (Al-oee'-zay) one of the heads of State Inquisition . . Bass LAURA, his wife Mezzo-Soprano ENZO GRIMALDO, a Genoese noble Tenor BARN ABA, a spy of the Inquisition Baritone ZUANE, a boatman Bass ISEPO, public letter- writer Tenor A PILOT Bass Monks, Senators, Sailors, Shipwrights, Ladies, Gentlemen, Populace, Masquers, etc. The action takes place in Venice, in the seventeenth century. Gioconda is a work of great beauty, full of wonderful (MILAN, 1876) arias, duets and ensembles, with fine choral effects, and a magnificent ballet. The book is founded on Hugo's "Tyrant of Padua," and tells a most dramatic story, which, however, cannot be called inviting, as the librettist has crowded into it nearly all the crimes he could think of ! But the average audience does not concern itself much with these horrors, being engaged in listening to the beautiful music, and admiring the splendid scenes and colorful action. Therefore the story will be but briefly sketched here. ACT I SCENE Street near the Adriatic Shore, Venice Gioconda, a ballad singer who is in love with Enzo, a Gen- oese noble and captain of a ship now in the harbor, supports her blind mother, La Cieca, by singing in the streets of Venice. She has attracted the attention of Barnaba, an influential police spy, and he plans to gain her affections. This is the situation at the rise of the curtain. The stage is filled with people . peasants, sailors, masquers, all in holiday at- tire. Barnaba is leaning against a pillar, watching the gay scene. The chorus sing their opening number, Sports and Feasting. Feste ! pane ! (Sports and Feasting !) By La Scala Chorus (Inltalian) *45010 10-inch, $1.OO At the close of this number, Barnaba advances and an- nounces the commencement of the Regatta. All hasten to the shore, while Barnaba remains to soliloquize on his plot to secure the lovely Gioconda. Gioconda enters, leading her mother, La Cieca, by the hand, and Barnaba hastily hides behind a column to watch them. La Cieca sings a beautiful air, blessing her daughter for her tender care, and this leads to a trio. * Doable-Faced Record For title of opposite ,idt ,ce DOUBLE-FACED LA GIOCONDA RECORDS, page 161. 155 MUSICAL AMERICA DESTINN AS GIOCONDA VICTOR BOOK OF THE OPERA LA GIOCONDA Figlia che reggi tremulo pie (Daughter, My Faltering Steps) By A. Rossi Murino, Soprano ; Lopez Nunes, Soprano ; (In Italian) *55O17 12-inch, $1.5O GIOCONDA (tenderly) : Place thy dear hand once more in mine Thy steps I'm safely guiding; Here recommence thy daily life, In calm contentment gliding. BARNABA (aside) : With fiercest joy my heart would be enrap- tured If in my net she were securely captured! The wildest ecstasies within me waken! Be Ernesto Badini, Baritone LA CIECA: Daughter, in thee my faltering steps Find guidance and protection; I gratefully bless my loss of sight, That heightens thy affection ! While thou unto mankind thy songs are sing- ing. To Heav'n my ceaseless pray'rs their flight are winging. For thee I pray and render thanks to Fate That left me sightless, but not desolate! Gioconda leaves to seek Enzo, but Barnaba stops her and boldly declares that he loves her. She shudders with an instinctive aversion, and bids him stand aside. He at- tempts to seize her, but she eludes him and makes her escape, leaving the spy furious and planning revenge. The people now return from the Regatta, bearing the victor on their shoulders. Barnaba, seeing the defeated combatant, Zuane, conceives a plan to deprive Gioconda of her mother, thus leaving him free to carry out his plans. He takes Zuane aside and tells him that the blind La Cieca is a SCENE ACT I tch who has cast a spell over him, causing his defeat. The old woman is being roughly handled by Zuane and his friends when Enzo suddenly appears and protects her, holding the mob at bay. Aloise, Chief of the Council, enters with his wife Laura, formerly betrothed to Enzo. Laura pleads for Cieca, and she is protected by Alvise. The blind woman voices her grati- tude in this lovely song, which is familiar to most concert- goers. Voce di donna (Angelic Voice) By Louise Homer, Contralto (In Italian) 851O4 12-inch, $3.OO Although the part of the blind mother, La Cieca, has never been sung by Mme. Homer, she being usually cast for Laura (the superb lady of Venice and rival of Gioconda), this beautiful air has always appealed to her. It is considered the finest single number in Ponchielli's work, and is undoubtedly one of the loveliest gems in this or any other opera. Certain it is that no Cieca of present memory has ever delivered this romance with such richness of voice and such touching pathos. This beautiful passage which is sung as La Cieca presents the rosary, is perhaps the most effective part of the aria. Mme. Homer's singing of this Voce di donna makes this record one of the gems of the Victor's fine production of La Qioconda, and it should form part of every opera collection. * Double-FaceJ Record- For title of ofifioiite ,ij e ,ee DOUBLE-FACED LA GIOCONDA RECORDS, page I6L 156 HOMER AS LAURA VICTOR BOOK OF THE OPERA LA GIOCONDA LA CIECA: Thanks unto thee, angelic voice, My fetters asunder are broken; I cannot see the face of her By whom those words were spoken. (Takes the rosary from her belt.) This rosary I offer thee no richer boon pos- sessing Deign to accept the humble gift, 'twill bring to thee a blessing, And on thy head may bliss descend; I'll ever pray for thee! All go into the church except Enzo, who stands gazing after Laura, having recognized his former love. Barnaba approaches him and tells him that Laura plans to visit the Genoese noble's ship that night. Enzo, whose love for Laura has revived at the sight of her, is delighted at this news, and forgetting Gioconda, he returns to his ship. This scene has been put by Verdi into the form of a dramatic duet, sung here by Conti and Badini, of the La Scala forces. Enzo Grimaldo (Duet Enzo and Barnaba) By F. Conti, Tenor, and E. Badini, Baritone (In Italian) *45O33 1 0-inch, $ 1 .OO BARNABA (approaching Enzo) : Enzo Grimaldo, Prince of Santa Fior, thou art pensive. ENZO (aside) : I am discovered! BARNABA: What magic stupor steals away thy senses? 'Tis of the Lady Laura, Alvise's wife, thou'rt thinking. ENZO (astonished) : Who art thou? BARNABA (impressively) : I know all; Can penetrate thy thoughts, however secret. birthplac ENZO: Thy birthplace was Genoa! Prince I am not, but sailor. Yonder's my ship. I am Dalmatian, Enzo Giordan. ARNABA: For others, but not for me. Proscribed thou wert by Venice, Yet hither thou art led, by chainless impulse, didst love a maiden ife to peril. Thou Yonder, in thine own Genoa, but she another's Thy life to onder, in bride beca CARUSO AS ENZO ENZO: I have pledged my faith to Gioconda. BARNABA: Poor wand'ring ballad-singer! Her thou dost love as sister, but Laura as thy mistress. Thou hadst all hope abandoned, dreamed not to see her features, But here, under her velvet mask, thy beau- teous angel saw thee And recognized thee. ENZO (joyfully): Oh, happiness! BARNABA: Love sees through disguises, All this night will her husband stay at the With the Great Council. Laura shall be on board thy vessel. Love's sweetest consolations await thee! Ah,' with what joy my heart is filled, Fortune at last is kind! But who art thou, oh, gloomy messenger of joy? BARNABA: I hate thee! I am the demon-in-chief Of the Council of Ten. Read this. Beware thee! (Ofiens his dress and shows the letters "C. X." (Council of Ten) embroidered in silver on his vest.) ENZO (starting back) : Oh, horror! BARNABA (fiercely): To thy doom at once I could bring thee, but I spare thee. Gioconda loves thee, hates me fiercely; I have sworn to crush her heart. Enzo's death would little serve me; She must learn how false thou art. ENZO (aside) : Kind Heaven, to her thy mercy show, Save her from grief and pain; But ah, sweet Laura, my adored, Bring to my arms again! BARNABA (to Enso): Go! not a moment lose, Spread thy white sails to the skies, (Aside) I can my triumph read In each glad glance of thine eyes! ENZO (going) : When the dark night falls, On board my ship I shall await my Laura. BARNABA (sneeringly) : Good luck attend you! (Exit.) of oewilesiJexc DOUBLE-FACED LA GIOCONDA RECORDS, page 16 1. 157 VICTOR BOOK OF THE OPERA LA GIOCONDA Bamako then writes to Ahise that his wife plans to elope with Enzo. He speaks the words aloud as he writes, and is heard by Gioconda, who is overcome at this evidence of her lover's faithlessness, and heartbroken, enters the church with her mother. Barnaba sings the famous Soliloquy to the Doge's Palace, given here in splendid style by Ruffo. Oh Monumento! (Oh, Mighty Monument) By Titta Ruffo, Baritone (In Italian) 88396 12-inch, $3.OO The act closes with a famous dance, the Furlana, played here by the famous Orchestra Sinfonica of La Scala. Furlana (Finale, Act I) By Italian Orchestra *45033 lO-inch, $1.OO ACT II SCENE A Lagoon near Venice it is night. Enzo's ship is shown at anchor, with sailors grouped on deck, resting Barnaba, disguised as a fisherman, appears in his boat, hails the sailors, and singe them a merry ballad, Ah, pescatorl Ah, pescator affonda 1'esca (Fisher Boy, Thy Bait Be Throwing!) By Titta Ruffo, Baritone By Pasquale Amato and Opera Chorus By Ernesto Badini, Baritone, and Chorus This is one of the most popular numbers in the opera, its beautiful melody and rhythmical swing being a wel- come relief in the midst of so much that is gloomy. After taking careful note of the strength of the crew, Barnaba sends his aide for the Eolice galleys and leaves in is boat. Enzo now appears, and is greeted by his men with en- thusiasm. He is in a gay hu- mor, thinking of Laura's ex- pected visit, and bids the sailors go below while he keeps the watch. Left alone, he gives ex- pression to his joy in this great aria, one of the most beautiful in the whole range of opera. lavish outpouring of voice. (In Italian) 88394 12-inch, $3.0O (In Italian) 87O93 lO-inch, 2.OO (In Italian) *45O1O 10-inch, l.OO Caruso sings the number with exquisite purity of tone and a Cielo e mar (Heaven and Ocean) By Enrico Caruso, Tenor (In Italian) By Florencio Constantino, Tenor (In Italian) By Franco de Gregorio, Tenor (In Italian) 88246 12-inch, $3.OO 64070 10-inch, 1.00 *45027 10-inch, l.OO Especially noticeable is this fine passage comt I'd tot Ku ' ~ti Tkat would makt lice all. would* which the tenor delivers in splendid style, fairly thrilling his hearers. Other fine records of this effective number, by Constantino and de Gregorio, are also offered. Double-Faced Record For titleof opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 161. 158 VICTOR BOOK OF THE OPERA LA G I O C O N D A ENZO: Heaven and ocean! yon ethereal veil Is radiant as a holy altar, My angel, will she come from heaven? My angel, will she come o'er ocean? Here I await her, I breathe with rapture The soft zephyrs fill'd with love. Mortals oft, when fondly sighing, Find ye a torment, O golden, golden dreams. Come then, dearest, here I'm waiting; Wildly panting is my heart. Come then, dearest! oh come, my dearest! Oh come, taste the kisses that magic bliss impart ! Oh come! Oh come! Oh come! Laura now appears, and after a rapturous embrace, the lovers plan to set sail when the wind rises. Enzo goes below to rouse the men, when Gioconda, disguised, enters and denounces Laura. They sing a splendid dramatic duet in which each declares her love for Enzo and defies the other. L/amo come il fulgor del create ! (I Adore Him !) By Elena Ruszcowska, Soprano, and Bianca Lavin de Casas, Mezzo-Soprano (In Italian) 88271 12-inch, $3.00 Gioconda is about to stab her rival, when the sight of a rosary worn by her intended victim causes her to repent, and she aids Laura to escape just as her husband, summoned by Barnaba is ap- copyr MISMKIK proaching. CONSTANTINO AS ENZO Enzo appears and is greeted with reproaches by Gioconda, who tells him that the war galleys, led by Barnaba, are coming to capture the ship. Enzo, stung by Gioconda 's scorn, and heartbroken at the loss of Laura, fires his ship to prevent it falling into the hands of Barnaba. ACT HI SCENE A Room in the Palace of Alvise. Night Ahise is discovered alone, in violent agitation, planning the death of Laura because of her attempted elopement with Enzo. He sings a dramatic air, picturing his fearful revenge. Si ! morir ella de' ! (To Die is Her Doom !) By Amleto Galli, Bass (In Italian) *55019 12-inch. $1.50 ALVISE (in violent agitation) : Yes, to die is her doom! My name, my honor, Shall not with impunity be disgraced. From Badoers, when betrayed, Pity 't were vain to hope. Though yesterday upon the fatal isle She 'scaped this vengeful hand, She shall not escape a fearful expiation. Last night a sharp poniard should have pierced her bosom; This night no poniard I'll use; she dies by poison! (Pointing to the adjoining room.) While there the dancers sing and laugh, In giddy movements flying, Their mirthful tones shall blend with groans, Breath'd by a sinner dying. Shades of my honored forefathers! Soon shall your blushes disappear; Soon shall a deadly vengeance prove Honor to me is dear. While dance the giddy crowd, In mirthful movements flying, Here shall be heard the bitter groans, The sinner breathes in dying. Yonder, the nobles of the nation Are gathered at my invitation; Here, an insulted husband For signal vengeance cries! Exult, in dances and in songs, While here a faithless one dies! The guilty woman now enters at his summons and is denounced by him. He orders her to take poison, and leaves her. She is about to obey, when Gioconda, who has been concealed in the room, appears, takes the poison from her and gives her a narcotic, which will produce a death-like trance. Laura drinks this and Gioconda exits just as Ahise appears. Seeing the empty phial on the table he believes Laura has obeyed his will. The second scene shows a magnificent hall in the palace, where Alvise is giving a masked ball. The famous Dance of the Hours is given for the entertainment of the guests. * Doulle-Faced Record For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 161. 159 VICTOR BOOK OF THE OPERA LA GIOCONDA Dance of the Hours By Victor Herbert's Orch. 70O70 12-inch, $1.25 By Victor Orchestra *35087 12-inch, 1.25 By Victor Orchestra 31443 12-inch, l.OO By Wm. H. Reitz (Xylophone) *17147 10-inch, .75 This is one of the most beautiful of ballets and symbolizes, like many other modern Italian ballets, the struggle between the conflicting powers of light and darkness, progress and ignorance. The music is fascinating in the extreme, and is one of the most popular parts of the opera. Enzo is present among the maskers, and when Barnaba whis- pers in his ear that Laura is dead, he unmasks and denounces Alvise, who causes his arrest. The great finale begins with Enzo 's solo : Gia ti vedo (I Behold Thee) By Lotti, de Gregorio, Badini and Chorus (In Italian) *55O19 12-inch, $1.50 The emotions of the various characters may be understood by the quotations below. ENZO (aside) : I behold thee motionless, pallid, Shrouded in thy snowy veil! Thou art dead, love! thou art dead, love! Ah, my darling, hopeless I wail. The sharp axe for me is waiting, Opens wide a dark abyss; But to thee shall torture guide me, Soon we'll share celestial bliss! GIOCONDA: Sadly fall the tear-drops, In the silence of despair; Break, oh heart! sad eyes, rain torrents! Fate, thy sharpest doom prepare ! BARNABA (aside to Gioconda) : Yield thee, yield thee! all around thee See what pqw'r I have for ill! GIOCONDA (aside to Barnaba) : rr MISHKIN ANCONA AS Do thou save hi safe out there, Close by the Redentor, and then Myself I will surrender To thee, fearfulest of men. BARNABA (to Gioconda) : Though despair may prompt thy offer, I accept it for my part, And the bitterest fate will welcome, Once to press thee to this heart. LA CIECA: Thou art weeping, O Gioconda, Let me fold thee to my breast. Never love, like love maternal, Can encounter every test. ALVISE: 'Mid the splendor this fete surrounding, Thou art unwelcome, cavalier; But, ere long, new scenes of horror Shall from thee attention claim. Thou shalt soon see if I am watchful Of the honor of my name! To complete his revenge, Aloise now draws aside a cur- tain and shows the guests the body of Laura, acknowledging that he took her life. Horror and indignation are expressed by those present, and Enzo attempts to kill Aloise. He fails, is seized by the guards, and is led away to prison as the curtain falls. ACT IV SCENE A ruined palace on an island in the Adriatic. Venice visible in the distance To this desolate island Gioconda has managed to bring the unconscious Laura, in an endeavor to save her. As the * Double-FaceJ Record For title of opposite ,ide see DOUBLE-FACED LA GIOCONDA RECORDS page 1 61. VICTOR BOOK OF THE OPERA LA GIOCONDA curtain rises two men are carrying the insensible form into the ruin. Gioconda asks the men to seek out her mother, whom she fears never to see again. Left alone, she approaches the table, looks fixedly at a flask of poison, and begins her terrible song, one of the most dra- matic of the numbers in Ponchielli's work. Suicidio (Suicide Only Remains) By Elda Cavalieri (Double-FacedSee below) (In Italian) 55015 12-inch, $1.5O For a moment the unhappy girl is tempted to complete Altiise's work by giving the poison to Laura, but banishes the temptation and throws herself down in a passion of weeping. Gioconda has secured the release of Enzo, and has sent for him to come to the ruined palace, intending, with splendid generosity, to restore the lovers to each other. Enzo now arrives, thinking that he is only to visit the grave of Laura, and a bitter scene occurs between the two, which is interrupted by the voice of Laura, who has revived and now calls feebly. Enzo rushes forward in a transport of joy, while Gioconda makes further preparations for their escape. The lovers express their gratitude and depart, while Gioconda prepares for the end. She is about to swallow the poison when Barnaba appears, and in terrible accents demands why she has broken her word to him. She pretends to yield to him. GIOCONDA (at first terrified, recovers her cour- And ne'er will Gioconda be false to her oath. age, and retains it to the end) : May Heaven in mercy Yes, I keep to my compact; we both sw withhold condem- Heaven nation, to keep it, And pardon us both! Barnaba is overjoyed and begins the final duet, the most dramatic scene in the opera. o 1 farmi piu gaia (Thou'rt Mine By A. Rossi Murino and E. Badini BARNABA: Thou'rt mine now! and swift from this deso- late heart, Expelled by love's rays, sombre shadows de- GIOCONDA (to Barnaba, who is approaching her) : Restrain awhile thy ardent passion! I Thou soon shall in splendor Gioconda behold! For thee I am braiding my clustering tresses With purple and gold! With glittering jewels, the gay tinsel worn nightly By madcaps theatrical, cover'd I'll be: Now list to the song that this ardent young siren Will sing unto thee! I keep to my compact, no false oath was mine; (Changing her tone.) Now !) (In Italian) 55017 12-inch, $1.5O Thou claimest Gioconda? Now demon accursed, Gioconda is thine! (She stabs herself to the heart with the dagger that she had secreted while adorning herself, and falls dead at his feet.) ARNABA (in horror) : Ah. stay thee! Tis a jest! (With fiendish joy.) Well, then, thou shall hear this, And die ever damned ! (Bending over the corpse of Gioconda, and screaming furiously into her ear.) LAST NIGHT THY MOTHER DID OFFEND ME: I HAVE STRANGLED HER! (Wildly.) She hears me not! (With a cry of half-choked rage he rushes from the ruin. The curtain falls.) DOUBLE-FACED AND MISCELLANEOUS LA GIOCONDA RECORDS fFiglia che reggi tremulo pie (Daughter, My Faltering Steps) By Murino, Nunes and Badini (In Italian) I Vo' farmi piu gaia (Thou'rt Mine Now) By A. Rossi Murino, Soprano: E. Badini, Baritone |Gia ti vedi (I Behold Thee) By F. Lotti, Soprano: } de Gregorio, Tenor ; E. Badini. Baritone ( In Italian) [55O19 I Si ! morir ella de' ! By Amleto Galli, Bass (In Italian)] 55O17 12-inch, $1.5O JSuicidio! (Suicide Only Remains) \ Mefistofele L'altra notte {Dance of the Hours Sweet Longings ( Violin-Flute) /Opening Chorus "Feste! pane!" JBarcarola " Pescator affonda 1'esca (Enzo Grimaldo IFurlana (Finale, Act I By EldaCavalieri),, By Elda Caoalierif 55015 By Victor Orchestral , ftrkQT By Rattay and Lyons ( 35 La Scala Chorus} 4 ftn . n ByE.Badinif 45010 By Conti and Badini (In Italian)^ By Orchestra Sinfonicaf' /CieloeMar! By Franco de Gregorio (In Italian) \ 4.5027 \ Manon Lescaut Ah, Manon ! mi tradisce By de Gregorio ( Italian) | /Dance of the Hours (Xylophone) By Wm. H. Reitz\. _. ,_. \ Maurice Tango (Banjo) By Fred Van EpsJ 161 12-inch, 1.50 12-inch, 1.5O 12-inch, 1.25 10-inch, l.OO 10-inch. 1.00 lO-inch. l.OO lO-inch, .75 GOTTERDAMMERUNG ( Goet-ter-dahm' -mer-ung) (English) THE DUSK OF THE GODS MUSIC DRAMA IN THREE ACTS AND A PRELUDE Words and music by Richard Wagner. First produced at Bayreuth, August 17, 1876, with Materna and Unger. First American production at New York, January 25, 1888, with Lehmann, Seidl-Krauss, Traubman, Niemann and Fischer. SIEGFRIED GUNTHER (Goon'-ter) HAGEN (Hati-gen) BRUNNHILDE GUTRUNE (Goot-troon -eh) WOGLINDA, | WELLGUNDA, Rhine-Nymphs FLOSSHILDE, J Characters . . .Tenor Bass Bass . Soprano .Soprano I Soprano | Soprano [Contralto PRELUDE SCENE The Walkure's Rock The Dusk of the Gods, the last part of the tetralogy, consists of three acts and a prelude. In the prelude we once more see Briirmhilde on the rock, where she had lain during her magic sleep, and where Siegfried had found her and taken her as his bride. The hero, after a brief period of domestic happiness in a cave near by, decides to leave his bride for awhile and go in search of adventures, giving her the Nibelung's Ring as a pledge of faith. This ring he had obtained when he slew the dragon Fafner, and as the opera progresses it will be seen that he is doomed to suffer the consequences of the fatal curse, invoked on. every possessor of the Ring by Alberich, from whom it was forcibly taken by Wqlan.. VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS PROLOGUE As the curtain rises Brunnhilde and Siegfried come out -of the cave, Siegfried in full armor and the Valkyrie leading her horse by the bridle. She begins her tender address of farewell : Zu neuen Thaten (Did I Not Send Thee?) By Johanna Gadski In German 87098 10-inch, $2.OO Did I not send thee, sweetest hero, to fresh exploits, frail were my love. But one misgiving fights against it, for fear not wholly thy heart I hold. I gave to thee all that gods had taught: heavenly runes, the richest hoard; but my restoreless maidenhood's strength snatch'd thou from me, who but seek to serve thee. My wisdom fails, but good will remains; so full of love, but failing in strength, thou wilt despise perchance the poor one, who having giv'n all, can grant thee no more! This lovely air is delivered by Mme. Gadski with tenderness and feeling, and the record is an unusually fine example of the perfect recording of a beautiful soprano voice. ACT I SCENE Castle of King Gunther Siegfried joyously sets out on his journey and soon comes to the Court of King Gunther on the Rhine, where dwells also Gunther's sister Gutrune, and their half-brother Hagen, who is a son of Alberich, the dwarf. Hagen knows the history of the Ring and is anxious to re- store it to his father, so he artfully tries to win the help of Gunther. Knowing that the hero is approaching the castle, he outlines this scheme, which is to give Siegfried a drink which will make him forget Brunnhilde a'nd fall in love with Gutrune, after which Gunther can win the peerless Brunnhilde for himself. Gunther is tempted, and when Siegfried's horn announces his approach he consents. Siegfried greets them as friends, and when offered the magic drink he accepts and immediately loses all recollection of Brunnhilde. Seeing the lovely Gutrune, who stands with lowered eyes, he exclaims : Gutr with a kindlinc SIEGFRIED (ga=\ eye) : Thou fair one, whose beams My breast have enflamed, Why fall thus thine eyes before mine? (Gutrune looks up at him, blushing.) Ha! sweetest maid! Screen those bright beams! The heart in my breast Burns with their strength. Gutrune, trembling with emotion, leaves the Hall, and Siegfried, gazing after her, asks 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 trying to remember his past, but fails, looks confused, then suddenly says: SIEGFRIED (with a sudden start) : I fear not the fire. And thy bride fain will I fetch; For thy own am 1 And mv arm is thine: If Gutfune for wife I may gain! In order that Brunnhilde may think that it is Gunther who has won her, it is agreed that Siegfried shall, by means of the Tarnhelm, change himself into Gunther's form. Thinking only of his reward, Siegfried eagerly departs. HAGEN AC! VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS Hier sitz' ich zur wacht By Marcel Journet, Bass , , , Hagen, left alone, outlines his coming triumph, when he shall possess the Ring, and avenge its theft from his father, Alberich. (Here I Wait) (In German) 74276 12-inch, $1.5O Here I sit and wait, watching the hall, Warding the house from all foes. Gibich's son is wafted by winds; A-wooing forth is he gone. And fleetly steereth a stalwart man, Whose force all perils can stem. His own the bride he brings down the Rh But he will bring me the Ring. Ye gallant partners, gleeful companions, Push ye then merrily hence! Slight though your natures, Ye still may serve the Nibelung's son ! SCENE II The Walkure's Rock The scene changes to the Valkyrie Rock again, where Briinnhilde awaits Siegfried's return. She is astonished and alarmed when she sees a stranger approaching, not understanding how he has penetrated through the fiery barrier. It is Siegfried in the form of Gunther. He announces that he is Gunther come to win her for his wife. Briinnhilde, in horror and despair, holds up the Ring, exclaiming : BRUNNHILDE: Stand back! bow to this token! No shame can touch me from thee While yet this Ring is my shield. Siegfried attempts to take it from her and after a struggle, succeeds. As he draws the helpless and despairing Briinnhilde into the cave the curtain falls. ACT II SCENE The Rhine near Gunther' s Castle Hagen and Alberich discuss the progress of the plot to regain the Ring. Hagen swears to accomplish it, and Alberich vanishes. Siegfried, in his own form, but wearing the Tarnhelm, arrives, greets him cheerily and says he has gained Gunther 's wife for him, but that they are returning home more slowly. Gutrune comes to meet Siegfried, and they go to the Hall. Hagen sounds his horn tc vassals and bids them prepare for a feast, as Gunther has taken a bride. Gunther now arrives in his boat, leading Briinnhilde, who is pale and downcast. Siegfried and Gutrune come out to meet them and Briinnhilde sees Siegfried in his rightful form. She recoils in horror at seeing him with another woman, and regarding her as a stranger. She then perceives the Ring on Siegfried's finger and demands to know where he obtained it. He seems confused and regards the Ring with a puzzled air. Briinnhilde, beginning to comprehend what has occurred, denounces him, and Gunther, beginning to doubt whether Siegfried had kept his oath to respect Briinnhilde as a brother's bride, looks threateningly at him. Siegfried, eager to set himself right, swears the oath of the spear. The vassals make a ring round Siegfried and Hagen. Hagen holds out his spear; Siegfried lays two fingers of his right hand on its point. jn th< SIEGFRIED: Haft of war, hallowed weapon! Hold thou my oath from dishonor! On this spotless spear-head I speak the oath : Spear-point, aid thou my speech ! Where steel e'er can strike me, Strike thou at me: Wher'er death can be dealt me Deal it to me, Tf she is really wronged, If I have injured my friend! Briinnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his oath and denounces him. HelleWehr! Heilige Waffe ! (Haft of War! Hallowed Weapon) By Johanna Gadski, Soprano (In German) 87052 lO-inch, $2.0O Siegfried looks at her in pity, thinking her mad, and goes to the Hall with Gutrune. Briinnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS Briinnhilde that he will avenge her wrongs. " Thou ? " says Briinnhilde, contemptuously, and tells him that only in his back is Siegfried vulnerable, and that no magic protection was placed there because she knew that never would he retreat. Gunther now rouses himself and the three decide that Siegfried must die for his treachery. ACT III SCENE I A Wild Valley near the Rhine The Rhine nymphs rise to the sur- face of the water and sing of the Rhine- gold. They spy Siegfried and ask him to give up the Ring, but he refuses, and they warn him that he shall die that very day. He laughs at the prophecy, and as he watches them swim away, says lightly: SIEGFRIED: Alike on land and water. Woman's ways I've learnt to know. The man who resists their smiles They seek by threats to frighten. And when these both are scorned They bait him with bitter words. And yet were Gutrune not my wife, I must have promptly captured One of those pretty maids! Hunting horns are heard and Siegfried gayly answers with his own. Gunther, Hagen and the hunters descend from the hill and greet him. They camp and begin to eat and drink. Siegfried tells them of his adventure with Mime and the Dragon. Hagen gives him a magic drink which brings back his memory and he goes on to tell of the forest bird and his quest of the lovely Briinnhilde. Gunther begins to listen at- tentively, but when Siegfried reaches this part of his narrative, Hagen plunges his spear in Siegfried's back and he falls. Gunther, in pity for the dying man, leans over him, and Siegfried faintly says : THE RHINE MAIDENS WAI SIEGFRIED: Briinnhilde! Heavenly bride! Look up! Open thine eyelids! What hath sunk thee once more in sleep? Who drowns thee in slumber so drear? The wak'ner came, his kiss awoke: Again now the bride's bonds he has broken ; Enchant him Briinnhilde's charms! Ah! now forever open her eyelids! Ah! and what od'rous breeze is her breath! Thrice blessed ending Thrill that dismays not Briinnhilde beckons to me! (He dies.) SCENE II Hall in Gunther 's Palace Siegfried's body is borne mournfully to the Hall, where the weeping Gutrune meets them and clasps her husband's lifeless form. Hagen now demands the Ring as his booty, but Qunther refuses to yield it and they draw their swords, Qunther being killed by Hagen. Hagen now attempts to withdraw the Ring from Siegfried's finger, but as he approaches, the arm of the dead hero is raised threateningly, and all recoil in terror. Briinnhilde now approaches and gazes long and sadly at Siegfried's face, then orders a funeral pyre erected to burn the hero's body. The vassals obey and build a huge pyre on the bank of the Rhine, on which the body is laid. Briinnhilde summons two ravens from the rocks, and begins her great Immolation Scene. Fliegt heim (Immolation Scene) By Johanna Gadski, Soprano (In German) 88185 12-inch, $3.OO VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS She bids the ravens fly to Loki, god of fire, that he may complete the downfall of the gods by burning Valhalla. BRL NNHILDE: Draweth near in gloom The Dusk of the gods. Thus, casting my torch, I kindle Valhalla's tow'rs! She kindles the pile, which burns rapidly, and the two ravens disappear in the distance. Briinnhilde 's horse is brought in, and she takes off the bridle. BRUNNHILDE (to the horse) : Grani, my horse, greet thee again '. Wouldst thou know dear friend, What journey we follow? By flame illumined lies there thy lord, Siegfried, the star of my life. To meet with thy master neighest thou merrily? Lo! how the flame Doth leap and allure thee! SETTING OF ACT II AT Feel how my breast too hotly doth bun Sparkling fureflame my spirit enfolds. O, but to clasp him Recline in his arms! In madd'ning emotion Once more to be his! Heiajaho! Grano! Greet we our hero! Siegfried! Siegfried! see! Sweetly greets thee thy wife! She swings herself on the steed and rides straight into the burning pile, which flames up mightily, half consuming the Hall itself. The Rhine then rises and puts out the flames, and on the surface are seen the Rhine daughters, who seize the Ring from the embers. Hagen, who has been anxiously watching, now rushes into the waters, crying : " The Ring is mine ! " The nymphs seize him and drag him down in the flood. An increasing red glow is seen in the sky, and Valhalla appears in flames, with the gods and heroes calmly await- ing their doom. As the flames envelop all, the curtain falls. DOUBLE-FACED GOTTERDAMMERUNG RECORDS /Fantasia from the Opera \ Rhinegold Selection ( Wagner) By Arthur Pry or's Band\--_ 1( . By Conway's Bandf 35315 . , .. _- - inch - * 1 ' 25 THE RHINE MAIDENS RECOVER THE RHINEGOLD 166 GRISELIDIS OPERATIC MIRACLE PLAY IN THREE ACTS AND A PROLOGUE Poem by Armand Sylvester and Eugene Morand. Music by Massenet. First pro- duction, Opera Comique, Paris, November 20, 1901, with Mme. Lucienne Breval. First production in America at the Manhattan Opera House, New York, January 19, 1910. Characters GRISELIDIS, wife of the Marquis FIAMINA, the Devil's wife BERTRADE THE MARQUIS DE SALUCES . . ALAIN, a shepherd THE DEVIL THE PRIOR GONDEBAUD . . . Soprano . Soprano . Soprano . Baritone . .Tenor . Baritone . Baritone . Baritone Scene and Period : Provence, France ; the thirteenth centv Griselidis is based on a modern " mystery " which was produced by Armand Sylvester and Eugene Morand at the Comedie Francois in 1891. In this play the author gave a much changed version of a legend, Patient Grisel, which has had a place in European literature since the eleventh century. It is one of the stories that Boccaccio tells in his Decameron, and the same tale has been used by Chaucer in his Canterbury Tales. The plot of Griselidis is quite refreshing in contrast to most grand opera plots, its principal theme being true love and faithfulness. The opera opens with a Prologue, occur- ring in the forest of Provence. The Marquis de Saluces, lord of the region, while walking along the forest edge, meets the young and beautiful Griselidis. He falls deeply in love with her and asks her to be his wife, whereupon she replies that she is his slave and must obey his will. Together they depart for the chateau of the Marquis, leaving the poor shepherd, Alain, who is also in love with Griselidis, bewailing the fate which has robbed him of his sweetheart. 167 VICTOR BOOK OF THE O P E R A G R I S E L I D I S A year elapses, and in Act I we see the Marquis 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. Agnes holding in her arms a white lamb, and at her feet an image of the Deoil. The Marquis expresses his great love for his wife, and says that he would be willing to swear in the presence of the Deoil himself that she would always be faithful and true. Suddenly the stone image of the Deoil comes to life, bounds on the stage and offers to wager the Marquis that during his absence at the wars Griselidis will break her vows of faithfulness. At first the Marquis spurns the wager, but finally accepts and gives the Deoil his wedding ring to show his absolute trust in Griselidis. The latter is left alone with her little son, Lous, as her husband departs for the war. Act II shows the terrace of the Castle. The Deoil in- duces his wife, Fiamina, to join him in his wicked plans to tempt Griselidis, and they appear at the Castle dis- guised as a Levantine mer- chant and a Moorish slave. The merchant (Devil) tells Griselidis that her husband bought the slave from him in the Orient, being greatly attracted by her charms, and tells her that her husband commands that the slave be installed as mistress of the Chateau. As proof of the truth of his statement he shows Griselidis the Marquis' wedding ring, and she sub- missively declares that she will obey her husband's or- ders. This acquiescence is contrary to the Devil's ex- pectations, and in consterna- tion he now has his Eoii Spirits bring Alain to the Castle, hoping to tempt Griselidis to fly with the shepherd, who still loves her ; but little Lays appears just in time to save his mother when her resistance is weakening. As Alain rushes away, in despair, the Devil suddenly appears, seizes Lous and disappears, and the act ends with a -wild search for the child. The third act shows the interior of the Chateau with the triptych as in Act I. The Deoil again appears to Griselidis, this time disguised as an old man. He tells her that Lous has been kidnapped by a pirate, who demands a kiss from Griselidis in return for surrendering her child. Mother love forces her to yield, and she starts for the harbor. The Marquis comes home from the wars and the Deoil tells him Griselidis has gone to keep a rendezvous with her lover, but the Marquis refuses to believe these accusations against his wife. Griselidis returns and tells the Marquis of the kidnapping of little Lous, and they pray that help may be given them to fight the powers of evil. Whereupon the cross on the altar is turned into a flaming sword, and when Griselidis prays to St. Agnes that her son be restored to her, there is 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 Lays. A glad pealing of bells can be heard as the Marquis and Griselidis, with their child between them, are happily reunited. The Victor offers here a very fine record of the air Ouores-oous sur man front, -which occurs at the beginning of the opera. It is the song of the shepherd Alain, telling of his love for the maiden, Grise'lidis. Ouvres-vous sur mon front, portes du Paradise ! (Open Now to My Eyes, Portals of Paradise !) By Charles Dalmores, Tenor (In French) 88397 12-inch, $3.OO DIABLE AND FIAMINA ACT II HAMLET OPERA IN FIVE ACTS Book by Barbier and Carr6, based on Shakespeare's play. Music by Ambroise Thomas. First production March 9, 1868, at the Paris Academic. First London production June 19, 1869. Cast . Baritone HAMLET CLAUDIUS, King of Denmark Bass LAERTES, Polonius' son Tenor Ghost of the dead King Bass POLONIUS, Chancellor Bass GERTRUDE, Hamlet's mother, Queen of Denmark Mezzo-Soprano OPHELIA, daughter of Polonius Soprano Lords, Ladies, Officers, Pages, Peasants, etc. Scene : Elsinore, in Denmark. The story of Hamlet, Prince of Denmark, is so well known that it would seem hardly necessary to describe the plot at any length. However, for operatic purposes the librettists were obliged to modify and reconstruct certain portions of the tragedy, and the revised ver- sion \vill be briefly sketched here. The present King of Denmark, Claudius, has seized the throne, after having murdered the late King, Hamlet's father. At the opening of the opera Hamlet knows nothing of the murder, but is highly incensed at his mother for having married Claudius before she had been two months a widow. ACT I SCENE I A Room of State in the Palace The new Queen is being presented to the Court at a public reception. She is annoyed because Hamlet shows his displeasure by absenting himself from the ceremony. After the presentation is over, Hamlet enters slowly, in a melancholy mood. HAMLET: Ah! vain indeed is grief! Affection, too, doth seem short lived indeed. My much-loved father but two months dead; And yet, unto another wedlock, my mother hath consented; "Frailty, thy name is woman." His bitter musing is interrupted by the entrance of Ophelia, his betrothed. She has heard that Hamlet intends to leave the kingdom and asks if he has ceased to love her. In the beautiful love duet he reassures her, and tells her why the palace has become intolerable to him. VICTOR BOOK OF THE O P E R A T H O M A S ' HAMLET Nega se puoi la luce (Love Duet) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 9250O 12-inch, $4-OO HAMLET: Celestial maiden, 'tis not thee I chide, The purity of thy mind doth speak through those sweet eyes! "Doubt that the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar; But never doubt my love." OPHELIA: It may be so, but such excess of love Hath no enduring power; Thou couldst not leave me to my sorrow, Did thy heart know such love as mine! Ye heavenly powers, celestial choir, That aye surround the eternal throne, From your bright homes above, Bear witness to my truthful love. HAMLET: Beloved Ophelia! OPHELIA: In thee this heart doth trust! HAMLET: My heart doth beat for thee alone! OPHELIA: Ah! never will we part! SCENE II Esplanade of the Palace. It is Night Horatio and Marcellus are discovered excitedly discussing the appearance of the spectre of the murdered King. They greet Hamlet and tell him of the ghostly visitor, which appeared just at mid- night. Hamlet is much affected, and suggests that as it is nearly twelve the ghost may come again. The clock strikes, and the figure of the murdered King appears. Hamlet speaks to the spectre : HAMLET: Thou spirit dread, thou shade rever Hear thou thy hapless son's lament. In pity answer, speak to me! Tell me why the sepulchre, The ghost motions Horatio and Marcellus to withdraw, and when they are gone he tells Hamlet of the murder and bids him become the avenger, but asks him to leave his mother's pun- ishment to God. Hamlet is much affected and exclaims : HAMLET: Yes! Shade revered! Thy bidding shall be done. O light, O sun, O glory, O love to me so dear, Farewell! Farewell! The ghost, before disappearing, pauses at the back of the stage, and stands with one hand extended toward Hamlet; at this moment Horatio and Marcellus re-enter, and appear terror- stricken at the spectacle before them. Trumpets and joyous music are heard without as the curtain falls. ACT II SCENE Garden of the Palace Ophelia enters and is much dis- turbed because Hamlet seems to avoid Wherein we saw thee peacefully entombed, Hath op'd his ponderous and marble jaws, To cast thee forth again? VICTOR BOOK OF THE O P E R A T H O M A S ' HAMLET her. The Queen finds her weeping, and after questioning her says that Hamlet has also acted strangely toward his mother and fears his reason is affected. Hamlet, seeking to entrap the King in some manner into betraying himself, has engaged 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. THE KING RE \7hen 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) (W^ine, This Gloom Dispel) By Emilio de Gogorza, Baritone (In French) 8818O 12-inch, $3.0O By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92O37 12-inch, 3.OO By Francesco Cigada, Baritone, and La Scala Chorus (In Italian) *16572 lO-inch, .75 ay. HAMLET: O wine! the gloom dispel, That o'er my heart now weighs; Come grant me thine intoxicating joy; The careless laugh the mocking jest! O wine ! Thou potent sorcerer, Grant thou oblivion to my heart! Yes, life is short, death's near at hand, We'll laugh and drink while ye Each, alas, his burthen bears. Sad thoughts have all; grim thoughts and sorrows; But care avaunt, let folly reign, The only wise man he, Who wisdom's precepts ne'er obeys! (The curtain falls on a scene of merriment.) 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. ACT III SCENE The Queen's Apartments Hamlet enters and sings his farewell soliloquy. Monologo (Soliloquy) By Titta Ruffo, Baritone (In Italian) 92O42 12-inch. $3.OO This is Thomas' splendid setting of the well-known soliloquy and one of the most con- spicuous numbers in the opera. Although the librettists took many liberties with Shake- speare's drama, they did not venture to alter such a well-known excerpt as this. Ruffo sings this famous monologue in a superb manner, delivering it with great dramatic power. ^Double-Faced Record For title of opposite side see DOUBLE-FACED HAMLET RECORDS, page 172. 171 VICTOR BOOK OF THE O P E R A T H O M A S ' HAMLET HAMLET: To be, or not to be, that is the question. To die, to sleep; perchance to dream; Ah! were it allowed me to sever The tie that binds me to mortality, And seek "the undiscovered country From whose bourne no traveler returns!" "Ay! to be, or not to be? To die, to sleep; perchance to dream." The Queen and Ophelia enter and plead with Hamlet to banish his wild imaginings. He sternly rebukes them, advises Ophelia to retire to a convent, and accuses his mother of being an accomplice. The ghost again appears, visible only to Hamlet, bids him spare his mother, and slowly disappears. The Prince conducts the Queen to the door, urging her to pray and repent. ACT IV A rural scene near a lal^e. Willows line the shore Ophelia, driven insane by Hamlet's desertion of her, has wandered to the lake. She plays with a garland of flowers, and sings her wonderful aria, usually known as the Mad Scene, one of the most difficult of all florid compositions. Ballata d'Ofelia (Mad Scene) By Nellie Melba (In French) 88251 12-inch, $3.OO By Maria Galvany (In Italian) 88235 12-inch, 3.OO By Giuseppina Huguet (Italian) *3S ISO 12-inch, 1.25 An exquisite introduction by the orchestra is heard as Ophelia enters a strange, wild figure, with flowing hair and PHOTO ERMII(I torn white dress. She speaks to the wondering peasants and RUFFO AS KAMI ET tells them childishly of the lark which she heard at dawn, fol- lowing with a brilliant display of bird-like trills and staccatos. Ophelia then turns to the shepherds and asks them to listen to her song, a strange, sad melody, which is interrupted at intervals by wild laughter and weeping. Presently she seems to forget, and placidly plays with her flowers, until the magical siren's song is heard luring her to the water's edge, and she plunges in and floats away, singing of Hamlet 's vow of love. Mme. Melba fairly surpasses herself in this scene, with its sudden alternations of joy and sorrow, the pathos which over- shadows every phrase. Other fine renditions, that of Mme. Galvany and a popular- priced one by Mme. Huguet, are also offered to opera-lovers. ACT V The Churchyard Hamlet comes hither to attend the funeral of Ophelia. He sings his beautiful song to her memory and resolves to take his own life upon her grave. Come il romito fior (As a Lovely Flower) By Titta Ruffo, Baritone, and La Scala Chorus --"- """ (In Italian) 92O64 12-inch, $3.0O CALVE AS OPHELIA By Enrico Pignataro, Baritone (In Italian) *63424 10-inch, .75 When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlet, who stabs the King, and as the curtain falls the people, now convinced of their monarch's guilt, acclaim Hamlet as his successor. DOUBLE-FACED HAMLET RECORDS /Ballata d'Ofelia (Mad Scene) By Huguet, Soprano (Italian)} 5 \ Dinorah Si, carina caprettina By Giuseppina Huguet, Soprano) /Brindisi By Francesco Cigada and Chorus \ Ernani Festa da hallo By La Scala Chorus /Come il romito fior By Enrico Pignataro \ Pallide MammoleRomanza By Lavin de Casas 172 (In Italian)\. ,,__ (In Italian) } 16572 (In Italian) (In Italian) 12-inch, $1.25 lO-inch, .75 THE FOREST ACT (German) HANSEL UND GRETEL (Hahn'-xl oonJt Gray'-tel) (Italian) (English) NINO E RITA HANSEL AND GRETEL (A/een-jx> ay Ree'-tah) (Han-sel and Gray'-tel) (or HANS AND GRETCHEN) A FAIRY OPERA IN THREE ACTS It is now some seventeen years since Humperdinck's lovely fairy MUSICAL AME.ICA opera was brought out in America by Augustin Daly, and it has HUMPERDINCK since been firmly established in the repertoire of every producer of grand opera. Hansel and Gretel has been called the Peter Pan of grand opera ; the audiences who witness it being invariably delighted -with the childish joyousness and fairy charm of Humperdinck's work. 173 Text by Adelheid Wette. Music by Engelbert Humperdinck. First produced 1893, at Weimar. First American performance at the Metropolitan Opera House, New York, 1895. Cast PETER, a broom-maker Baritone GERTRUDE, his wife Mezzo-Soprano HANSEL, I M i -ij f Mezzo-Soprano .-,___. , their children < c GRETEL, I (. Soprano THE WITCH who eats children , Mezzo-Soprano SANDMAN, the Sleep Fairy Soprano DEWMAN, the Dawn Fairy Soprano VICTOR BOOK OF THE OPERA HANSEL AND G RET EL This delightful opera is built upon the simple Grimm tale of Babes in the Woods, and first suggested itself to the composer to amuse his sister's children. It was afterward elaborated into a complete opera, which has become one of the most important and interesting of modern German works. Two German peasant children, Hans and Gretchen, are sent to the woods for strawberries and get lost. The Sandman finds the babes and sings them to sleep, while angels and fairies watch over them. They are awakened by the Dew Man, and go for breakfast to the house of the Witch, who plans to eat them ; but when she opens the oven to see if it is hot enough to cook Hans, she herself is pushed in by Gretchen. Several numbers from this interesting opera are presented here, the first being the beautiful Prelude. Prelude to Hansel and Gretel By Arthur Pryor's Band 31853 12-inch, $1.OO This Prelude is an especially beautiful number. It opens with the Prayer of the Children, played by the brass at first softly, then swelling to the full strength of the band. This is followed by a passage portraying morning in the forest, and upon this pastoral scene there breaks in rudely the Hocus pocus, or Witches' motive. The Prelude is brought to a close with a return of the Prayer theme. The delicacy and charm of this music is well brought out by the band under Mr. Pryor's masterly baton. ACT I The scene is laid in the house of Peter, where the two children are busily working Hansel making brooms and Gretel knitting a stocking. Gretel begins the old German folk- song, "Susie, What is the News?" with its nonsense about the geese going barefoot because of their lack of shoes. Hansel, thinking more of his stomach than of the feet of the geese, asks when they are likely to have something to eat. Little Gretel reproves him for making a fuss about something which cannot be helped. Suse, liebe Suse (Little Susie ! ) By Alma Gluck, Soprano, and Louise Homer, Contralto (In German) 88418 12-inch, $3.OO Peter now returns to his cottage and finds the children gone after strawberries. In this air he frightens his wife by telling of the witch who lives in a honey- cake house, and who after enticing little children into it, bakes them into ginger- bread in her oven. Eine Hex' steinalt (The Old Witch) By Otto Goritz, Baritone (In German) 64164 lO-inch, $1.OO Mr. Goritz's admirable character study as Peter, the tipsy, kind-hearted and superstitious father, was one of the features of the Metropolitan revival, and this odd number is given by him with much effectiveness. THE CHILDREN AT HOME VICTOR BOOK OF THE OPERA HANSEL AND GRETEL Thi ACT II scene shows the depths of THE CHILDREN IN THE WOOE the forest, into which the children wandered. Hansel picks berries while Gjretel weaves garlands of flowers. Darkness soon comes, and the children are frightened and cling together. A little gray man, the Sandman, or Sleep Fairy, strews sand in their eyes as he sings his air. Der kleine Sandmann bin ich (I Am the Sleep Fairy) By Gluck and Homer (In German) 88419 12-inch, $3.OO The children slumber, and as the curtain falls angels are seen keeping guard over them. ACT III The curtain rises, showing Hansel and Gretel still asleep in the wood. The Dawn Fairy shakes dewdrops on the children and wakes them just as the mist clears away, revealing the house of the Wilch. 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 (Witch's Dance) By Alma Gluck and Louise Homer (In German) 87131 lO-inch, $2.OO She makes a good fire in the stove for the purpose of roasting the babes, and in her joy she rides wildly around the room on a broomstick, singing this unique Hexenritt. The duet begins with the soliloquy of the Witch as she sees Gretel peeping into the oven, and prepares to push her in to be baked into magic gingerbread. The second part of the duet is the portion called the "Witch's Waltz," and is sung and danced by Hansel and Gretel 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 Witch 's house. After the death of the Witch the gingerbread chil- dren come to life and thank the children for releasing them from the spell. The father and mother of Hansel and Gretel now arrive and embrace the children as the curtain falls. I Hill! Ill THE CHAMBER OH / (French) HERODIADE (Au-rod-yadd 1 ) OPERA IN FIVE ACTS Words by Paul Milliet and Henri Gr&nont, based on Gustave Flaubert's novelette, Herodias. Music by Jules Massenet. First production December 19, 1881, at the Theatre de la Monnaie, Brussels. Produced in Paris at the Theatre Italien, February 1, 1884, with Jean and Eduard de Reszke, Maurel, Tremelli and Devries. Revived at the Thedtre de la Qaite in 1903, with Calve and Renaud. First German production in Hamburg, 1883, with Sucher, Krauss and Winkelmann. First London production 1904, under the title Salome, with the locale changed to Ethiopia by the British censor's orders. First American produc- tion at the Manhattan Opera House, New York, November 8, 1909, with Cavalieri, Gerville- Reache, Duchesne, Dalmores and Renaud. CAST JOHN THE PROPHET Tenor HEROD, King of Galilee Baritone PHANUEL, a young Jew Bass VlTELLJUS, a Roman proconsul Baritone THE HIGH PRIEST Baritone A VOICE IN THE TEMPLE Bass SALOME Soprano HERODIAS Contralto A YOUNG BABYLONIAN WOMAN Merchants, Hebrew Soldiers, Roman Soldiers, Priests, Levites, Temple Servitors, Seamen, Scribes, Pharisees, Galileans, Samaritans, Sadducees, Ethiopians, Nubians, Arabs, Romans. The action talfes place in Jerusalem Time, about 30 A. D. 177 VICTOR BOOK OF THE OPERA MASSENET'S HERODIADE CALVE AS SALOME IN HERODIADE Herodiade was first produced in Brussels in 1881. The first Paris production of this opera was especially interesting because of the first appearance of Jean de Reszke as a tenor (he was formerly a baritone). It was not until 1904, however, that the opera was brought out in London (under the title of Salome) with Mme. Calve, Dalmores and Renaud in the leading roles. Mr. Hammerstein's brilliant production of this work was one of the events of a recent season at the Manhattan. The opera contains much of the best music Massenet has written ; and the plot, while based on the well-known Scriptural story, does not follow the Bible or tradition very closely, differing quite largely from Salome. ACT I SCENE Court of Herod's Palace at Jerusalem Salome enters and is greeted by Phanuel, a young Jew, who is astonished that she should be in the Palace, and wonders if she can be ignorant of the fact that Herodias is her mother. Salome tells him she is seeking John the Prophet, and in this air she describes how he had saved her from the desert when a child, and how good and kind he is. II est doux, il est bon (He is Kind, He is Good) By Emma Calve (French) 88130 12-in., $3.0O Salome goes out just as Herod enters searching for her. Herodias rushes in and demands John's head, saying that he had insulted her. John appears, denounces them both and drives them out, terrified. Salome enters and tells John of her love for him, but he bids her turn to God. ACT II SCENE Herod's Chamber Herod lies on his luxurious couch, while attendants sing to him. He can think of no one but Salome, and bids the slaves dance to distract his mind. A love potion is given him by a slave, who says it will make him see the face of the one he loves. He then sings the famous Vision fugitive, considered the most beautiful of the airs in the opera. Vision fugitive (Fleeting Vision) By Emilio de Gogorza, Baritone (In French] 88153 12-inch, $3.OO ^ILLE-REACHE AS HERODI/ IN HERODIADE Herod describes the vision of Salome which haunts him night and day, and declares that to possess her he would gladly surrender his soul. He drinks the love potion, and falls on the couch in a delirious sleep. SCENE II Public Square at Jerusalem The scene shows Herod re- ceiving messages from the allies, and denouncing Rome. Herodias enters and announces that the VICTOR BOOK OF THE OPERA MASSENET'S HERODIADE Roman general, Vilellius, is approaching. The people are terrified, but Vitellius declares that Rome desires the favor of the Jews and will give back the Temple of Israel. John and Salome enter and Vitellius is surprised at the honor paid to the Prophet. Herod gazes with eyes of love at Salome, while Herodias watches her jealously. John denounces Vitellius as the curtain falls. ACT III SCENE lPhanuel's House Phanuel is disclosed gazing at the city, which lies silent under a starry sky, and prophesying the fate which is to overwhelm it. Air de Phanuel (Oh, Shining Stars) By Marcel Journet, Bass (In French} 74152 12-inch, .5O He calls upon the stars to tell him what manner of man is this John, who speaks with such authority. "Is he a man or a god?" he cries. Herodias enters, much agitated. Phanuel inquires what has brought the Queen to his house, and she cries, " Vengeance on the woman who has stolen Herod's love ! " He reads her fate by the stars, and sees nothing but blood in the horoscope. She asks him about her child, lost so long ago, and he takes her to the window and shows her Salome, who is just entering the Temple. Horrified, Herodias cries, " My daugh- ter? Never! That is my rival!" SCENE II Inner Court of the Temple The second scene shows the entrance of the Temple. Salome enters half fainting, having heard that John has been cast in prison, and falls exhausted at the prison entrance. Herod enters, and seeing Salome, breaks out into a mad declaration of his love, but she repulses him with horror, and tells him she loves another. He declares he will find this lover and kill him, and goes out as the people enter the Temple. John is brought in and denounced by the priests, but prays for them as they demand DUFRANNE AS PHANUEL J" 8 deatl V 5afom IUnS * M" 3nd falls * his reel, wishing to die with him. Herod, seeing that it is John whom Salome loves, orders them both put to death, and they are seized and borne out by guards as the curtain falls. ACT IV SCENE I Prison Cell in the Temple John and Salome are here seen in prison. John admits that he loves the young girl, and urges her to fly and save her life, but she refuses, declaring she will die with him. Priests appear and order John to death, and command Salome to be taken to the Palace by Herod's commands. She resists desperately, but is dragged away. SCENE II Great Hall in the Temple The great festival in honor of the Roman Empire is 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." Herodias 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 Prophet is dead." Salome gives a terrible cry and tries to kill the Queen, who screams : " Mercy ! I am thy mother I " Salome recoils in horror, curses her mother and stabs herself. (Cur/am) 179 LES HUGUENOTS (Layz Hueg-gnoh} (Italian) GLI UGONOTTI DIE HUGENOTTEN (Dee Hoo-gen-ott'-en) (English) THE HUGUENOTS (Glee Oo-goh-nof-tih) (Heirf -gen-ahts) OPERA IN FIVE ACTS Libretto by Scribe and mile Deschamps. Score by Giacomo Meyerbeer. First pre- sented at the Academic in Paris, February 29, 1836. First London production in German in 1842 and in Italian July 20, 1848. First New York performance June 24, 1850. Some notable American productions were in 1858, with La Grange, Siedenburg, Tiberini and Karl Formes; in 1872, with Parepa-Rosa, Wachtel and Santley; in 1873, with Nilsson, Gary, Campanini and del Puente; in 1892, with Montariol, de Reszke, Lasalle, Albani and Scalchi ; in 1905, with Sembrich, Caruso, Walker, Plancon, Scotti and Journet; in 1907, with Nordica, Nielsen, Constantino and de Segurola; and the Manhattan production in 1908, with Pinkert, Russ, Bassi, Ancona and Arimondi. Cast r , ,. , , < - atnollc noblemen COUNT OF ST. BRIS, (s a h a') \ COUNT OF NEVERS, (Nev-airz) j RAOUL DE NANGIS, (Rah-oof day Non-zhee') a Protestant gentleman MARCEL, (Mahr-chef) a Huguenot soldier and servant to Raoul . . MARGARET OF VALOIS, (Val-ooati) betrothed to Henry IV VALENTINE, daughter of St. Bris URBANO, (Ur-bah'-noh) page to Queen Margaret Mezzo-Soprano Ladies and Gentlemen of the Court, Pages, Citizens, Soldiers, Students, etc. J Baritone \ Baritone .... Tenor Bass . . Soprano Soprano Scene and Period : Touraine and Paris ; during the month of August, 1572. 180 VICTOR BOOK OF THE OPER A T HE HUGUENOTS This opera is considered the composer's masterpiece, and is indeed a -wonderfully imposing work, with its splendid scenes, beautiful arias and concerted numbers, and its thrilling dramatic situations. The romance as well as the fanaticism of the period are faithfully pictured, and the whole presented on a magnificent scale. The work, however, is undeniably too long for a single evening's performance, requiring fully five hours when given entire ; and it is to be regretted that some courageous impresario does not prune and pare it until it becomes of reasonable length. The Victor, however, has been merciful, and has selected only the gems of the work, -which have been given by a fine cast headed by Caruso. The story relates to one of the most dramatic periods in French history, and tells of the massacre of Huguenots in 1572, and of the efforts of Margaret of Valois, the betrothed of Henry IV, to reconcile the disputes between the Protestants and the Catholics. ACT I SCENE I House of the Count of Nevers The overture is a short one and consists mainly of the Lutheran chorale, which occurs several times in various portions of the opera. The curtain rises, disclosing a magnificent salon in the house of Nevers, -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 guests. Nevers toasts the ladies, proposing that each relate an adventure with some fair one ; Raoul, being the latest arrival, is called upon first, and describes his rescue of an unknown beauty (who proves afterward to be Valentine, St. Bris' daughter) from some drunken revelers. In this air he tells of her beauty and the deep impression she made on him. Piu bianca Romanza (Fairer Than the Lily) By Enrico Caruso, Tenor (In Italian) 882 1O 12-inch, $3.00 By M. Gautier, Tenor (In French) *45O07 10-inch, 1.00 Caruso makes a manly picture as the young nobleman, and sings the music allotted to Raoul charmingly, especially this delicate Romanza, in which he describes the vision of the unknown with whom he has fallen in love. In dreamy tones he sings the recitative, after which a short introduction brings us to the romanza, beginning Andanlino Crazuuo. i UK J'iii lii.ni - ca, del i>m l.i.m -co ve lo. Fair er far t'e* than fair tst til y. Nothing could be more tender and beautiful than Caruso's singing of this number. RAOUL: Fairer far e'en than fairest lily, And in her eyes the love-light gleamed, Than spring morn more pure and more lovely Bidding me hope her love to gam. and bright, Oh! she was charming past all expression! An angel of Heaven born beauty And as before her form divine I bent my Burst upon my ravish'd sight. knee, Sweetly she smiled as I stood by her side, I falter'cl forth, "Fair angel, that cometh Sighing the love which e'en her tongue to from Heav'n above, speak denied; For evermore shad I love none but thee!" A French rendition by M. Gautier, of the Paris Op6ra, is offered at a popular price, and the record is a most excellent one. The applause which greets this recital is interrupted by the entrance of Marcel, who makes no secret of his displeasure at seeing his master dining with Romanists. Raoul apologizes, begging indulgence for an old soldier and faithful servant who loves him, and the guests call on Marcel for a song. The grim soldier offers to sing an old Huguenot song of warning both against Rome and the wiles of woman. MARCEL: Sirs, I will; an old Huguenot song against the snares of Rome and the dark wiles of woman. You, sirs, should know it well it is our battle song: you heard it at Rochelle, for there 'twas sung, 'mid the din of drums and trumpets; with a full accompaniment piff, pan", piff, paff, of bullets from our ranks, thus out it rang: * Double-Face d Record See page 186. VICTOR BOOK OF THE OPER A T HE HUGUENOTS Piff! Paff! (Marcel's Air) By Marcel Journet, Bass (In French) 74156 12-inch, $1.5O MARCEL: Old Rome and her revelries, Her pride and her lust, boys, The monks and their devilries, We'll grind them to dust, boys! Deliver to fire and sword Their temples of Hell. Till of the black demons None live to tell! Woe to all defilers fair! I ne'er heed their shrieking Woe to the Dalilahs fair, Who men's souls are seeking! Deliver to fire and sword Those children of Hell, Till of the black demons None live to tell! Refrain Piff, paff, piff; slay them all, Piff, paff, piff, ev'ry soul! Piff, paff, piff; paff; piff; piff, paff, piff, paff! All vainly for aid or for mercy they call; No pity for them! No they die slay all! No, no, no, no, no, no, no; slay all! Journet's portrayal of the grim, stubborn old serv- ant is a very fine one, and his rendition of the Piff, Paff is remarkable in its rugged force and stern simplicity. A servant of Nevers announces a veiled lady to see him and he retires to an adjoining room. Raoul catches sight of the lady through the window as she lifts her veil, and is astonished and grieved to recognize the beauty he had saved from the ruffians. A young page now enters, and in a lovely air, familiarly called the Page Song, announces that she has a message for one of the cavaliers present. Nobil Signori salute ! (Noble Sirs, I Salute You) By Louise Homer, Contralto (In Italian) 851O7 12-inch, $3.0O This gay and brilliant cavatina is considered one of the most difficult of contralto num- bers. It begins with a long and very ornamental cadenza, followed by this graceful melody: Andantino Co.nta.bilt, con grazia. No - bil don-naj tan - too - ne From a la ^y fnir and love che far lie-toun re po tria. For whose smiUsa king might woo. worked up with much spirit and reintroduced after a striking series of vocal figures sung on the word "no." Mme. Homer's execution of this florid air exhibits well the great flexi- bility of her fine voice. Meyerbeer intended this part for soprano, but it is usually transposed and sung by a contralto. URBANO: A most charming noble lady, Whom with envy kings might view, With message here has charged me, Cavaliers, cavaliers, to one of you. I do not name him; but honor be Unto the good knieht, whoe'er be he! And until now. sirs, there ne'er hath been Mortal so favor'd by beauty's queen ! The note proves to be for Raoul, and bids him consent to come blindfolded in a carriage, without question, to wherever his guide will take him. The young man is puzzled but decides to obey, and shows the note to the others. They recognize the seal of Margaret of Valois, and cast looks of envy at him as he follows the page. 182 VICTOR BOOK OF THE OPER A T HE HUGUENOTS ACT II SCENE Castle and Gardens of Chenonceaux The Queen is seated on a kind of throne surrounded by her maids, who, with Urbano, are assisting in her toilet. She rises and sings her great air in praise of fair Touraine. O, vago suol del la Turenna (Fair Land of Touraine) By Maria Galvany, Soprano (In Italian) 88234 12-inch. $3.0O By Frieda Hempel, Soprano (In French) 88382 12-inch. 3.OO By Giuseppina Huguet, Soprano (In Italian) *35123 12-inch, 1.25 QUEEN : Oh, lovely land of fair Touraine! Thy vine-clad hills, thy sparkling fountains, Thy green banks and thy murm'ring zephyrs, All fill my soul with peace and love! Yet. for a difference in belief. This fair scene may by war be stain'd! Oh, that men would observe the moral, To love and fear the all-powerful Being! But hence with sorrow! Care we will banish; Quick, let it vanish, far, far away! In the land where I reign. From the mount to the main, All re-echo the strain That's devoted to love! The maids disperse, and Valentine enters and tells the Queen that she has seen the Count de Nevers, who has promised to release her from the engagement which had been arranged. Margaret informs her that she has another cavalier in mind meaning Raoul, who is now conducted to the ladies 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, ^^^B> having been sent for by Margaret. She announces that she is planning a marriage which shall reconcile all their differences, and asks them to swear to live in peace -with each other. Raoul, ^ - Nevers, St. Bris and the nobles gather around the Queen and take the oath. Valentine is now led in by her father and presented to Raoul. He starts in astonishment, having recognized the lady he had res- cued, and whom he had seen meeting Nevers. RAOUL (in a stifled voice) : Great Heaven! what do I see? MARGARET: Why this astonishment? RAOUL: What! is this the bride you would offer to me? MARGARET : Yes, to marry and to love. RAOUL: What perfidy! what treachery! I her husband! Never, never! A terrible scene follows, St. Bris challenging Raoul, who is ordered under arrest by the Queen. Valentine is overcome with shame, and the Catholics are furious. Marcel is delighted that his master has escaped marriage with a Catholic, and the curtain falls s THE PAGE as the Lutheran chorale is again heard in the orchestra. 'Double-Faced Record Seepage 186. VICTOR BOOK OF THE OPER A T HE HUGUENOTS NILSSON AS VALENTINE ACT III SCENE A Square in Parts Catholic students are seated outside an inn on the left, while opposite some Huguenot sol- diers are drinking and playing dice. The soldiers sing their famous Rat-a-plan. Coro di Soldati (Soldiers' Chorus, "Rataplan") By Metroplitan Opera Chorus (In Italian) *45051 10-inch, $1.OO A wedding procession pass- es on its way to the church ; it is for Valentine, who has been persuaded to wed Nevers. Valentine asks that she be per- mitted to spend the day in the chapel in prayer. While there she overhears a plot to assas- sinate Raoul, and at once goes in search of Marcel to inform him of the plan. She meets him in the square and tells him of the plot. Nella notte io sol qui veglio (Here By Night Alone I Wander) By Maria Grisi, Soprano, and Perello De Segurola, Bass (In Italian) *634O4 10-inch, $0.75 Marcel thanks her for the warning and goes with his friends to the rescue. A general conflict is threatened but is prevented by the Queen, who appears just in time. She tells Raoul that Valentine is innocent of wrong, having merely gone to Nevers ' house to ask him to release her. Raoul is overcome with remorse, but the knowledge comes too late, as Valentine is already the wife of Nevers. A richly decorated boat approaches, occupied by the nuptial suite. Nevers leads Valentine to it, and as all salute the bridal couple the boat moves away, while Raoul, overcome by grief, is supported by Marcel. The curtain falls. ACT IV SCENE A Room in Nevers' Castle Valentine, alone, broods over her sorrows, confessing to her- self that although wedded to another, she still loves Raoul. She is astounded to see her lover appear, he having braved death and entered the castle to see her again. Valentine hears her father's voice, and hastily conceals Raoul behind the tapestry. The Catholic nobles enter to discuss the plot outlined by St. Bris. They finally agree to his fiendish proposal, and swear to slaughter the Huguenots. Nevers is horrified at the bloody scheme to exterminate all Protestants, and refusing to become an assassin, he breaks his sword, and is led away by the guards. The conference closes with the famous Benediction of the Swords, perhaps the greatest and most thrilling of all operatic scenes. A magnificent record of this number has been given by Journet and the Opera chorus. Benediction of the Swords By Marcel Journet, Bass, and Metropolitan Opera Chorus (In Italian) 74275 12-inch. $1.5O By Sousa's Band *35118 12-inch, 1.25 CONSTANTINO AS RAOUL *Double-F a 35123 12-inch, 1.25 ( Giacomelli, Soprano, and Gino Martinez-Patti, Tenor J ] Huguenots Selection By Victor BandlL,.-,, ->:, i o< \ j\ r s\ j o r^- i r> j/-".>5U2y 12 men, 1.25 \ Norma Overture By Victor Band] Plus blanche (Fairer Than the Lily) M.Gautier (In French)] ., _ ._. , . __ Guillaume Tellj4sile Heredit a/re M. Gautier, Tenor (In French)^ " lnch ' 1 ' O Coro di Soldati (Soldiers' Chorus, "Rataplan") ] By Metropolitan Opera Chorus (In Italian) L -_- . , Magic Flute-0 his und hint (Great his] 45 51 1O - lnch - l - By Metropolitan Opera Chorus (In German)) Nella notte io sol qui veglio (Here By Night Alone I "Wander) By Grisi and Segurola (In Italian) [&34O4 lO-inch, .75 Lucrezia Borgia Vieni la mia vendetta By Giulio Rossi, Bass] Huguenots Grand Selection (Part of Prelude Chorus, Act I } Sextette, Act HIDanse Boheme, Act III Prelude Arthur Pry or's Band 17314 lO-inch, .75 Masked Ball Selection (Part of Ballet Music and the Aria, ' 'Saper vorreste, ' ' Act III) Vessella 's Italian Band] THE FINAL TRAGEDY 186 (Italian) I GIOJELLI DELLA MADONNA DER SCHMUCK'DER MADONNA (English) THE JEWELS OF THE MADONNA OPERA IN THREE ACTS Libretto by C. Zangarini and E. Golisciani ; music by Ermanno Wolf-Ferrari. First performed as Der Schmuck der Madonna at the Kurfuersten- oper, Berlin, December 23, 191 1. First American production at the Auditorium Theatre, Chicago, January 12, 1912. First New York performance March 5, 1912. Cha GENNARO, in love with Maliella. . . MALIELLA, in love with Rafaele . . . RAFAELE, leader of the Cammorists CARMELA . BlASO ! CICCILLO STELLA CONCETTA SERENA GRAZIA TOTONNO Rocco . . Tenor . . . . Soprano . . . . Baritone . . . . Soprano Tenor Tenor . . . . Soprano . . . Soprano . . . . Soprano . . . Dancer Bass Vendors, Monks, People of the Streets, etc. Time 187 ind Place : The scene is laid at the present time. Naples, VICTOR BOOK OF THE OPERA JEWELS OF MADONNA Few operas of recent years have met with the unqualified success which has been accorded Wolf-Ferrari's vivid melodrama of Neapolitan life. The story of the opera is the composer's own idea, based on actual happenings in the squalid, superstitious life of the people of Naples, feverish with its reckless gayety, and mingled with sadness and gloom. The wild doings of the Cammorists, the preparations for the celebration in honor of the Virgin, the pageantry of the Cath- olic ceremonial and the wild tumult of Neapolitan revelries form the back- ground and atmosphere for this realistic music-drama. The plot may be summed up as follows : Maliella, a wayward Neapolitan beauty, is loved by her foster brother, Qennaro, a simple, honest lad, but the girl is infatuated with the dashing Rafaele, leader of the Cammorists. Rafaele proudly boasts that he would stop at nothing to prove his love for Maliella, declaring he would even steal for her the jewels which deck the image of the Virgin. The young girl, annoyed by Germans attentions, taunts him with not daring to do for her what Rafaele had offered. Almost in the hope of winning her favor the poor fellow steals to the church at night, secures the HAMLIN AS GENNARO GENNARO AND MALIELLA jewels, and lays them at Maliella' s feet. At first she is fascinated by the brilliancy of the gems, but as she realizes the awful sacrilege Qennaro has committed she flies to Rafaele, whom she finds in the inn of the Cammorists. He, in a frenzy of jealousy, spurns her, declar- ing she has sold herself for the jewels. The unhappy girl drowns herself, and Gennaro, in an abandon of remorse and despair, places the jewels on an altar, prays for mercy, and drives a dagger into his heart. As the people, bent on vengeance, burst into the room, they see the body of the unfortunate youth lying before the Madonna. One of the features of the opera is the beautiful waltz intermezzo between the second and third acts, which has been given here in delightful fashion by the Victor's fine organi- zation, under Mr. Rogers' direction. Intermezzo Victor Con- cert Orchestra Merry Wives of Windsor Over- 3527O 12-inch, $1.25 ture (Nicolai) New Symphony Orchestra of London ONIGSK1NDER (German) KONIGSKINDER (English) THE KING'S CHILDREN (Koenigi -kin-Jer) FAIRY OPERA IN THREE ACTS Book by Ernst Rosmer (Elsa Bernstein). Music by Engelbert Humperdinck. First production in any country December 28, 1910, at the Metropolitan Opera House, New York, with Farrar, Homer, Jadlowker and Goritz in the cast. The opera has since been given in London and throughout Europe. Characters THE GOOSE GIRL THE KING'S SON THE WITCH THE FIDDLER THE WOODCUTTER THE BROOMMAKER INNKEEPER INNKEEPER'S DAUGHTER Soprano Tenor Contralto Baritone Bass Tenor Bass Mezzo-Soprano Tailor, Stable-maid, Gate-keepers, Citizens, Councillors, Musicians, Children, etc. The opera of Konigskinder is based on a three-act play by Ernst Rosmer (in private life Elsa Bernstein), with incidental music by Humperdinck. The first production of this ay took place at Munich, January 23, 1 897, and the following year it was given at Irving ace Theatre, New York, and four years later in English as Children of the King. Humperdinck's opera is allegorical in character, illustrating the stupidity of mankind in failing to recognize true loyalty when it appears to them in disguise. It is a human little story, full of pathos, humor and tenderness, and no one could have given it the gentle, sympathetic touch better than Humperdinck. Pi VICTOR BOOK OF THE OPERA THE KING'S CHILDREN The story tells of a Goose Girl who lives with an old Witch in the hills above the town of Hellabrunn. A poorly-dressed youth comes out of the woods and tells the Goose Girl of his wanderings. He is in reality the King's Son, but the girl does not know this. The boy falls in love with the beautiful maiden, and asks her to go maying with him through the summer land. The girl longs to run off with him, but finds her feet glued to the ground. The King's Son, believing her afraid to go, tells her she is unworthy to be a king's mate, and leaves her, vowing she shall never see him again till a star has fallen into a lily which is blooming nearby. The Witch returns and scolds the Goose Girl for wast- ing her time on a man. The Fiddler enters, followed by the Woodcutter and Broommaker from the town, who come to ask the Witch if she has seen the King's Son, as the King is dead and the people want the son to rule in his place. The Witch tells them that the first person who enters the city gate next day at noon, no matter what his seeming social condi- tion may be, will be crowned King. The Wood- cutter and Broommaker depart, but the Fiddler lingers, hoping to get a glimpse of the Goose Girl, who is in the hut. She appears and tells him her sorrows, and he assures her she shall wed the King's Son. The girl prays that his words may come true, and as she kneels a shooting star falls into the heart of the lily. She runs off into the woods with her flock in search of her lover. In Act II we see the town of Hellabrunn in an uproar, awaiting the new ruler. At the inn near the town gates is the King's Son, still in rags. Musicians enter and a dance begins. The Gate- Deeper refuses to allow the people to crowd in the gateway, keeping it clear for the entry of the King. The Woodcutter is invited to relate his adventures in the woods, and he says that on the stroke of twelve the King's Son will enter the gates. The people scoff at the suggestion that their new King might come in rags, but as the clock strikes twelve, the crowd rushes toward the gates and beholds the King's Son in his rags, and the Goose Girl, escorted' by her flock, entering the city. The people, with the exception of the Fiddler, who recognizes the King's Son, mock the couple and drive them out with sticks. In Act III the Fiddler, who has been cast out of the town for his defense of the King's Son and the Goose Qirl, is seen at the Witch's hut, feeding the doves the girl has left behind her. He lives here alone, the Witch having been burned at the stake by the people, who declared she had deceived them in her promise of a new ruler. A troop of children come to beg the Fiddler to lead them in a search for the lost King's Son and his sweetheart, and he gladly consents. The Woodcutter and the Broommaker arrive and go into the hut, and hardly 190 GORITZ AS THE FIDDLEF VICTOR BOOK OF THE OPERA THE KING'S CHILDREN has the sound of the searching party died away than the King's Son and Goose Girl appear. They are half famished and beg of the Woodcutter something to eat, and he finally gives them some poisoned pastry which he finds in the hut. The outcasts eat it and die, and when the Fiddler and the children return from their useless search they can only mournfully bear away to the hills for burial the bodies of the poor Kingly Children. KONIGSKINDER RECORDS (In German) Lieber Spielmann (Dearest Fiddler) Geraldine Farrar 884O5 12-inch, $3.OO This is the song of the Broommaker's child, who is spokesman for the throng of children who come to the hut in Act III to beg the Fiddler to lead them in a search for the outcasts. O du liebheilige Einfalt du ! (Thou Innocent One) ByOttoGoritz 64184 10-inch, $1.OO This is the Fiddler's answer to the appeal of the children that he go with them in their search for the Royal Pair. Ihr Kindlein sie sind gefunden (Children, We Have Found Them) ByOttoGoritz 74287 12-inch, $1.5O Sung by the Fiddler as the searching party return to the hut and discover the bodies of the Children. noch das grosse Nest (Hast Thou Forgotten Our Nest ?) By Geraldine Farrar, Soprano RETURN TO THE HUT ACT in 88412 1 2-inch, $3.0O This pathetic bit occurs in the last act, as the Goose Girl and King's Son, banished from the city, wander in the wintry wood, cold and hungry. She recalls to his memory the happy days when he wooed her in the leafy bower. 3ROUP OF CHILDREN ACT III 191 LAKME (Lak'-may) OPERA IN THREE ACTS Book by Goudinet and Gille, taken from the story Le Manage de Loli. Music by Leo Delibes (Deh-leeb'). First production Paris, April 14, 1883. First London production at the Gaiety Theatre, June 6, 1885. Produced in New York November 28, 1888. Characters GERALD, ) < i r> L i j- I Tenor FREDERIC, I fficerS f the BntI8h afmy m IndlS I Baritone NlLAKANTHA, a Brahman priest Bass HADJI, a Hindoo slave Tenor LAKME, daughter of Nilakantha Soprano ELLEN, daughter of the Governor Soprano ROSE, her friend Soprano MRS. BENSON, governess of the young ladies Mezzo-Soprano MALLIKA, slave of Lakm6 Mezzo-Soprano A FORTUNE TELLER A CHINESE MERCHANT A SEPOY Hindoos, Men and Women, English Officers and Ladies, Sailors, Bayaderes, Chinamen, Musicians, Brahman, etc. Scene and Period : India, at the present time. The first important American production of this opera, with its graceful music and scenes of Oriental splendor, was given by the American Opera Company in 1886, although a version was put on by Emma Abbot in 1883. Since then it has had three revivals the Patti production of 1890; that of 1895 for Marie Van Zandt, and the Metropolitan revival of 1906-7. The music of the opera is wholly beautiful, and the principal numbers are exquisite compositions lovely in idea and execution. The story resembles in some points both Aida and Africaine ; all three are more or less Oriental; La\mi, like Aida, loves her country's enemy; Nilakantha and Nelusko possess simi- lar traits ; while Lakme and Selika both poison themselves botanically. The Oriental atmosphere is somewhat spoiled by the introduction of the modern and somewhat commonplace English characters, but the romantic ending atones for any shortcomings. ACT I SCENE A Qarden in India Nilanfyatha, Lafynd's father, hates the English invaders and resists their presence in India. Gerald and Frederic, English officers, while sauntering with some English ladies, venture on sacred ground near Nilakantha 's temple, and when rebuked they all depart but Gerald, who remains to sketch some Oriental jewels which La^me had left in the garden. He takes up the trinkets and sings his charming air, Idle Fancies. Fantaisie aux divins mensonges (Idle Fancies) By M. Rocca, Tenor (Double-faced See page 1 95) (In French) 16573 10-inch, $O.75 He is struck with the daintiness and beauty of the gems and tries to picture the unknown beauty to whom they belong. VICTOR BOOK OF THE OPER A D ELIBES' LAKME GERALD: Idle fancy, cradled by delusion, You mislead me now as of old. Go to dreamland, turn back in confusion, Fair dove fantastic, with wings of gold. (T 6^L?fai r 6r maidVound her arm folding, The small foot, that but reposes On mossy banks or beds of flowers. Thls necklace, too, with her own perfume ~ s ? e " , a ; . , ^ 8 sweets from her lips The hand that passes there, in mine. (Taking up a ring.) This ring of gold, my dream supposes, Oft has followed, wand'ring for hours, A fly> fon d illusions, Swiftly passing visions that my reason dis- turb! Idle fancy, cradled by delusion, etc. (From the Ditson Edition.) This beautiful air has been sung for the Victor by a brilliant and accomplished young tenor, M. Rocca, of the Opera Comique. Hearing some one approaching, Gerald hides himself in the shrubbery. Lakme enters and lays flowers at the feet of an idol. She is about to go when she pauses and tries to analyze a strange feeling which has come over her, saying: LAKME: In my heart now I feel there's a murmur so strange, The flow'rs are more lovely appearing, And Heaven's more radiant now. From woods a new song I am hearing, Fond zephyrs caress my brow. And a fragrance that's rare is filling, All my senses with a rapture so thrilling! She then sings her first lovely song, Pourquoi dans les grands bois (Why Love I Thus to Stray ?) By Alice Verlet, Soprano (Double-faced See page 195} (In French) 45OO6 10-inch, $1.0O nder in the forest VALLANDRI AS LAKME LAKME: Why love I thus to stray, In woods here, day by day, While tears have sway? Why doth the dove's note sadden, And fill my heart with sighing; As doth a fading flow'ret, Or a leaf eastward flying? Tho' sad they be! And my heart is gladsome, Tho' I'm sighing, I'm gladsome. and asks herself why she loves to and why she is both sad and glad. Ah! why? Why look for reasons 'here, in the song of the stream, Where roses dream? In leaves that fall around? In my heart soft reposes, like a lily at rest, Sweeter balm than yield roses, by gentle winds caressed, Or by loving lips pressed. Tho' I sigh, I'm gladsome, Ah, why? She suddenly sees Gerald among the trees and utters a cry of fear. Her attendants run in, but some intuition tells her not to reveal Gerald's presence, and she sends them away. Going to his hiding place she denounces him for trespassing on sacred ground, and bids him begone. He begs her for a few moments' conversation, and tells her of the impression she has made on his heart. GERALD: Ah! linger, go not yet, so thoughtful, sweet, unchiding! Let blushing charms that mine eyes now have met, O'ermantle thy cheek, Its lily pallor hiding! Lakme" looks on the handsome youth with interest, but tells him she fears the return of her father, who would surely seek vengeance for the Englishman's desecration of holy ground. Gerald departs just as Nilakantha, summoned by Lakmd's attendants, enters, and seeing traces of a trespasser, declares that he must die. They go in pursuit of Qerald, leaving Latyne' motionless with fear, VICTOR BOOK OF THE OPER A D ELIDES' LAKME ACT II SCENE A Street in an Indian City Act II shows a public square, lined with Chinese and Indian shops and bazaars. Eng- lish visitors are strolling about, viewing the scenes with interest. Nilakantha, disguised as a beggar, is seeking traces of the intruder, whom he has sworn to kill. Lakm is with him, wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng- lishman will recognize her voice and betray himself. She sings the famous Bell Song. Ou va la jeune Hindoue (Bell Song) By Luisa Tetrazzini, Soprano By Bessie Abott, Soprano By Maria Galvany, Soprano By Ellen Beach Yaw, Soprano (In Italian) 88297 12-inch, $3.OO (In French) 88O84 12-inch, 3.OO (In Italian) 88219 12-inch, 3.0O (In French) 74O9O 12-inch, 1.5O Delibes has ingeniously used bells to give character to this number, which is a most intricate one, especially in the refrain, where voice, woodwind and bells blend with many charming touches. LAKME: Down there, where shades more glooming, What trav'ler's that, alone, astray? Around him flame bright eyes, da illuming, But on he journeys, as by cha deep are depths y! urneys, as y cance, on te The wolves in their wild joy are howling, As if for their prey they were prowling; The young girl forward runs, and doth their fury dare. A ring in her grasp she holds tightly, Whence tinkles a bell, sharply, lightly, A bell that tinkles lightly, that charmers wear! (She imitates the bell.) Ah! Ah! Ah! Ah! While the stranger regards her Stands she dazed, flush'd and glowing, More handsome than the Rajahs, he! And to heaven she soars in his holding, It was Vishnu, great Brahma's son! And since the day in that dark wood, The trav'ler hears, where Vishnu stood, The sound of a little bell ringing, The legend back to him bringing, A small bell ringing like those the charmers Mme. Tetrazzini's rendition of this beautiful air is -wholly charming, and the vocal em- bellishments which she introduces will be something of a novelty to those who are familiar only with the usual cadenzas. Other fine renditions of this brilliant air are given by Mme. Galvany, who indulges in some quite astonishing cadenzas ; by Bessie Abott, whose fresh young voice is heard to great advantage ; and by Miss Yaw, who provides a lower-priced version. As Nilaffantha had planned, Gerald recognizes La^me" and betrays himself. The Brahman goes to collect his Hindoos, intending to kill the Englishman, while L,akm finds Gerald, warns him of the plot, and tells him of a hut in the forest where he may be free from pursuit. LAKME: In the forest near at hand, A hut of bamboo is hiding, 'Neath a shading tree doth stand, This roof of my providing. Like a nest of timid birds, In leafy silence abiding, From all eyes secret it lies, And waits it there a happy pair! Far away from prying sight, Without there's naught to reveal it, Silent woods by day and night, Ever jealously conceal it; Thither shalt thou follow me! When dawn earth is greeting, Thee with smiles I shall be meeting. For 'tis there thy home shall be. VICTOR BOOK OF THE OPER A D ELIBES' LAKME Gerald at first refuses thus to hide, declaring it unworthy of a British officer, but La^me" pleads with him and he consents ; but as he attempts to follow her he is stabbed by Nila- \antha, who then escapes. Laf^me runs to Gerald, and overjoyed to find his wound is not serious, she prepares, with the help of her faithful attendant Hadji, to bear him to the forest retreat. ACT III SCENE An Indian Forest Act III shows the hut in the tropical forest. Gerald is lying on a bed of leaves while Lakme' watches over him, singing soothing melodies. He opens his eyes and greets her with rapture, singing his beautiful In Forest Depths. Vieni al contento profondo (In Forest Depths) By John McCormack, Tenor (In Italian) 64171 lO-inch. $1.0O This lovely cantilena style by Mr. McCormack. given in delightful mute, er my lips; while thus lying, 'our look was attracted and GERALD : I too recall, st I saw you bent My soul upon you fastened; 'Xeath your breath life awoke and recovery hastened. O my charming Lakme; Through forest depths secluded, Love's wing above us has passed; Earth-cares have not been intruded, And heaven on us falls at last. These flow'ring vines, with blooms capricious, Bear o'er our pathway scents delicious; Which soft hearts, with raptures beset, While all else we forget! As the days pass and Gerald recovers his strength, he seems to forget all else but his love for the Brahman maiden, but one day, while she is absent, his friend Frederic finds him and urges him to return to his duty, telling him his regi- ment is ordered off at once to suppress an outbreak among the Hindoos. Gerald promises to be at his post in time, but asks for a little time in which to say good-bye to La^me. Frederic leaves with his promise, and when La^me comes back she finds Gerald changed. She asks the reason, but before he can answer the distant sound of bugles calling the 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, just as her father and friends arrive upon the scene. DOUBLE-FACED AND MISCELLANEOUS LAKME RECORDS [ Pourquoi dans les grands^bois (Why Love_I Thus to Stray ?) 1 Mignon Polonaise By Alice Verlet, Soprano (In French) U5OO6 lO-inch. $1.OO By Mile. Korsoff, Soprano (In French) \ Fantaisie aux divins mensonges (Idle Fancies) By M. Rocca, Tenor (In French) Rigoletto Cortigiani, oil razza dannata By Renzo Minolfi, Baritone (In Italian) 16573 10-inch, .75 NOTE Quotations are from the Ditson libretto by permissior 195 3opy't 1890, Oliver Ditson Co. (Italian) LINDA DI CHAMOUNIX OPERA IN THREE ACTS Words by Rossi ; music by Donizetti. First production at the Karnthnerthor Theatre, Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843; in New York, 1847. Cast MARQUIS OF BOISFLEURY Baritone CHARLES DE SIRVAL, his son Tenor THE PARISH PRIEST Bass ANTONIO LOUSTOLOT, a farmer Bass MADELINE, his wife Mezzo-Soprano LINDA, their daughter Soprano Time and Place : Chamounix and Paris, 1760, during the reign of Louis XV. The story tells of an aged couple, Loustolot and Madeline, and their only daughter Linda, who dwell in the valley of the Chamounix (in the French Alps). Linda loves a young painter, Charles, who has come to the valley to paint the mountains. The Marquis de Sirval, who holds a mortgage on Loustolot' s farm, visits the old couple and assures them that he will not press the mortgage ; but at the same time he is secretly plotting to effect the ruin of Linda. Linda enters and speaks of her love for Charles. She then sings the gem of the first act, a favorite with colorature sopranos for more than seventy years. A Huguet record of this lovely air is offered here, doubled with the Trentini-Caffo duet below. O luce di quest' anima (Guiding Star of Love !) By Giuseppina Huguet, Soprano (In Italian) 62O90 lO-inch, $O.75 LINDA: Oh! star that guidest my fervent love, Poor are we both in worldly state; Thou'rt life and light to me; On love we live, on hope we dream ! On earth, in Heav'n above, A painter yet unknown, is he, 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! Oh, what joy! My every pulse is thine! Charles enters, and the lovers sing their charming duet. A consolarmi affrettati (Oh, That the Blessed Day Were Come) By Emma Trentini, Soprano, and Alberto Caffo, Tenor 6209O lO-inch, $0.75 LINDA AND CHARLES: Oh! that the blessed day were come, And then, my love, we'll never part, When standing side by side, But each a treasure find We before God and man shall be In having brought a faithful heart As bridegroom and as bride. To heav'nly love resigned! The worthy parish priest having warned Linda's parents of the dishonorable Intention of the Marquis, they decide to remove Linda from the danger, and send her to Paris. The Marquis pursues her to the city and renews his attentions, while Charles (who is in reality the son of the Marquis) is compelled by his father to transfer his attentions to another. Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to be an abandoned woman, he curses her, and she becomes insane through grief. The last act again shows the little farm at Chamounix. The demented Linda has made her way back to her parents, and is found by Charles, who has escaped the unwelcome marriage and now brings the release of the farm from debt. The sight of her lover causes Linda to fall in a death-like swoon, but when she recovers her reason has returned, and the lovers are united. LOBETANZ PLAYING FOR THE PRINCESS ACT (German) LOBETANZ (English) MERRYDANCE MUSICAL PLAY IN THREE ACTS Text by Otto Julius Bierbaum ; music by Ludwig Thuille. First production at Mann- heim, Germany, 1898. First production in America November 18, 1911, with Gadski, Jadlowker, Witherspoon and Murphy. Cast LOBETANZ THE PRINCESS THE KING THE FORESTER, THE HANGMAN, THE JUDGE, Girls, musicians, prisoners, two heralds, the people. Tenor . Mezzo-Soprano Bass . Speaking Parts Time and Place : Germany in the Middle Ages. The story of Lobetanz resembles an old fairy tale in its simplicity, the Prince Charming in this instance being a wander- ing musician, and the ending, as in all good fairy stories, being of the " lived-happy-ever-after " variety. The curtain rises on a rose fete, which young girls are pre- paring in anticipation of the arrival of the King and his daugh- ter. The Princess is ill, and the King has appointed a day of festivity in the hope that it will revive her. Lobetanz, a wandering musician, strolls into the King's rose garden, where the preparations are being made, and stays to watch the royal 197 VICTOR BOOK OF THE OPER A-TH UI LLE'S LOBETAKZ procession, -which is accom- panied by poets and singers. The musicians play and sing to the Princess, but all their efforts fail to please her. Sud- denly a violin is heard from an arbor in the rear of the garden. The Princess is im- mediately fascinated with the music, and Lobetanz comes forward, his instrument on his shoulder. The pathos of his playing so affects the Princess that she swoons, and Lobetanz barely escapes from the wrath of the people. In the second act the strolling minstrel meets the Princess in a wood and tells her of his love for her. The lovers are interrupted by the THE GALLOWS SCENE ^j^j Q f ^ ^ ^J ^ royal hunting party, and Lobetanz is seized by the pikemen and dragged away, while the Princess falls in a swoon. The third act shows the unfortunate lover in prison, charged with witchcraft, and sen- tenced to be hanged. As preparations are being made to place the noose about his neck, the funeral procession of the Princess approaches. Lobetanz begs to be allowed to play upon his violin once more, declaring he can revive her. The King promises him his daughter's hand if he can bring her back to life again. As Lobetanz plays, the flush of life appears upon the cheeks of the young girl, and she slowly revives and is clasped in her lover's arms. The act closes with a merry dance, in which every one joins, and we are left to suppose that the lovers " live happy ever after." The air which Mme. Gadski has sung for the Victor occurs in Act I, in the scene rep- resenting the rose garden of the King, where the rose festival is to be celebrated. The Princess, at the bidding of the King, offers a greeting to Spring and the roses. An alien Zweigen (Lovely Blossoms of Spring) By Johanna Gadski, Soprano (In German) 88362 12-inch, $3.OO THE FLOWER FESTIVAL ACT I LOHENGRIN (Loh 1 -en-grin) OPERA IN THREE ACTS Words and music by Richard Wagner. First produced at Weimar, Germany, August 28, 1850, under the direction of Liszt. Produced at Weisbaden, 1853; Munich and Vienna, 1858; Berlin, 1859. First London production, 1875; Paris, 1887. First American production in New York, in Italian, March 23, 1874, with Nilsson, Gary, Campanini and Del Puente; in German, in 1885, with Brandt, Krauss, Fischer and Stritt this being Anton Seidl's Ameri- can debut as a conductor. Characters HENRI THE FOWLER, King of Germany Bass LOHENGRIN Tenor ELSA OF BRABANT Soprano DUKE GODFREY, her brother Mute Personage FREDERICK OF TELRAMUND, Count of Brabant . . Baritone ORTRUD, his wife Mezzo-Soprano THE KING'S HERALD Bass Saxon, Thuringian and Brabantian Counts and Nobles, Ladies of Honor, Pages, Attendants. { Stln.i 1 3 KI. Ici 28 *.( 1850 !zzil?i^- iVj ) f "(J tin. P ,.. ^ g-T - t ': : i 1 ?-" : : : ; : : . : *ri4 u 6 1 HO, V v, 10 lite -^PiliS^ Scene and Period : Antwerp, first half of the tenth century. Most of us are familiar with the story of the Knight Lohengrin, who comes in his boat, drawn by a swan, to defend Elsa from the charge (preferred by Telramund and Ortrud, who covet Elsa's estates) of having murdered her young brother, Godfrey. Telramund is vanquished and disgraced by Lohengrin, who wins Elsa as his bride. One condition he exacts from her that she shall never ask who he is or whence he came. By the influence of Ortrud, however, she rashly questions him, and in fulfillment of his vow, but in deep grief, he leaves her and departs in his boat drawn by a dove. The ethereal Grail harmonies, the lovely Swan Motive, the noble Prayer of the King and the Bridal Chorus make this one of the most melodious of all the master's operas. Prelude By La Scala Orchestra 31779 12-inch, $1.OO The prelude, one of the most beautiful of all Wagner's compositions, symbolizes the descent from Heaven of a group of angels bearing the Holy Grail. The number begins with soft A major chords in the highest register of the violin. The motive of the Grail is then announced : Coming nearer and nearer, the light of the Grail is seen in the sky, while the air is filled with the blessings dis- pensed by the holy cup. As the sounds grow louder, the senses are overwhelmed, until at the tremendous climax thundered out by the full orchestra the mystic light of the Grail is seen in all its glory. VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN The mysterious Grail motive then fades away, being played at the end by muted strings ; and the number ends with the same A major chords pianissimo. ACT I SCENE Banks of the Scheldt, near Antwerp King Henry of Germany arrives at Antwerp and finds Brabant in almost a state of anarchy. He summons the counts and nobles of Saxony and Brabant to meet under the Oak of Justice, and calls on Frederick f Telramund for an explanation, saying : KING. Here, to my grief, I meet with naught but strife, All in disunion, from your chiefs estranged! Confusion, civil warfare meet we here. On thee I call, Frederick of Telramund! I know thee for a knight as brave as true, I charge thee, let me know this trouble's cause. Frederick now advances and begins his narrative, boldly accusing Elsa of the murder of her brother. FREDERICK: Thanks, gracious King, that thou to judge art come! The truth I'll tell thee, falsehood I disdain. When death was closing round our valiant Duke, 'Twas me he chose as guardian of his children, Elsa the maiden, and Gottfried her brother; Whose dawning with tender care I guarded, Whose welfare I have treasured as my honor. My sov'reign, mark now, if I'm aggrieved, S TELRAMUNI When of my honor's treasure I am robbed! One day, when Elsa had with her brother wandered forth, Without the boy, trembling, she re- turned, With feign'd lamenting, questioned of his safety, Pretending she had been from him divided, And in vain his traces she had sought, Fruitless was every search we made to find him; And when I questioned her with words severe, Her pallor and her falt'ring tongue betray'd her, Her crime in its guilty blackness stood confess'd! A horror fell upon me of the maid; The claim upon her hand her father had conferr'd With willing heart, I straight re- signed. And chose a wife full pleasant to my sense, Ortrud, daughter of Radbod, true in death. I here arraign her, Princess Elsa of Brabant; Of fratricide be she charged! I claim dominion o'er this land by right ; nearest kinsman was the vali My near Duke, My wife descended of the race That gave this land their rulers th long ages p King, give hast heard! long ages past. O King, give judgment! All now thou ELSA RELATING HER DREAM VICTOR BOOK OF THE OPERA-WAGNER'S LOHENGRIN The King is much disturbed, and asks that Elsa be sent for. When she enters timidly, with downcast eyes, he says kindly : " Speak, Elsa, in thy King thou may'st confide ! " The young girl seems bewildered and dreamily sings the lovely Traum, telling of her vision of a splendid Knight who came to be her defender. Elsa's Traum (Elsa's Dream) By Johanna Gadski, Soprano (German) 88O38 12-in., $3.OO By Emma Juch, Soprano (Piano ace.) (In German) 74014 12-inch, 1.5O ELSA: Oft when the hours were lonely, I unto Heav'n have pray'd, One boon I ask'd for only, To send the orphans aid; Away my words were wafted, I dreamt not help was nigh, But One on high vouchsafe! it, While I in sleep did lie. (with growing enthusiasm) I saw in splendor shining, A knight of glorious mien, On me his eyes inclining, il gaze serene. A horn of gold beside him, With tranquil gaze ser He leant upon his sword, His words so low and tender, Brought life renew'd to me. (with rapture) My guardian, my defender, Thou shalt my champion be. The King is much moved, and calls for a judgment of God after the fashion of the time. The trumpeters blow the summons to the four points of the compass, and the Herald calls : Who will do battle here for Elsa of Brabant! Let him appear! At first there comes no response, and Elsa is in despair, but after a second call a knight in shining armor is seen approaching in a boat drawn by a swan. 201 VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN ARRIVAL OF LOHENGRIN The King bids the nobles pre- pare to fight, and in this noble Gebet calls upon Heaven to judge between the combatants. Mein Herr und Gott Koenig's Gebet (King's Prayer) By Marcel Journet, Bass (In German) 64013 10-inch, $1.0O The King is one of Journet's best parts, and he always sings it magnificently, his great voice rolling out in tremendous volume. His delivery is always easy and grace- ful, and his acting dignified and intelligent. KING HENRY: O King of kings, on Thee I call ; Look down on us in this dread hour! Let him in this ordeal fall Whom Thou know'st guilty, Lord of pow'r! To stainless knight give strength and might, With craven heart the false one smite; Do Thou, O Lord, to hear us deign, Frederick is soon stricken to the earth by Lohengrin, who is pro- claimed a hero. Elsa is pro- nounced innocent, plights her troth to her brave defender, and the cur- tain falls amid general rejoicing. Nun sei bedankt, mein lieber Schwan ! (Thanks, My Trusty Swan !) By Fernando de Lucia, Tenor (In Italian) 76OO2 12-inch, $2.OO By Leo Slezak, Tenor (InGerman) 612O3 lO-inch, l.OO Lohengrin steps out, then turning and caress- ing the swan, sings : LOHENGRIN: I give thee thanks, my faithful swan! Turn thee again and breast the tide, Return unto that land of dawn Where joyous we did long abide, Well thy appointed task is done! Farewell ! farewell ! my trusty swan ! (to the King) Hail, gracious sov'reign ! Victory and honor by thy valor's meed! Thy glorious name shall from the land That chose thee ruler, ne'er depart. The knight now announces that he has come to defend the maiden, who is unjustly accused by her enemy. LOHENGRIN; Ye knights, nobles and freemen of this land, Guiltless and true is Elsa of Brabant! Thy tale was falsehood, Count Telramund, By Ileav'n's assistance all thou shalt recant! VICTOR BOOK OF THE O PERA WAG N E R'S LOHENGRIN THE PLOT Euch luften du mein Klagen (Ye Wandering Breezes) By Johanna Gadski, Soprano (In German) 88377 12-in., $3.OO ELSA: Ye wand'ring breezes heard me, When grief was all I knew; Now that delight hath stirred me, My joy I'll breathe to you! TELRAMUND AND ORTRUD: 'Tis she! Be near, ye powers of darkness! ELSA (continuing dreamily) : Thro' heaven's azure ye bore him, Ye wafted him to me; 'Mid stormy waves watched o'er him, My guide, my love to be! Where'er thy pinion rusheth, The mourner's tears are dried; My cheek that burns and flushetb With love, oh cool and hide! Du Aermste (Thou Un- One) By Emma Eames Louise Homer