VICTOR BOOK OPERA STORIES of Seventy Gran3 Operas wit/) THREE HUNDRED ILLUSTRATIONS , DESCRIPTIONS of Seven Hunare3 VICTOR OPERA RECORDS <*** THE 1 [BRARY THE UNIVERSITY OF CAL [FORNIA GIFT OF Hobart H. Lovett VICTOR BOOK of f fie OPERA Stories of Seventy Grand Operas withThree Hundred Illustrations Si Descriptions of Seven Hundred Victor Opera Records r^o^ Victor-Talking Machine Co. Camden.New Jersey, U.S.A. ' MT150 v 5 3 Copyright 1912 VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U. S. A. ALTHOUGH the Opera Stories in this book are. in alphabetical order. ^* under the most familiar of the various titles, this index will be found convenient for quick reference. African % v . .J-l.j Africana V*-,, Africaine ..!'! Aida 15 Amleto 143 Ballo in Maschera 218 Bal Masque 218 Barbiere di Siviglia 26 Boheme 32 Carmen 39 Cavalleria Rusticana .... 53 Contes d'Hoffman 319 Damnation de Faust 59 Damnation of Faust .... 59 Der Fliegende Hollander . . .115 Der Freischutz . . . .'. . .126 Die Afrikanerin 11 Die Favoritin 108 Dinorah 63 Don Giovanni 65 Don Juan 65 Don Pasquale 70 Dusk of the Gods 138 Elisir d'Amore 76 Ernani 79 Faust 86 Favorita, La 1O8 Favorite, The 1O8 Fidelio . .113 Flauto Magico 189 Flute Enchantee' 189 Flying Dutchman 115 Force of Destiny 121 Forza del Destino, La . . . .121 Freeshootef.'.Th'e ' 126 Freischutz, Der 126 Germania 129 Gioconda, La . . .> . . .. . .131 Gotterdammerung 138 Guglielmo Tell . . 37O Guillaume Tell 37O Hamlet 143 Hansel and Gretel 147 Hansel und Gretel 147 Hernani 79 Herodiade iV ....... 149 Herodias 149 Hoffman's Erzahlungen . . .319 Huguenots, Les '. 152 Huguenots, The 152 Hugenotten, Die 152 I Pagliacci ......... 252 II Trovatore 35O King of Lahore, The 297 L'Africana 11 L' Africaine 11 Lakme . 159 Linda di Chamounix . . . 163 Lohengrin . . . 164 (Index continued on page 5) I INDEX CONTINUED \ Lucia di Lammerinoor . . . . 173 Regina di Saha . . . . 277 Lucrezia Borgia . 180 Roi de Lahore, Le . . . 297 Rheingold, Das .... , 278 . Madama Butterfly . . . . 183 Rhinegold, The .... . . . 278 j Madame Butterfly . . . . . 183 Rigoletto . . . 282 Magic Flute, The .... . . 189 Robert le Diable . . . . 295 Manon . . 193 Roberto il Diavolo . . . . . 295 { Manon Lescaut . 202 Robert the Devil . . . . . 295 Marta . . 212 Romeo and Juliet . - . . . . 299 | Martha . . 212 Romeo et Juliette . 299 ? Mariage de Figaro ... . . 206 Rustic Chivalry . - . . . S3 Marriage of Figaro . . . . . 2O6 1 Masked Ball . . 218 Samson and Delilah . . . . . 304 j Mastersingers, The . . . 230 Samson et Dalila . - . . . . 304 <-. Mefistofele . . 224 Semiramide ..... . . . 307 j Meistersinger, Die . . . . 23O Siegfried . . . 3O9 "/ Mephistopheles . . 224 Somnambulist, The . . . . . 315 Mignon . 236 Sonnambula, La . . . 315 Nino e Rita . . 147 Tales of Hoffman . . . . . . 319 Norma . . 242 Tannhauser . . . 322 Nozze di Figaro . . 206 Tosca . . . 331 Traviata, La . . . 339 Orfeo ed Euridice .... . . 244 Tristan and Isolde . . - . . . 345 Orpheus and Eurydice . 244 Tristano e Isotta . . . ... 345 Otello . . 247 Tristan und Isolde . . . . . 345 Othello . . 247 Troubadour, The . . . . . . 35O Trovatore, 11 . . . 35O Pagliacci . . 252 Pearl Fishers Pecheurs de Perles, Les 266 . . 266 Ugonotti, Gli 152 Pescatori di Perle . . . Profeta, 11 Prophet, The . 266 . 269 . . 269 Valkyrie, La Vascello Fantasma, 11 . 361 . . . 115 Prophete, Le Puritani, I 269 . . 274 Walkure, Die 361 Puritans, The . . 274 William Tell 37O Queen of Sheba .... . . 277 Zauberflote, Die .... . . .189 i * . !> 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/^5 cents per selection, to the great concerted numbers by famous singers at $6.00 and $7.00. The Opera-Goer and the Victor Even though fortunate enough to be able to attend the opera, the lover of operatic music is reminded that with the Victor and the operatic records his enjoyment of the opera may be greatly increased. The favor- ite singers may be heard at home as often as desired, and their voices will be just as natural as in life. Do you think Caruso the greatest of tenors ? Then do not be satisfied with an occasional hearing of his glorious voice at the opera, but let him sing for you and your friends by means of the Victor. Is Sembrich, Farrar, Tetrazz ; ni, Gadski, Calve, Schumann-Heink, Homer or Amato your favorite singer ? The Victor makes it possible to hear these voices at any time, no matter where the artists may be singing. Voices of Absent Singers Do you regret that Melba is in Australia ? There is consolation in the thought that her voice is here in all its loveliness, indelibly impressed on Victor discs. Have you memories of Tamagno -when he was at his best ? The Victor will revive these memories for you by bringing the voice of this singer back from the grave. (FomforJ continued on page 9) '/X i FOREWORD CONTINUED The Victor an Excellent Substitute for the Opera For every person who can attend the opera there are a hundred -who cannot. However, many thousands of lovers of the opera in the latter class have discovered what a satisfactory substitute the Victor is, for it brings the actual voices of the great singers to the home, with the added advantage that the artist will repeat the favorite aria as many times as may be wished, while at the opera one must usually be content with a single hearing ; and even though the scenery and costumes may be lacking, the absence of these accessories will now be atoned for in some measure by the graphic descriptions and numerous illustrations in this catalogue. The Victor Opera Season Never Ends In former years, after the close of the opera season and the annual migration of the artists to Europe, no one seemed to think much about grand opera or opera singers. The Victor, however, has changed all this, and operatic records now form a most important part of the musical life in the home ; and at all seasons of the year may be heard the voices of the great singers, a consolation and a delight to opera lovers. This Catalogue the First of Its Kind This little work is unique in many respects, and -while there are many excellent books describing the plots of the operas, we think that in no other book on opera can be found all of these features : J Titles in various languages, with pronunciation of each. <|Date and place of original production. = 116. Con etprttt. =f Ce le ste A - i da, lot ma di vi na, mi sti -co ser to di lu ce e fior Heav'n-ly ^A i da, beau ly re-spltn-dtiil.Ka di ant flaw-er, bloom-ing and bright in which Rhadames chants the praises of the peerless Aida. It is seldom enjoyed at the opera, especially in America, as it occurs almost immediately after the rise of the curtain, and is invariably marred by the noise made by late comers. With the Victor, however, it may be heard in all its beauty and the fine renditions by Caruso and Slezak fully appreciated. COPVT MIS SLEZAK AS RHADAMES RHADAMES: Heavenly Aida, beauty resplendent, Radiant flower, blooming and bright; Queenly thou reignest o'er me transcendent, Bathing my spirit in beauty's light. Would that thy bright skies once more behold- ing, Breathing the soft airs of thy native land, Round thy fair brow a diadem folding, Thine were a throne next the sun to stand! COPY'! DOVER ST. STUDIOS MAhllN AS RHADAMES A fine trio, expressing the emotions of the characters in the scene, then follows. Ohime ! di guerra fremere (Alas ! the Cry of War I Hear) By Elena Ruszcowska, Soprano ; Bianca Lavin de Casas, Mezzo-Soprano : Egidio Cu- nego. Tenor (In Italian) 88261 12-inch, $3.OO The King's daughter, Amneris, enters, and seeing the young warrior's glowing enthusiasm, delicately hints of her secret affection for him, saying : AMNERIS: What unwonted fire in thy glance! With what noble pride glows thy face ! Worthy of envy oh, how much Would be the woman whose beloved aspect Should awaken in thee this light of joy! Rhadames begins to explain his hope of securing the command of the expedition, when Aida enters, and the young soldier's expressive glance reveals to Amneris his love for the Egyptian slave. The King and his guards enter and receive a messenger, who reports that Egypt has been invaded by the Ethiopian army, under the command of Amonasro. ("My father!" exclaims Aida aside.) Amid great excitement Rhadames is appointed leader of the army, and is presented with a banner by Amneris. The King begins another trio, urging the Egyptian forces to guard with their lives the sacred Nile. 16 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A Su ! del Nilo (Nilus' Sacred Shores !) By Elena Ruszcowska. Soprano: Maria Cappiello, Mezzo-Soprano : Tapergi and Davi (In Italian > 88266 12-inch. $3.OO Following the trio comes a grand chorus : To battle! We'll bunt the invader down. On! Rhadames, thy brow may laurels crown! All depart to prepare for the expedition, while Aida, left alone, gives way to her grief and sings the beautiful Ritorna oincitor, expressing her conflicting emotions. .Ritorna vincitor (Return Victorious!) By Johanna Gadski, Soprano (In Italian) 88137 12-inch, $3.OO AIDA: Return victorious! And from my lips Went forth the impious word! Conqueror Of my father of him who takes arms For me to give me again A country; a kingdom; and the illustrious name Which here I am forced to conceal! The insane word forget, O gods; Return the daughter To the bosom of her father; Destroy the squadrons of our oppressors!. . . What am I saying? And my love, Can I ever forget This fervid love which oppresses and enslaves, As the sun's ray which now blesses me? Shall I call death on Rhadames On him whom I love so much? Ah! Never on earth was heart torn by more cruel agonies! She gives way to her emotion for a brief moment, then sings the lovely and appealing CADSKI AS I sacri nomi (The Sacred Names) By Celestina Boninsegna, Soprano 88223 Rousing herself, she calls on her gods for aid and goes slowly out as the curtain falls. SCENE II The Temple of Vulcan in the centre an altar, illuminated by a mysterious light from above Ramfis, the High Priest, and the priests and priest- esses have assembled to bless the expedition. The chant in praise of Plah is heard from an invisible choir. Rhadames enters and receives the consecrated veil. RAMFIS: Mortal, beloved of the gods, to thee Is confided the fate of Egypt. Let the holy sword Tempered by the gods, in thy hand become To the enemy, terror a thunderbolt-death! RHADAMES: God, who art leader and arbiter Of every human war. Protect thou and defend The sacred soil of Egypt ! Nume, custode e vindice (God, Guardian and Avenger) By Antonio Paoli, Tenor; Perello de Segurola, Bass; and Chorus (In Italian) 88268 12-inch. $3.OO (In Italian) 12-inch, $3.00 KAMKS AS AIDA VICTOR BOOK OF THE OPER A V E R D I S A I D A Ramfis then sings the closing invocation, in which RhaJames joins. He is invested with the sacred armor, and as the priestesses perform the mystic dance the curtain slowly falls. ACT II SCENE I A hall in Amneris' apartments The curtain rises, showing the Princess and her slaves, who are adorning her for the triumphal festival in honor of Rhadames, just returned with his victorious army. Amneris and the slaves sing the ode to the returned hero. Chi mai fra (His Glory Now Praise) By Maria Capiello, Mezzo-Soprano, and Chorus (In Italian) *55005 12-inch, $1.50 Seeing Aida approaching, the Princess dismisses her slaves and prepares to enjoy her revenge. This scene is expressed in a splendid duet, given here in two records by Mmes. Gadski and Homer, and also by Mmes. Ruszcowska and Lavin de Casas, of the La Scala forces. Fu la sorte dell' armi CNeath the Chances of Battle) By Johanna Gadski, Soprano, and Louise Homer, Contralto (In Italian) 89O24 12-inch, $4.00 By Elena Ruszcowska, Soprano, and Bianca Lavin de Casas, Mezzo-Soprano (In Italian) 88262 12-inch, 3.OO Alia pompa, che s'appreste (In the Pageant Now Preparing) By Johanna Gadski, Soprano, and Louise Homer, Contralto (In Italian) 89025 12-inch, $4.00 Ebben qual nuovo fremito (What New Alarm ?) By Elena Ruszcowska. Soprano, and Bianca Lavin de Casas, Mezzo-Soprano (In Italian) 88263 12-inch, $3.OO Amneris pretends to sympathize with the afflicted girl, saying: AMNERIS: The late of arms was deadly to thy people. Poor Aida! The grief Which weighs down thy heart I share! I am thy friend; Time will heal the anguish of thy heart, And more than time a powerful god love. Amneris, having thus by her pretended sympathy gained Aida's confidence, determines to betray her into a declaration of her love for Rhadames, and suddenly announces that he has been killed in battle. Aida, over- come with grief, reveals plainly that she loves the young soldier. AMNERIS (aside) : This death-like pallor, this strong emotion, Plainly reveal the fever of love! Amneris then throws off her mask of friendliness, and gloating in her victory, confesses that she has spoken falsely and that Rhadames lives. Then, stung to fury by Aida's joy, she exclaims: OTO BERI HOMER AS AMNERIS COPY'I MISMKIN DALMORES AS RHADAMES * Doubk-FaceJ Record For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 25. 19 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A AMNERIS: AMNERIS: Tremble! I read thy secret, Tremble, vile minion! be ye heartbroken, Thou lov'st him! lie no longer! Warrant of death this love shall betoken! I love him too dost thou hear? In the pomp which approaches, I am thy rival, daughter of kings Egyptian. With me, O slave, thou shall assist; Thou prostrate in the dust AIDA: I on the throne beside the King; Thou my rival? 'tis well, so be it Come, follow me, and thou shall learn Ah, what have I said? forgive and pity, If thou canst contend with me! Ah, let this mv sorrow thy warm heart move. AIDA: 'Tis true I adore him with boundless love Ah, pity! What more remains to me? Thou art so happy, thou art so mighty, My life is a desert; I cannot live hence from love apart! This love which angers thee In the tomb I will extinguish! Always a highly impressive number, this duet is doubly so when rendered by such famous exponents of the parts of Aida and Amneris. Mme. Gadski's Aida is one of her most effective roles splendidly acted and vocally perfect ; while Mme. Homer's impersona- tion of the Egyptian Princess is always a thrillingly dramatic one. The rendition by the two La Scala artists is one of the finest which has come to us from Milan. SCENE II- Without the City Walls The scene changes to a gate of the city of Thebes. The King and his court are assembled on a magnificent throne to receive the conquering army. A splendid chorus is sung by people and priests. The Egyptian troops, preceded by trumpeters, enter, followed by chariots of war, ensigns, statues of the gods, dancing girls carrying treasures, and finally Rhadames, under a canopy borne by twelve slaves. KING (descending from the throne to embrace (Rhadames bows before Amneris, who places Rhadames): the crown upon him.) Saviour of our country, I salute thee. Now ask of me Come, and let my daughter with her own hand What thou most wishest. Nothing denied to Place upon you the triumphal crown. thee On such a day shall be I swear it By my crown, by the sacred gods! The prisoners enter, including Amonasro, -who is dressed as an officer. Aida sees him and cries, "What do I see! My father!" All are surprised, and Amonasro signals to Aida not to betray his rank. Amonasro then sings his recital : Quest' assisa ch'io vesto (This Dress Has Told You) By Ernesto Badini, Baritone; Sra. Fabris, Soprano; Lavin de Casas, Mezzo- Soprano; Egidio Cunego, Tenor (In Italian) 88264 12-inch, $3.00 AMONASRO: I am her father. I went to war. Lay the King, transfixed by many wounds; Was conquered, and death I sought in vain. If the love of country is a crime (Pointing to his uniform) We are all criminals all ready to die! This habit I wear may tell you (Turning to the King with a supplicating That I have defended my king and my coun- accent) try. Rut thou. O King, thou powerful lord, Fate was hostile to our arms; Be merciful to these men. Vain was the courage of the brave! To-day we are stricken by Fate, At my feet, in the dust extended. To-morrow Fate may smite thee! The people and prisoners appeal to the King for mercy, while the priests demand that the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of his vow, and demands life and liberty for the captured Ethiopians. The King yields, stipulating only that Aida and her father be held as hostages, and then announces that Rhadames shall have the hand of Amneris as his reward. The magnificent finale then follows, Aida and Rhadames gazing at each other in despair, Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his captors. The curtain falls amid general rejoicing. ACT III SCENE I A moonlight night on the banks of the Nile the Temple of Isis can be seen, half concealed by palm trees As the curtain rises on this beautiful scene, a chorus within the Temple is heard in a chant of praise. 20 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A O tu che sei d'Osiride (Oh, Thou Who Art Osiris) By Maria Cappiello, Soprano, and Chorus (In Italian) *55OO5 12-inch, $1.50 A boat approaches, bearing Rhadames and Amneris, who go into the Temple. Aida, veiled, cautiously enters, hoping that Rhadames will come thither, and sings a tender and despairing song of that lovely land which she may never see again. O patria mia (My Native Land) By Johanna Gadski, Soprano (In Italian) 88042 12-inch, $3.0O By Emmy Destinn. Soprano (In German) 92O58 12-inch. 3.OO By Celestina Boninsegna. Soprano (In Italian) 88239 12-inch. 3.OO AIDA: O native land, no more to thee shall I return! O skies of tender blue, O soft airs blowing, Where calm and peaceful my dawn of life pass'd o'er, O hills of verdure, O perfum'd waters flowing, O home beloved, I ne er shall see thee more ! O fresh and fragrant vales, O quiet dwelling, Promise of happy days of love that bore. Now hope is banish'd, love and yonder dream dispelling, O home beloved, I ne'er shall see thee more! Three fine renditions of this air, one of the most effective in the opera, are given here by three celebrated prima donnas, all of whom have been seen in America in the part of Aida. Amonasro appears and reproaches his daughter with her love for his enemy Rhadames, telling her with significant emphasis that she e may behold her native land again if she wishes. DESTINN AS AIDA Rivedrai le foreste imbalsamate (Thou Shalt See Again the Balmy Forests) By Elena Ruszcowska, Soprano, and Giuseppe Maggi, Baritone (In Italian) 88267 12- inch, $3.OO He tells her that his people have risen again, and proposes that she shall influence Rhadames to betray the plans of his army in the new campaign. She at first refuses, but he bids her be true to her country, and pictures the sufferings of her people. Su, dunque ! (Up, Then !) By Elena Ruszcowska, Soprano, and Ernesto Badini. Baritone (In Italian) 88265 12-inch, $3.OO With growing excitement he describes the consequences of her refusal. AMONASRO (vith savage rage): Up, then ! Rise, Egyptian legions! With fire destroy our cities Spread terror, carnage and death. To your fury there is no longer check! AIDA: Ah, father! AMONASRO (repulsing her): Nfy daughter Dost thou call thyself? DtSTINN AND SCOTTI IN AIDA * Double-FaceJ Record For title of opposite siJe tee DOUBLE-FACED AIDA RECORDS, page 25. 21 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A AIDA (terrified and suppliant) : Pity! AMONASRO: Rivers of blood pour On the cities of the vanquished Seeth thou? From the black gulfs The dead are raised To thee they point and cry; For thee the country dies! AIDA: Pity! AMONASRO: A horrible ghost Among the shadows to us approaches Tremble! the fleshless arms Over thy head it raised - Rhadames repulses him, It is thy mother recognize her She curses thee! AIDA (in the greatest terror) : Ah, no! Father! AMONASRO (repulsing her) : Go, unworthy one! Thou'rt not my offspring Thou art the slave of the Pharaohs! AIDA (yielding) : Father, their slave I am not Reproach me not curse me not; Thy daughter again thou canst call me Of my country I will be worthy! AMONASRO: Courage! he comes there, I shall hear all. (Conceals himself among the palm, trees.) now enters and tries to embrace her, but she saying bitterly : ZERO LA AS RHADAMES AMONASRO: No; thou art not guilty It was the will of fate. Come; beyond the Nile await AIDA: The rites of another love await thee, Thou spouse of Amneris! He protests that he loves Aida alone, but she bids him prove his affection by fleeing with her. AIDA: Ah! fly with me, and leave behind These deserts bare and blighted; Some country, new and fresh to find, Where v/e may love united. There, 'mid virgin forest groves, By fair sweet flow'rs scented, In quiet joy contented, the world will we forget! He finally consents, and reveals to her that the army will go by the pass of Napata. Amonasro, who has overheard, now enters, and Rhadames is horrified at the knowledge that he has betrayed the army to the King of Ethiopia. His scruples are finally overcome, Amonasro saying: The brave men devoted to us; There the vows of thy heart Shall be crowned with love. Amneris, coming from the temple, pauses behind a pillar and overhears the final words. Mad with jealousy, she rushes in and denounces the guilty trio. Aida and Amonasro escape but Rhadames is taken in custody as a traitor. ACT IV SCENE I A room in the Palace on one side a door leading to Rhadames' prison cell The curtain rises, disclosing Amneris in an attitude of despair. She is torn between her love for Rhadames and a desire for vengeance, and finally orders the prisoner brought before her. AMNERIS (bitterly musing) : My rival has escaped me And Rhadames awaits from the priests The punishment of a traitor. Traitor he is not, though he revealed The high secret of war. He wished to fly To fly with her traitors all! To death, to death! Oh, what am I saying? I love him Oh! if he could love me! I would save him but how? Let me try. Guards, Rhadames COmeS. RHADAMES DENOUNCED AS A TRAITOR 22 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A Rhadames enters, and the first great duet of the act occurs. Gia i sacerdoti adunansi (The Priests Assemble) By Louise Homer and Enrico Caruso (In Italian) 89O5O 12-inch, $4.OO By Pietracewska and Barrera (In Italian) 88269 12-inch. 3.OO Aida a me togliesti ( Aida Thou Hast Taken) By Louise Homer and Enrico Caruso (In Italian) 89O51 12-inch, $4.OO Amneris tells him that Amonasro is dead, that Aida has disappeared, and offers to save his life if he will renounce his love. He scorns the proposal, resolving to die rather than be false to his Ethiopian Princess. AMNERIS: Renounce Aida forever And thou shalt live! RHADAMES: I cannot do it! AMNERIS: VVouldst die, then, madman? RHADAMES: I am ready to die. AMNERIS: Who saves thee, O wretch, From the fate that awaits thee? To fury hast thou changed A love that had no equal. Revenge for my tears Heaven will now consummate! The guards now appear and conduct Rha James to the judgment room. The ensuing scene is a highly dramatic and impressive one. Ohime! Morir mi sento (Ah, me ! Death Approaches !) By Lavin de Casas. Mezzo-Soprano ; Rizzo Sant' Elia, Bass ; and Chorus (In Italian) 88270 12-inch. $3. OO Amneris, seeing Rhadames taken out by the Priests, repents her harshness and sinks down desolate on a seat. AMNERIS (falling on a chair, overcome): Ah me! Death's hand approaches! who now will save him? He is now in their power. His sentence I have sealed Oh, how I curse thee, Jealousy, vile monster, thou who hast doomed him To death, and me to everlasting sorrow! (Turns and sees Ramfis and the Priests, who cross the stage and enter the subterranean hall.) What see I? Behold of death The ministers fatal, his merciless judges. THE DESPAIR OF AMNERIS ACT IV Ah, let me not behold those white robed phantoms! (Covers her face with her hands. The voice of Ramfis can be heard within.) RAMFIS: Rhadames, Rhadames: thou hast betrayed Of thy country the secrets to aid the foeman: PRIESTS: Defend thyself! RAMFIS: Rhadames, Rhadames: and thou wast absent From the camp the very day before the combat ! PRIESTS: Defend thyself! RAMFIS: Rhadames, Rhadames: and thou hast played The part of a traitor to King, and to honor! PRIESTS: Defend thyself! RAMFIS: He is silent. ALL: Traitor vile: RAMFIS: Rhadames, we thy fate have decided, Of all traitors the fate shall be thine 'Neath the altar whose God thou'st derided Thou a sepulchre living shall find. AMNERIS: Find a sepulchre living! Hated wretches! Ever venpeful, blood-thirsty and blind! 23 VICTOR BOOK OF THE OPER A V R D I ' S A I D A Sacerdoti, compiste un delitto ! (Priests, a Crime You Have Enacted !) By Lavin de Casas. Mezzo-Soprano ; F. Rizzi, Bass; and Chorus (In Italian) 88323 12-inch, $3.0O The priests now enter from the crypt and pass across the hall. The wretched woman denounces them. Priests of Heaven, a crime you have enacted, AMNERIS: Tigers even in bloodshed exulting, Impious priesthood, curses light on ye all! Earthly justice and Heaven's you are insulting, On your heads Heaven's vengeance will fall! On the guiltless your sentence will fall! (Exit wildly.) PRIESTS: (Departing slowly.) None can his doom recall! This is one of the most impressive records of the Aida series. The despair of the wretched Jlmneris, and the solemn reply of the unbending priests are wonderfully expressed by Verdi. SCENE II Interior of (he Temple of Vulcan below a Subterranean Apartment ' ' The worff finishes in serenity and peace, and such terminations are the most beautiful. Above, the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent gods ; below, two human beings dying in each other 's arms. Their song of love and death is among the most beautiful of all music. ' ' Camille Bellaigue. When we hear the expression " the duet from Aida," our thoughts always instinctively turn to this number at the close of the work. There are other duets in the opera, some of them fine numbers, but this is the great one perhaps the most intensely dramatic and melodiously beautiful of all Verdi's writings. La fatal pietra (The Fatal Stone) By Johanna Gadski, Soprano, and Enrico Caruso, Tenor (In Italian) 89O28 12-inch, $4.OO By Nicola Zerola, Tenor (Part of scene " To die, so pure and lovely !") (In Italian) 74225 12-inch, 1.5O This last scene is a highly picturesque one. Above we see the splendid Temple of Ptah, where priests and priestesses are chanting their strange songs. Below, a dark vault, in whose depths Rhadames is awaiting with patience a slow death by starvation. RHADAMES (despairingly) : The fatal stone upon me now is closing! Now has the tomb engulf'd me! The light of day no more shall I see! No more behold Aida! Aida, where art thou now? Whate'er befall me, may'st thou be happy! Ne'er may my frightful doom be told to thine ear! (Then suddenly in the shadoivs he sees a form it is Aida, who has secreted herself in the crypt that she may die with her lover.) What moan was that? Is't a phantom, or vision dread? No! 'tis a human being! Heaven! Aida! AIDA: Yes! RHADAMES (in great desperation) : Thou, with me here buried! AIDA: My heart foreboded this, thy dreadful sen- tence. And to this tomb that shuts on thee its portal, I crept, unseen by mortal. Here, free from all, Where none can more behold us, Clasp'd in thy arms, love, I resolved to perish! RHADAMES: To die! so pure and lovely! To die! thyself thus dooming, In all thy beauty bloonvng, Fade thus forever! Thou, whom the gods alone for love created; Yet to destroy thee, was my love then fated i Thou shalt not die! so much I love thee, Thou art too lovely! 24 VICTOR BOOK OF THE OPER A V E R D I ' S A I D A AIDA (transported) : See'st thou where death, in angel guise. With heavenly radiance beaming. Would waft us to eternal joys, On golden wings above! I see heaven's gates are open wide Where tears are never streaming, Where only bliss and joy reside. The bliss and joy of never fading, endless love! The lovers sing their plaintive farewell to earth in hauntingly lovely strains, while in strange contrast the heathen chanting continues above. O terra addio (Farewell, Oh, Earth) By Johanna Gadski, Soprano, and Enrico Caruso. Tenor (In Italian) 89O29 12-inch. $4.00 AIDA AND RHADAMES: Farewell, C earth. Farewell, thou dark vale of sorrow, Brief dream of joy. Condemned to end in woe! See, orightly opens for us. Brightly opens now the sky, and endless mor- row. There, all unshadow'd, shall eternal glow! (Curtain) DOUBLE-FACED AND MISCELLANEOUS AIDA RECORDS Chi mai fra (His Glory Now Praise) By Maria Cappiello, Mezzo-Soprano, and Chorus (In Italian) 550O5 12-inch, $1.5O O tu che sei d'Osiride (Oh. Thou "Who Art Osiris) By Maria Cappiello, Mezzo-Soprano, and Chorus (In Italian) /Celeste Aida (Heavenly Aida) Trombone By Arthur Pryor) \I1 Guarany Overture By Pryor's Band/ I The Fatal Stone Cornet-Trombone By Arthur Pryor,Emil Kenekeand Pryor's Band p5 ISO 12-inch, Serenade ( Till) 'Cello-Flute By Louis Heine and Darius Lyons] /Aida Fantasia By Police Band of Mexico) ,,_. _ By Police Band of Mexico]* 4 ' By Pryor's Band) By Kryl's Bohemian Band} By Pryor's Orchestra 31359 \ Cascades of Roses Waltz (Aida Selection \ Attila Grand Trio Aida Selection (Finale. Act II) Marcha Triunfal (Triumphal March) 1 By Garde Republicaine Band I (In Italian) By Gustavo Berl-Resky, Baritone] 12-inch, 1.25 1.25 12-inch, 1.25 35195 12-inch, 12-inch, T T j- / 1 osca / osca dwwa ! 1.25 1.00 .75 (Italian) IL BARBIERE DE SIVIGLIA (.Eel Bar-bee-yaii' day See-oeet -yah) (English) BARBER OF SEVILLE COMIC OPERA IN TWO ACTS Text by Sterbini, a Roman poet, founded on the celebrated trilogy of Beaumarchais. Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816. First London production March 10, 1818. First New York production November 29, 1825. The opera was at first called "Almaviva, or the Useless Precaution," to distinguish it from Paisiello's " Barber of Seville." Cast COUNT ALMAVIVA (Ai-mah-oee' -oah) Tenor BARTOLO, (Bahr -to-low) physician Bass ROSINA, his ward Soprano BASILJO, (Ba-zee -lee-oh) music master Bass MARCELLINE (Mar^hei-ie 1 '. na ) Soprano FIGARO (Fee -gah.row) Baritone FlORELLO, servant to the Count Tenor A Notary, Chorus of Musicians, Chorus of Soldiers Scene and Period : Seville, the seventeenth century. Rossini's opera is a marvel of rapid composition, having been composed in about fifteen days! This seems almost incredible, but the fact is well authenticated. The composer had agreed to write two operas for the Roman carnival of 1816, the first of which was produced December 26, 1815, and on that day he was told that the second would be required on Jan- uary 20, 1816. He agreed to have it completed, although he did not even know what the subject was! The libretto was given to him by Sterbini in sections, and he wrote the music as fast as the verses were furnished. While the opera did not achieve an instantaneous suc- cess, it gradually found favor with opera-lovers on account of its brightness and the manner in which the humor of its action is reflected in the music. The plot of Barber of Seville is very simple. The Count Almaviva loves Rosina, the ward of Dr. Bartolo, a crusty old bachelor who secretly wishes to wed her himself. Almavioa per- suades the village barber, Figaro, to arrange a meeting for him, and gains entrance to the house disguised as a dragoon, but is arrested by the guardian. Not discouraged, he re- turns, pretending to be a sub- stitute for Rosina' s music teacher, who, he says, is ill. The appearance of the real Don Basilio spoils the plan, and the Count retreats for the second time, having, however, arranged a plan for elopement. Bartolo finally arouses Rosina's jealousy by pretend- ing that the Count loves another, and she promises to forget him and marry her guardian. When the time for the elopement arrives she meets the Count, intending to reproach him, but he con- vinces her of the base plot SETTING OF ACT i, SCENE i, AT LA SCALA of Bartolo, and the lovers are wedded by a notary, just as Bartolo arrives with officers to arrest the Count. 26 VICTOR BOOK OF THE OPERA BARBER OF SEVILLE Overture By La Scala Orchestra 68O1O 12-inch, $1.25 ACT I SCENE I A Street in Seville. Day is Breaking The Count, accompanied by his servant Fiorello and several musicians, enters to serenade the beautiful Rosina. Accompanied by the mandolins, he sings his serenade, Ecco ridenle, considered one of the most beautiful numbers in the opera. Ecco ridente (Dawn, W^ith Her Rosy Mantle) By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 76OOO 12-inch, $2 OO By Florencio Constantino, Tenor (In Italian) 74073 12-inch, 1.5O COUNT: Lo!* smiling' in the Orient sky, But, hush! tnethinks I view that face, Morn in her beauty breaking, And all my doubts are vanished; Canst thou, my love, inactive lie Thine eyes diffuse soft pity's grace. My life, art thou not waking? And all my fears are banished. Arise, my heart's own treasure, Oh, rapturous moment of delight! All that my soul holds dear; All other blisses shaming; Oh! turn my grief to pleasure! My soul's content, so pure and bright, Awake, my love, appear! On earth no equal claiming! Even such a lovely serenade as this fails to bring a response from the window, and the Count retires discomfited. Enter Figaro, the jack-of-all-trades of the village and general factotum in the house of Bartolo, with his guitar. He sings that gayest and most difficult of all airs, the joy or despair of baritones the world over, and which has been recorded for the Victor by three famous baritones. Largo al factotum (Room for the Factotum) By Pasquale Amato, Baritone (In Italian) 88329 12-inch, $3.OO By Emilio de Gogorza, Baritone (In Italian) 88181 12-inch, 3.OO By Titta Ruffo. Baritone (In Italian) 92039 12-inch, 3.OO Figaro is thoroughly satisfied with himself, and gives a long list of his numerous accomplishments, of which the following is a sample : FIGARO: Room for the city's factotum here, La, la, la, la, la, la. I must be off to my shop, for the dawn is near, La, la, la, la, la. la. What & merry life, what pleasure gay. Awaits a barber of quality. Ah, brave Figaro; bravo, bravissimo, brave. La, la, la, la, la, la. Of men, the happiest, sr.re, art thcu, bravo. CAMPANAEI AS FiGAKo I. a, la, la, la, la, la, etc. "Oh! what a happy life," soliloquizes the gay barber, "what pleasure awaits a barber of quality! Oh, bravo. Figaro, bravo, bravissimo: thou art sure the happiest of men, ready at all hours of the night, and, by day, perpetually in bustle and motion. What happier region of delight; what nobler life for a barber than mine! Razors, combs, lancets, scissors behold them all at my command! besides the snug perquisites of the business, with gay damsels and cavaliers. All call me! all want me!^-dames and maidens old and young. My peruke! cries one my beard! shouts another bleed me! cries this this billetdoux! whispers that. Figaro, Figaro! heavens, what a crowd. Figaro, Figaro! heavens, what a tumult! One at a time, for mercy sake! Figaro here: Figaro there: Figaro above: Figaro below. I am all activity: I am quick as liehtning; in a word I am the factotum of the town. Oh, what a happv life! but little fatigue abundant amuse- ment with a pocket that can always boast a doubloon, the noble fruit of my reputation. But I must hasten to the shop!" 27 VICTOR BOOK OF THE OPERA BARBER OF SEVILLE THE DISGUISED COUNT AND BARTOLO IN SCENE II Three fine records of this great air are given here. Ruffo, in his rendition, proves himself pos- sessed of an admirable sense of humor, and this, with his powerful and flexible voice, enables him to attack this difficult solo in the true opera bouffe vein. The result is as fine a performance of the Largo as one would wish to hear. The ex- treme difficulties are made a vehicle for the display of the baritone's ample vocal resources, which sweep everything before them ; he is indeed a little free with the text, and sings snatches of the accompaniment out of sheer bravado, while bits of comic characterization peep out at every avail- able opportunity. This rendition is a fine example of how the music of this air should be sung, and is a veritable triumph for the singer. Signor de Gogorza's version differs from Ruffo's in many respects. It is one of the finest records he has made for the Victor, and exhibits his fine voice and wonderful execution to per- fection. The Count now returns and accosts Figaro, asking him to arrange a meeting with Rosina, telling him that his rank must not be known and that he has assumed the name of Lindor. II mio nome ? (My Name ?) By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 6600O 10-inch, $1.5O Figaro consents to become his ally. Rosina and her guardian come on the balcony, and Rosina, perceiving the Count, manages to drop a note, which he secures. Bartolo leaves the house and orders that no one be admitted. Figaro now says that he is expecting a military friend to arrive in the village, and suggests the Count dress himself as this soldier and thus gain admittance to the house. He agrees, and retires to assume the disguise. SCENE II A Room in Bartolo's House Rosina is discovered holding in her hand a letter from the Count. She is agitated and expresses her feelings in her celebrated entrance song. Una voce poco fa (A Little Voice I Hear) By Marcella Sembrich, Soprano (In Italian) 88097 By Luisa Tetrazzini, Soprano (In Italian) 88301 By Maria Galvany, Soprano (In Italian) 8706O By Alice Nielsen, Soprano (In Italian) 74074 By Giuseppina Huguet, Soprano (In Italian) *68144 The number is in the form to which most Italian compos- ers of the period adhered a slow opening section (here accompanied by occasional chords for the orchestra) succeeded by a quicker movement culminating in a coda which presents many opportunities for brilliant vocal display. Musically the aria is full of charm, and is deservedly popular with those singers whose method enables them to deliver it with the requisite lightness and bravura. KOSINA: A little voice I heard just now: My guardian sure will ne'er consent; Oh, it has thrill'd my very heart! But I must sharpen all my wit: I feel that I am wounded sore; Content at last, he will relent, And Lindor 'twas who hurl'd the dart. And we, oh, joy! be wedded yet. Yes, Lindor, dearest, shall be mine! Yes, Lindor I have sworn to love! I've sworn it, and we'll never part. And, loving, we'll our cares forget. * Double-FaceJ Record For title of opposite side see DOUBLE-FACED BARBER OF SEVILLE RECORDS, page3l. 28 12-inch, $3.00 12-inch, 10-inch, 2.00 12-inch, 12-inch, 3.00 1.50 1.25 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, Spanish or American prima donna. Rosina runs out as her guardian and Don Basilio come in. Bartolo is telling Basilio that he wishes to marry his ward, either by love or force. Basilio promises to help him, and says that the Count is trying to make Rosina's acquaintance. They decide to invent some story that will disgrace him. "A calumny ! " says Basilio. Bartolo asks what that is, and Basilio, in a celebrated air gives his famous description, which is a model of its kind. La calunnia (Slander's "Whisper) By Marcel Journet, Bass (In Italian) 74104 12-inch, $1.5O BASILIO: Oh! calumny is like the sigh Of gentlest zephyrs breathing bv; How softly sweet alone the pround. Its first shrill voice is heard around. Then passing on from tongue to tongue, It gains new strength, it sweeps along In giddier whirl from place to place, And gains fresh vigor in its race; Till, like the sounds of tempests deep, That thro' the woods in murmurs sweep And howl amid their caverns drear, It shakes the trembling soul with fear. Thus calumny, a simple breath. Engenders ruin, wreck and death; And sinks the wretched man forlorn, Beneath the lash of slander torn, The victim of the public scorn! (They go out.) ICH AS ROSINA Rosina and Figaro return, and the barber tells her that her guardian is planning to marry her. She laughs at the idea, and then asks Figaro who the young man was she observed that morning. Figaro tells her his name is Lindor, and that he is madly in love with a certain young lady, whose name is Rosina. Dunque io son (What ! I ?) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 92501 12-inch, $4.OO ROSINA: What! I ? or dost thou mock me? Am I, then, the happy being? ( Hut I all the scheme foreseeing, Knew it, sir, before yourself) ; FIGARO: Yes, Lindor loves you, lady; Oft, he sighs for his Rosina. (As a fox she cunning seems. Ah, by my faith, she sees thro' all) , ROSINA: Still one word, sir to my Lindor How shall I contrive to speak? FICARO: 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 ma c ter! 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: 29 VICTOR BOOK OF THE OPERA BARBER OF SEVILLE NIELSEN AS ROSINA Manca un foglio (Here's a Leaf Missing) By Arcangelo Rossi, Bass (In Italian) *68144 12-inch. $1.25 BARTOLO : To a doctor of my rank, These excuses, Signorina, I advise another time That you better should invent. Why is the paper missing? That I would wish to know. Useless, ma'am, are all your airs Be still, nor interrupt me so. Another time, sweet Signorina, When the doctor quits his house He will carefully provide For the keeping you inside. And poor innocent Rosina, Disappointed, then may pout: In her room shall she be locked, Till I choose to let her out. (He goes out in a rage, followed by Rosina, who is laughing.) A loud knocking is heard at the street door, it is the Count in his soldier disguise. He pushes his way in, and insists that the commandant has ordered him to put up in Bartolo 's house. A long scene follows, full of comedy, finally ending in the arrest of the Count, who, however, privately informs the officer who he is; and the astonished official salutes respectfully and takes his soldiers away. Bartolo is in such a rage that he can hardly speak, and the act ends with the famous quartet : Guarda Don Bartolo (Look at Don Bartolo) By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone: Gaetano Pini-Corsi, Tenor; Ernesto Badini, Baritone *63171 10-inch, $0.75 ACT II SCENE A Room in Bar tola'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 10-inch, $0.75 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 celebrated "Lesson Scene" in which Rosina usually interpolates an air. Rossini wrote a trio for this scene, but in some manner it was lost. Figaro now comes in to shave Bartolo, and in the course of the scene contrives to secure the key to the balcony. At this moment all are petrified at the entrance of Don Basilio, who is supposed to be confined to his bed. Figaro sees that quick action is necessary and asks him what he means by coming out with such a fever. " Fever ? " says the astonished music master. "A raging fever," exclaims Figaro, feeling his pulse. "You need medicine," says the Count, meaningly, and slips a fat purse in his hand. Don Basilio partially compre- hends the situation, looks at the purse and departs. The shaving is renewed, and Rosina and the Count pretend to continue the lesson, but are really planning the elopement. Bartolo tries to watch them, but Figaro manages to get soap in the Doctor's eye at each of his efforts to rise. He finally jumps up and denounces * Double-Faced Record For title of opposite side see double-faced list on page 3 1 . 30 VICTOR BOOK OF THE OPERA BARBER OF SEVILLE the Count as an impostor. The three conspirators laugh at him, and go out, followed by Barlolo, who is purple with rage. This scene is amusingly pictured in a fresco in the Vienna Opera, which is reproduced on page 26. Bertha, the housekeeper, enters, and in her air, // vecchietto, complains that she can no longer stand the turmoil, quarreling and scolding in this house. II vecchietto cerca moglie (The Old Fool Seeks a Wife) By Emma Zaccaria (Doable-Faced See below) (In Italian) 621O5 10-inch. $0.75 "What kind of thing is this love which drives everybody crazy?" she asks. This air used to be called in Rome Aria di sorhetto (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 Almavioa. 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 LinJor of pretending to love her in order to sacrifice her to the vile Count Almaoioa. The Count reveals himself and the lovers are soon clasped in a fond embrace, -with Figaro in a "Bless you, my children," attitude. Don Basilio, -who had been sent for a notary by Bartolo, now arrives. The Count demands that the notary shall wed him to Rosina. Basilio protests, but the sight of a pistol in the Count's hand soon silences him. This scene is rudely interrupted by the arrival of Bartolo and the soldiers. The officer in charge demands the name of the Count, who now introduces Signor and Signora Almaoioa to the company. Bartolo philosophically decides to make the best of the matter. However, Wf he inquires of Basilio: BAKTOLO: But you, you rascal Even you to betray me and turn witness! BASILIO: Ah! Doctor, The Count has certain persuasives And certain arguments in his pocket, Which there is no withstanding! BAKTOLO: Ay, ay! I understand you. Well, well, what matters it? Go; and may Heaven bless you! FIGAKO: Bravo, bravo. Doctor! Let me embrace you ! ROSINA: Oh, how happy we are! COUNT: Oh, propitious love! FIGAKO: Young love, triumphant smiling, All harsher thoughts exiling, All quarrels reconciling, Now waves his torch on high! (Curtain) courr HiSHnit SAM MARCO AS FIGARO DOUBLE-FACED BARBER OF SEVILLE RECORDS By Pryor's Band) 12-inch. H.25 By Pryor s Band) By La Scala Orchestral , golo By La Scala Orchestra) /Barber of Seville Selection \ Prophete Fantasie /Overture \ Don Pasquale Sinfonia (Donizetti) /Manca un foglio (Here's a Leaf Out) By A. Rossi, Bass),. . . (Una voce poco fa By Giuseppina Huguet. Soprano/ {Guarda Don Bartolo (Look at Bartolo) By Huguet, A. and] G. Pini-Corsi. and Badini (In Italian) [63 1 7 1 Fra 'Diaoolo Agnese la Zielella By Pietro Lara (In Italian)} ill vecchietto cerca moglie By Emma Zaccaria |Pace e gioia By A. Pini-Corsi and Perea (In 31 12-inch. 1.25 12-inch, 1.25 lO-inch, .75 10-inch. .75 (French) LA BOHEME (La Bont-haym') OPERA IN FOUR ACTS (English) THE BOHEMIANS Text by Giacosa and Illica ; music by Puccini. First produced at the Teatro Reggio, Turin, February I, 18%. In English, as "The Bohemians," at Manchester (Carl Rosa Com- pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same year. In Italian at Covent Garden, July 1, 1899. First American production, November 28, 1899. Characters RUDOLPH, a poet Tenor MARCEL, a painter Baritone 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 MlMI, 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 Mtirger's La Vie Boheme, which depicts life in the Quartier Latin, or the Students' Quarter, in 1830. It being impossible to weave a complete story from 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. The principal characters in Puccini's delightful opera are the inseparable quartet described by Murger, who with equal cheerfulness defy the pangs of hunger and the landlord of their little garret. In the scenes of careless gaiety is interwoven a touch of pathos ; and the music is in turn lively and tender, with a haunting sweetness that is most fascinating. Rudolph, a poet; Marcel, a painter; Colline, a philosopher; and Schaunard, a musician, are four friends who occupy an attic in the Quartier Latin, where they live and work together. Improvident, reckless and careless, these happy-go-lucky Bohe- mians find a joy in merely living, being full of faith in themselves. ACT I SCENE A Garret in the Quartier Latin The opening scene shows the four friends with- out money 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 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) THE FOUR BOHEMIANS 88233 12-inch, $3.OO 32 VICTOR BOOK OF THE OPERA PU CCINI'S LA BOHEME COPY'I DUPOI CAMPANARI AS MARCEL Rudolph says that in order to keep them from freez- ing he will sacrifice the bulky manuscript of his tragedy. Marcel holds the landlord at bay until Schaunard arrives with an unexpected store of eatables. Having dined and warmed themselves, Marcel, Colline and Schaunard go out, leaving Rudolph writing. A timid knock at the door reveals the presence of Mimi, a young girl who lives on the floor above. She has come to ask her neighbor for a light for the candle, which has gone out. They enter into conversation, and when Mimi artlessly asks Rudolph what his occupation is, he sings the lovely air usually termed the " Narrative." Racconto di Rodolfo (Rudolph's Nar- rative) By Enrico Caruso, Tenor (In Italian) 88002 12-inch. I3.0O By John McCormack, Tenor (In Italian) 74222 12-inch. 1.5O By Florencio Constantino, Tenor (In Italian) 741O6 12-inch. 1.5O By George Hamlin, Tenor (In Italian) 74185 12-inch, 1.5O By Evan "Williams. Tenor (In English) 74129 12-inch, 1-5O Caruso has never done anything more perfect in its way than his superb delivery of this number. It is one of his great scenes in the opera, and always arouses the audience to a high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which holds one spellbound. The tender sympathy of the opening " Your little hand is cold " ; the bold avowal " I am a poet " ; the glorious beauty of the love motive at the end all are given with characteristic richness and warmth of style by this admired singer, while the final high note is brilliantly taken. An entirely different interpretation, though also a very fine one, is given by Mr. McCormack, while three other versions in Italian by Constantino and Hamlin, and in English by Evan Williams complete a list in which every lover of this beautiful air can find a record to suit his taste and purse Mi chiamano Mimi (My Name is Mimi) By Nellie Melba. Soprano (In Italian) 88074 By Alice Nielsen, Soprano (In Italian) Then follows the charming Mi 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-inch. $5.OO ' ' Mimi '3 delicate perfection enchanted the young poet especially her little hands, which in spite of her menial work, she managed to keep as while 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 speak to them, letting in a flood of moonlight which 33 12-inch, $3.0O 74062 12-inch, 1.50 chiamano Mimi, in which SEMBRICH AS MIMI VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME brightens the room. The Bohemians go off singing. As Rudolph turns to Mimi and sees her in the moonlight, he is struck with her beauty, and tells her how entrancing she appears to him. Love awakens in the heart of the lonely girl, and in this beautiful duet she pledges her faith to the handsome stranger who has come into her life. Mme. Melba's singing in this scene is of exquisite beauty, while Caruso's delivery of the passionate phrases of Rudolph is superb. The -beautiful motive with which the duet begins is associated throughout the opera with the presence of Mimi, and is employed with touching effect in the death scene in Act III. Mimi consents to go to the Cafi 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' Caf in Paris This act represents the terraces of the Co/if 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 FARRAR AS MIMI g a y revelers. The Bohemians of Act I are seated at a table with Mimi, when Musetta, an old flame of Marcel's, appears with her latest conquest, a foolish and ancient beau named Alcindoro. Marcel pretends not to see her, but Musetta is determined on a reconciliation, and soon gets rid of her elderly admirer and joins her old friends. The gem of this gay scene is the charming waltz of Musetta, which Mme. Viafora sings here with spirit and delightful abandon. Musetta Waltz By Gina C. Viafora, Soprano (In Italian) 64085 10-inch, $1.00 Mme. Viafora 's light soprano is heard to advantage in this pretty waltz, -which she sings with fluency and skill. The fun now becomes fast and furious, and Musetta is finally carried off on the shoul- ders of her friends, while the foolish old banker, Alcindoro, is left to pay the bills of the entire party. ACT III SCENE A City Gate of Paris This act begins in the cheerless dawn of a cold morning at the city gates, the bleakness of the scene being well expressed in Puccini's music. The snow falls, work- men come and go, shivering and blowing on their cold fingers. Mimi appears, and asks the officer at the gate if COPY'I MISHKIN CLUCK AS MIMI THE CAFi MOMUS ACT II 34 VICTOR BOOK OF THE OPERA PU CCINI'S LA BOHEME THE BARRIER ACT III he will find Marcel, that good and kind-hearted Bohemian painter, now sojourning at the inn on the Orleans Road and painting, not landscapes, but tavern signs, in order to keep body and soul together. Marcel enters and is surprised to see Mimi, whom he sup- poses to be in Paris. Noticing that she is melancholy and apparently ill, he kindly ques- tions her and learns her sad story. Mimi, lo son ! (Mimi, Thou Here!) By Geraldine Farrar, So- prano, and Antonio Scotti, Baritone ( In Italian) 89016 12-inch, $4.OO By Dora Domar, So- prano, and Ernesto Ba- dini. Baritone 88228 12-inch, 3.0O By E. Boccolini, Soprano, and E. Badini, Baritone (Double-faced See page 37) (In Italian) 5502O 12-inch, 1.5O This duet is one of the finest numbers in Puccini's opera, and Miss Farrar and Mr. Scotti have made a strikingly effective record of it, while other rendi- tions at various prices are furnished by La Scala artists. Mimi tells her friend that she can no longer bear the jealous quarrels with Rudolph, and that they must sep- arate. Marcel, much troubled, goes into the inn to summon Rudolph, but before the latter comes, Mimi secretes her- self, and when he enters she hears him again accuse her of fickleness. corr-t oovet ST. STUDIOS MARTIN AS RUDOLPH Mimi e una civetta (Coldhearted Mimi !) By Laura Mellerio, Soprano : Gennaro de Tura, Tenor ; and Ernesto Ba- dini. Baritone (In Italian) 88227 12-inch, $3.OO 35 FARRAR AND SCOTTI AS MIMI AND MARCEL ACT III VICTOR BOOK OF THE OPERA PUCCINI'S LA BOHEME COPV'I MISI SAMMARCO AS 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) 88072 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) 96OO2 12-inch, $6.OO By Dora Domar, Soprano; Annita Santoro, Soprano; Ida Giaco- melli. Soprano ; and Ernesto Badini, Baritone (In Italian) 89O48 12-inch, 4.00 By Sanipoli, Passari, Ciccolini and Badini (Double- faced-See page 37) (In Italian) 5502O 12-inch, 1.5O Like the Rigoletto Quartet, this number is used by the com- poser to express many different emotions : The sadness of Mimi 's farewell to Rudolph ; his tender efforts to induce her to remain ; the fond recollections of the bright days of their first meeting and contrasted to these sentiments is the quarreling of Musetta and Marcel, which Puccini has skillfully interwoven with the pathetic passages sung by the lovers. In Mimi Miss Farrar has added another role to the long list 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 Signor Scotti, -whose admirable Marcel is one of his finest impersonations, both vocally and dramatically, round out an ensemble which could not be surpassed. Truly a brilliantly sung and perfect balanced rendi- tion of one of the greatest of concerted numbers. Two other versions by famous artists THE DEATH OF MIMI of La Scala are also offered. TRENTINI AS MUSETTA 36 VICTOR BOOK OF THE OPERA-PUCCINI'S LA BOHEME ACT IV SCENE Same as Act I "Jit 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 repealed 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 ! ' ' ' Mtlrger. Act IV shows the same garret in which the events of Act 1 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) 89O44 12-inch, 4-OO By Da Gradi and Badini (In Italian) *45013 lO-inch. l.OO Two records of this favorite duet are offered by Caruso and Scotti, and McCormack and Sammarco and both are splendidly given. The friends, however, pretend to brighten up -when Schaunard and Colline enter with materials for supper, and the four Bohemians make merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. The poor girl is brought in and laid on Rudolph's bed, -while he is distracted with grief. The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He bids farewell to the coat in a pathetic song, which Journet delivers here with much feeling. Vecchia zimarra (Coat Song) By Marcel Journet, Bass (In Italian) 64035 lO-inch. $1.0O Colline goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet. Sono andati ? (Are We Alone ?) By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor (In Italian) *45O13 lO-inch, $1.00 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!" DOUBLE-FACED AND MISCELLANEOUS BOHEME RECORDS Quartet. Act III By Sanipoli. Passari. Ciccolini and "^55020 Badini C'e Rodolfo (Where is Rudolph?) Badini /Boheme Fantasie ( 'Cello) \ Calm Sea and Happy Voyage Overture JBoheme Selection \ Jolly Robbers Overture (Supp^) I Ah, Mimi, tu piu (Ah, Mimi. False One!) By Da Gradi and Badini I Sono andati? By Bronzoni and de Gregorio * Doubk-Faced Record For title of opposite side see above list. 37 (In Italian) By Boccolini and (In Italian) By Victor Sorlinl 35132 By Pryor's Band) By Pryor's Bandl By Pryor's (In Italian) \45O13 (In Italian) \ 12-inch, $1.5O 12-inch, 1.25 12-inch, 1.25 10- inch. l.OO CABMEN'S DEFIANCE ACT iv CARMEN OPERA IN FOUR ACTS Text by Meilhac and Hal6vy, founded on the novel of Prosper Mrim6e. 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 Calv6*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-zati) a Brigadier Tenor ESCAMILLO, (Es-ca-meet -i/o) a Toreador Bass DANCAIRO (Dan-k)/ -row) \ ~ . r Baritone REMENDADO (Rem-cn-Jah'Jow) f 8 \ Tenor ZUNIGA, (Zoo-nee -gah) a Captain Bass MORALES. (Moh-rah'-kz) a Brigadier Bass MlCAELA, (Mih-kv-ai/-lah) a Peasant Girl Soprano FRASQUITA (Frast-k^-lah) ) _ ., f Mezzo-Soprano .._ Gypsies, mends ol CARMEN < m . _ MERCEDES (Mer-cW- I .... Mezzo-Soprano CARMEN, a Cigarette Girl, afterwards a Gypsy Soprano An Innkeeper, Guide, Officers, Dragoons, Lads, Cigar Girls, Gypsies, Smugglers. Scene and Period : Seville, Spain; about 1820. 39 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN BIZET Georges Bizet was a native of Paris, where he was born on October 25, 1838. Like Gounod and Berlioz, he won the Prix de Rome (free, de Roam'); in this case in 1857, the year that his first opera, Docteur Miracle, was produced. Among other productions came Les Pecheurs de Perles, in 1863, an opera recently revived at Covent Garden with Mme. Tetrazzini as Leila. Carmen was produced in 1875, and this most Parisian of all operatic works was received at its production with a storm of abuse. It was immoral, it was Wagnerian the latter at that time being a deadly sin in France ! Nevertheless, the supreme merits of Carmen have won it a place among the two or three most popular operas in the modern repertory. The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing short, compact and finished numbers, full of exquisite beauty and convincing style, at the same time handling dramatic scenes with the freedom demanded by modern opera. His music is more virile, concentrated and stimulating than perhaps any other French composer. It was probably not a little owing to the hostile reception of this, his finest work, that its composer died three months later. The music Bizet has written, however, is likely long to survive him, and chief among the works into which he ungrudgingly poured his life's energy was Carmen. THE PLOT I Carmen has its opening scene in a public square in Seville, showing at one side a guard- house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved in his village home, comes hither to seek him with a message from his mother. As Jose appears, the girls stream out from the cigarette factory hard by, and with them their leading spirit in love and adventure, Carmen, the gypsy, reckless and bewitching. Heedless of the pressing throng of suitors, and attracted by the handsome young soldier, Carmen throws him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of her dark eyes. A moment later a stabbing affray with a rival factory girl leads to the gypsy's arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a sudden struggle and confusion the soldier lets go his hold and the bird has flown ! II Act II takes place in the tavern of Lillas Paslia, a resort of smugglers, gypsies and ques- tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of the crowd, and he, like the rest, offers his homage to Carmen. Mean-while, the two smug- glers, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany them. But she is awaiting the return of the young soldier, who, as a punishment for allow- ing her to escape, had gone to prison, and she will not depart until she has seen him. The arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy measures before him; yet, in the midst of all, he hears the regimental trumpets sounding the retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to return. The arrival of his captain, who orders him back, decides Jose. He defies his officer, who is bound by the smugglers, and Jose deserts his regiment for Carmen. Ill The next scene finds Jose with the smugglers in the rocky camp in the mountains. The career of a bandit, however, is one to which a soldier does not easily succumb. His distaste offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion, with the cards, that they will end their careers tragically together. In the midst of this strained situation two visitors arrive : Escamillo, the toreador, in the character of a new suitor for Carmen; and Micaela, with a message from Jose's dying mother. The soldier, frustrated in his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return later for his revenge. ,,, The final act takes place outside the Plaza de Toros, at Seville, the scene of Escamillo 's triumphs in the ring. Carmen has returned here to witness the prowess of her new lover, and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of desperate deeds. They soon meet, and the scene between the maddened soldier and the gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with scorn, although she knows it means death. In a rage Jose stabs her, and thus the end comes swiftly, while within the arena the crowd is heard acclaiming the triumph of Escamillo. 40 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN Prelude (Overture) By La Scala Orchestra *68O52 12-inch, $1.25 By La Scala Orchestra *62617 10-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 Seville The curtain rises on a street in Seville, gay with an animated throng. In the fore- ground are the military guard stationed in front of their quarters. The cigarette factory lies to the right, and a bridge across the river is seen in the background. Among the crowd which throngs the stage a young girl may be seen searching for a familiar face. It is Micaela, the maiden whom Jose has left behind in his native village. The soldiers accost her, and from them she learns of her lover's absence. She declines the invitation to remain, and departs hastily. The cigarette girls now emerge from the factory, fill- ing the air with the smoke of their cigarettes, and with them Carmen, who answers the salutations of her admirers among the men by singing the gay Habanera. Habanera (Love is Like a W^ood-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) 92O59 12-inch, 3.OO This charming " Habanera" has always been a favorite Carmen number, its entrancing rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found it irresistible when sung by Carmen. Though often attributed to Bizet, the air was not original with him, but was taken from Yradier's "Album des Chansons Espagnoles. " The refrain, AUeyrtUo quati Andantint. SETTING OF ACT I r j L'a-mourest en - (ant de Bo htme II n'a j mais, ja-mais con nu de loi, And Love" t a gyp ty boy to true. He ev er teat a rov-er free as air/ is & particularly fascinating portion of the number. * Double-Face d Record For Me o/oppostte tide *x DOUBLE-FACED CARMEN RECORDS, pafe52. 41 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN CARMEN SINGING "HABANERA" ACT I HABANERA. -"Love is Like a Wood-Bird Wild." CARMEN: Ah! love, thou art a wilful wild bird, Ah, love! And none may hope thy wings to tame, For love he is the lord of all, If it please thee to be a rebel, And ne'er law's icy fetters will he wear, Say, who can try and thee reclaim? If thou me lovest not, I love thee, Threats and prayers alike unheeding; And if I love thee, now beware! Oft ardent homage thou'lt refuse, If thou me lovest not, beware! Whilst he who doth coldly slight thee, But if I love you, if I love you, beware! Thou for thy master oft thou'lt choose. beware! To a large number of opera-goers and music-lovers there is but one emotional soprano but one exponent of such roles as Carmen and Santuzza. Calve's Carmen, especially, is almost universally accepted as the greatest of all impersonations of the role. Gerville-R6ache's Carmen is a fine impersonation, on quite original lines, her conception being based on a careful study of Merimee's 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) 92O52 12-inch, $3.0O Now Micaela returns, and finds the soldier she seeks. Her song tells of the message of greeting she brings Jose from his mother, and with it a kiss. The innocence of Micaela is here a foil to the riper attractions of the gypsy, and the music allotted to the maiden possesses the same simple charm ; the conclusion of Micaela's air being a broad sustained melody of much beauty. Jose takes up the strain, as the memories of his old home crowd upon him, and the beautiful duet follows. JOSE: Ah! tell me of her my mother far away. MICHAELA: Faithful messenger from her to thee, I bring a letter, And some money also; copyi DUPONT Because a dragoon has not too much. CAY AS CARMEN And, besides that 42 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN JOSE: Something else? MICHAELA: Indeed, I know not how to say It is something more 'T DUPOUT CALVE AS CARMEN Micaela leaves him after a tender farewell, and Jose begins to read his mother's letter, but is interrupted by a commotion within the factory. Carmen has stabbed one of her companions, and is arrested and placed under the guard of Don Jose. The soldiers drive away the crowd, and Carmen, left alone with Jose, brings her powers of fascination to bear on the young soldier, partly to facili- tate her escape, and partly because he has attracted her attention. Here she sings the Seguidilla, a form of Spanish country dance. Seguidilla (Near the Walls of Seville) By Maria Gay, Mezzo- Soprano (In Italian) 91085 10-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 example in this dainty number, which he has set to Michael Carre's words. CARMEN: Near by the ramparts of Seville There shall I go to find Lillas Pastia. And the wine-cup we'll share. We'll dance in the gay seguidille, There I shall find Lillas Pastia. JOSE: Tell me what this may be: Come, reveal it to me. MICHAELA: Yes, I will tell you. What she has given, I will to thee render. Your mother with me from the chapel came, And then, lovingly, she kissed me. "My daughter," said she, "to the city thou dost go: Not long the journey. When arrived in Seville, Thou wilt seek out Jose, my beloved son; Tell him Thou knowest that thy mother, By night, by day, thinks of her Jose: For him she always prays and hopes. And pardons him, and loves him ever. And then this kiss, kind one, Thou wilt to him give for me." JOSE: A kiss from my mother? MICHAELA: To her son. Jose, I give it to thee-^-as I promised. (Michaela stands on tip-toe and kisses Jose a true mother's kiss. Jose is moved and regards Michaela tenderly.) JOSE: My home in yonder valley, My mother lov'd shall I e'er see? Ah fondly in my heart I cherish Mem'ries so dear yet to me. MICHAELA: Thy home in yonder valley, Thy mother lov'd thou yet wilt see, 'Twill strength and courage give thee. That one sweet hope, That yet again thou wilt thy home And thy dear mother once more see. CARMEN AXD Yes, but 'tis folly to go alone; Where there's not two no love can be. So, to keep me from being dull, A handsome lad will come with me! 43 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN THE INN OF PASTIA ACT II Although Jose says to himself that the girl is only amusing herself, and whiling away the time with her gypsy songs, the words which fall on his ear of a meeting-place on the ramparts of Seville of a soldier she loves a common soldier, all these play upon the feel- ings of Jose and rouse in him a love for the changeful gypsy, who is fated to be the cause of his downfall. He unties her hands, and when the soldiers are conducting her to prison she pushes Jose, v/ho falls, and in the confusion she escapes. Between Acts 1 and II is usually played a charming entr'acte, which has been rendered for this Carmen series by Mr. Herbert. Intermezzo (1st Entr'acte) By Victor Herbert's Orch. 60067 10-inch, $0.75 ACT II SCENE A Tavern in the Suburbs of Seville The second act opens amid the Bohemian surroundings of the tavern of Lillas Pastia ; the wild tune with which the orchestra leads off depicting the freedom and gaiety with which the mixed char- acters here assembled are wont to take enjoyment and recreation. Les trfngles 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, 9uickly forth the gipsies springing, o dance a merry, mazy round. While tambourines the clang prolong, In rhythm with the music beating, And ev'ry voice is heard repeating The merry burthen of glad song. Tra la la la, etc. 44 SINGING THE GYPSY SONG ACT '.I VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN But Carmen is thinking of the soldier who went to prison for her sake and who, now at liberty, -will shortly be with her. Her musings are interrupted by the arrival of a procession in honor 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) 92065 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, 3.0O By Giuseppe Campanari, Baritone (In Italian) 85073 12-inch, 3.0O By *Alan Turner, Baritone (In English) * 16521 lO-inch, .75 By Francesco Cigada, Baritone; Giuseppina Huguet, Soprano; Inez Salvador, Mezzo- Soprano ; and La Scala Chorus (In Italian) *62618 10-inch, .75 By Carlos Francisco, Baritone (In Spanish) 4074 lO-inch, .60 By Alan Turner, Baritone (In English) 5376 10-inch. .60 CARUSO AS DON JOSE No less than seven renditions of this universal favorite are offered by the Victor for the choice of customers. After Escamillo 's departure, Carmen's comrades invite her to 'de- part upon a smuggling expedition, but she refuses to stir until she sees the soldier for whom she is waiting. Their efforts to persuade her has been put by Bizet into the form of a brilliant quintet. Quintet -" Nous avons en tete une affaire" (We Have a Plan) By Mmes. Lejeune, Soprano; Duchene, Mezzo- Soprano ; Dumesnil, Soprano ; Mm. Leroux, Tenor; Carlos Gilibert, Baritone (In French) 88237 12-inch, $3.0O This is one of the favorite numbers in Bizet's opera, and at the same time one of the most difficult imaginable. When sung as the tempo indicates, it goes at break-neck speed, and it is only the most capable artists who can do it justice. For the present reproduction, the Victor has assembled a most competent corps of singers, who were under the direction of the late Charles Gilibert, himself the most famous, of Remendados. Jose's voice being heard outside, Carmen pushes her compan- ions from the room and greets him with joy. She then tries her fascinations on the stolid soldier to induce him to join the band of smugglers, but without effect, as he is reminded of his duty when he hears the bugle in the distance summoning him to quarters. " Then go, 1 hate you I " says Carmen, 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! Double-Faced Record For title of ot>t>oMc side see DOUBLE-FACED CARMEN RECORDS, page 52. 45 DALMORES 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) 882O8 12-inch, $3.0O By Enrico Caruso. Tenor (In Italian) 88209 12-inch, 3.00 By Charles Dalmores. Tenor (In French) 85122 12-inch, 3.00 By Fernando De Lucia, Tenor (In Italian) 76O01 12-inch, 2.0O By Evan ^^illiams. Tenor (In English) 74122 12-inch, 1.50 By John McCormack, Tenor (In Italian) 74218 12-inch, 1.50 Desperate at the thought of losing her forever, 'Don Jose shows her the flowers she threw him at their first meeting, and which he had preserved, then sings this lovely romance, beginning: BRESSLER-GIANOLl AS CARMEN Andantino. (J = 69.) ft fan amore. lA^r i ?= \ lr> r"> r 1 ^ f . 1^- " . V. T_HjJ.M.b.'LT-^-- - Ib | i * ^ " IT La fleur que tu ma-vais je te - e Dans ma pri son m'e-tait res - 16 - Tkaflow'ryougaveto me.dt-grad-ed 'Mid pri-ion walls I've kept tho' /ad e trf The struggle between love and duty -which has been distracting the unfortunate lover is now seemingly forgotten, and he pours out his heart in this romanza, telling only of his great passion for the beautiful but heartless gypsy. DON JOSE IJotn yet retain its sweet pertume. Night and day in darkness abiding, I the truth, Carmen, am confiding; Its loved odor did I inhale, And wildly called thee without av- ; My love itself I cursed and hated, .vail. Then alone myself I detested, And naught else this heart interested, Naught else it felt but one desire, One sole desire did it retain, Carmen, beloved, to see thee once again ! O, Carmen, mine! here as thy slave, love binds me fast, Carmen, I love thee! From Soli inner score. Copy'tG. Schirmer The number might have been written expressly for Caruso, so well does it suit his voice and style. One can but marvel at the masterful ease of phrasing, and the warmth of vocal coloring imparted by the singer. The changing moods of the lover are here indicated with dra- matic expression the regret at the havoc Carmen has played with his life mingling with the devotion for her he still feels. This is a remarkable and memorable performance, the whole song being lighted up with that rich vocal beauty and artis- tic genius which belong only to a Caruso. McCormack also makes a fine impression in this role, and his singing of this famous Flower Song is always greeted with enthusiasm. Dalmores' interpretation is a more vigorous one, his fine voice being shown at its best. Other fine renditions, at varying prices, in both Italian and English, are also offered. Carmen then paints the joys of the gypsies' life which might be Jose 's, if he would desert his regiment and follow her. 46 DE LUSSAN AS CARMEN VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN JOSE: Carmen ! CARMEN: Wilt come with me? Up yonder, up yonder, thus will we go Away, if thou lov'st me, together! Las bas dans la montagne (Away to Yonder Mountains) By Emma Calve, Soprano, and Carlos Dalmores, Tenor (In French) 89O19 12-inch, $4.OO The soldier listens with half-willing ears, his voice joining hers at the close, in a lovely duet passage. C'ARMKN : For roof, the sky a wandering life; For country, the whole world; Thy will thy master; And above all most prized of all Liberty ! freedom ! Up yonder, up yonder, if thou lov'st me, To the mountains, together we'll go. However, in spite of Carmen's fascinations, Jose is about to return to his duty, when the appearance of his superior officer Zuniga, who orders him back, decides the matter. Don Jose resents the overbearing tone his captain uses and defies him. Zuniga is finally overpowered and bound by the gypsies, and the smugglers all depart on their expedition. Aragonaise (2d Entr'acte) By Victor Herbert's Orchestra 7OO67 12-inch, $1.25 By La Scala Orchestra (Double-faced See page 52) 62102 lO-inch, .75 The retreat in the mountains is musically described by this pastoral intermezzo. A dreamy melody given to the flute, with a pizzicato accompaniment, is taken up by the other instruments in turn, the strings joining in the coda. Andamtino fiuui allegretto. This is one of the finest records made by the Herbert Orchestra, who have given an artistic and finished rendering of the interlude. MICAF.LA PLEADS WITH JOSE ACT III 47 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN ACT III SCENE A Wild and Rocky Poss in the Mountains As the curtain rises, the smugglers are seen entering their rocky lair. Here occurs the famous sextette, a portion of which is given in the "Gems from Carmen" (page 51). The smugglers prepare to camp for the night. It is evident that Jose is already repenting of his folly, and that Carmen is tiring of her latest lover. After a quarrel with Jose, she joins Frasquita and M cedes, who are telling fortunes with cards. En vain pour eviter (Card Song) By Jeanne Gerville-Reache, Contralto (In French} 87039 10-inch, $2. OO By LavindeCasas, Mezzo-Soprano (Piano ace.) (Inltalian) *62617 lO-inch, .75 Carmen tells her own fate by the cards, reading death, first for herself and then for her lover. In vain she shuffles and re-tries the result; the answer is ever the same. This highly dramatic air, one of the most impressive numbers in Bizet's opera, is effect- ively sung by Mme. Gerville-Reache. The neighboring camp being ready, the smugglers retire, and the stage is once more deserted. Je dis que rien ne m'epouvante (Micaela's Air," I am not Faint- Hearted") By Emma Eames, Soprano (In French) 88O36 12-inch, $3.OO By Geraldine Farrar, Soprano (In French) 88144 12-inch, 3.OO By Alma Cluck, Soprano (In French) 74245 12-inch, 1.5O Into this strange and -wild scene now enters Micaela, the peasant sweetheart of Don Jose, who has forgotten her in his fascination for the wayward Carmen. Micaela has braved the dangers of the road to the smugglers' retreat, whither Don Jose has followed Carmen, to carry to the soldier a message from his dying mother. The innocent girl is frightened by the vast and THE CARDS PREDICT CARMEN'S DEATH (EMMA CALVE) * Double-Faced Record For title o/ opposite side see DOUBLE-FACED CARMEN RECORDS, page 52. 48 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN lonely mountains, and in her aria appeals to Heaven to protect her, ingenuously confessing her love for Don Jose and her detestation of the woman who has led him away from his duty. MICAELA: I try not to own that I tremble; P.ut I know I'm a coward, altho' bold I appear. Ah! now 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 fha\\ 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 COP to join Carmen. TRENTINI AS FKASQUITA Je suis Escamillo (I am Escamillo !) By Charles Dalmores and Marcel Journet (In French) 85114 12-inch, $3.0O By Leon Beyle, Tenor, and Hector Dufranne, Baritone (DoabU-faceJ -Seepage 52) (In French) 6275O 10-inch, .75 The two men compare notes, and learning that they are rivals, Jose challenges the other to a duel with knives, which is interrupted by the timely arrival of Carmen herself. This dialogue, with the fiery duet at the close, well depicts this exciting scene. The Dalmores-Journet record is of especial interest because of the brilliant success Mr. Dalmores has achieved in the part of Don Jose. Journet sings Escamillo' s music splen- didly, with that full resonant voice always pleasant to hear. A popular priced rendition by Beyle and Dufranne, of the Opera, is also listed above. Finale " Mia tu sei" (You Command Me to Leave You) By Antonio Paoli, Tenor; Giuseppina Huguet. Soprano; Inez Salvador, and Francesco Cigada (In Italian) 92035 12-inch. $3.00 A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his rival in possession of the field is too much for the soldier, who swears never to be parted from the gypsy until death. 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, JOSE (to Carmen) : Death will break. To depart thou dost counsel me? JOSE (to Michaela): 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 EscamiUo in the gypsy's attentions, and this with the orchestral close slowly sinking to rest brings the powerful act to a finish. 49 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN ACT IV (A Square in Seville, with the walls of the Bull Ring shown at the back) Prelude By Victor Herbert's Orchestra 7OO66 12-inch. $1.25 The fourth act opens -with a momentary brightness. Outside the Plaza de Toros, in Seville, an animated crowd awaits the procession about to enter the ring. This short movement is a quick bustling one, only the plaint- ive oboe solo indicating the tragedy which is soon to occur. The playing of this striking prelude is on the same artistic level which marks each of the renditions by this famous orchestra. This scene, as the orange sellers, hawkers of fans, ices and the rest, press their wares on the waiting crowd, is extremely gay, and affords welcome relief from the intensity of the drama. Escamillo, who has returned to take part in the bull-fight, now enters, and all join in the refrain of the Toreador Song in his honor. Se tu m'ami (If You Love Me) By Inez Salvador, Mezzo-Soprano, and Francesco Cigada. Baritone (Double-faced See page 52) (In Italian) 621O2 10-inch, $O.75 Escamillo takes farewell of Carmen before entering the arena. He promises to fight the better for her presence, and she, half conscious of what is coming, avows her readiness to die for him. This number is full of lovely melodies and one of the most beautiful records of the Carmen series. As the procession passes on, the warning comes to Carmen that Jose is here, to which she replies that she fears him not. JOSE PLEADING WITH CARMEN ACT IV PHOTO BYRON THE DEATH OF CARMEN ACT IV 50 VICTOR BOOK OF THE O P E R A B I Z E T ' S CARMEN Duetto e Finale (Duet and Finale) By Maria Passeri, Mezzo-Soprano : Antonio Paoli, Tenor: and La Scala Chorus 9205O 12-inch. I3.OO Jose now enters and makes a last appeal, which is dramatic in its intensity. It takes the form of a swinging melody to an insistent triplet accompaniment. To each request of her lover, Carmen adds her disdainful negative, reckless of the danger which threatens her. JOSE (in desperation) : Now thou refusest my prayers, < Inhuman girl! For thy sake am I lost! And then to know thee shameless, infamous! Laughing, in his arms, at my despair! No, no! it shall not be, by Heaven! Carmen, thou must be mine, mine only! CARMEN (proudly) : No, no, never! JOSE: Ah! weary am I of threats. CABMEN: Cease then, or let me pass! CHORUS (in bull ring) : Vjctory ! victory ! Viva Escamillo! JOSE: Apain I beseech thee. Carmen, Wilt thou with me depart? Carmen '$ last refusal, as she flings him back his ring, rouses the soldier's jealousy to madness and he stabs her to the heart. As she falls the success of the Toreador in the arena is announced by the singing of his well- known refrain. The last notes of the opera are a few pitiful tones from the stricken Jose addressed to the mute form of his beloved. This is another truly powerful record by Paoli, -worthy of a climax such as this. The music is delivered with the realism and earnestness beyond the reach of all but the very few tenors, and it enables the listener to fully realize the stress and pathos of the moving dramatic picture which thus concludes the last act of Carmen. DUPOIT MARTIN AS DON JOSE 1.25 DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS Carmen Selection By Pryor's Band 31562 12-inch. $1.OO /Carmen Selection By Sousa's Bandl ~* nnn ,, , \ c L i r\ ncr> j>35OOO 12-inch, | rreischulz Overture By jiousa s Hand) /Carmen Selection By Pryor's Band) ^575 10-inch 75 \ Manon Jth I fuyez douce image ! By M. T^occa, Tenor/ The selection begins with the brilliant and animated Prelude, the first part of which is given, including the refrain of the famous | J k a"T*!^^T^=;-. u. i f- k t, . ,, i _ i i ^_ " Toreador Song." Then is heard (as a cornet Iff** * > t * v ^-y-4- 1 -" " i* K-hJfSj^* J"EE solo) the quaint " Habanera," ;T " . * 'ZZ.ZSU SL,!L T. Z ? ',. 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 iAn f ^ \>f~. Jl T M r- t* i (* appears suddenly the weird strain from Act IV when *y Carmen hurls at Don Jose her last defiance. - ~ . . ^> A~ /"-** The spirited introductory strain returns, closing the selection. A fine record and splen- didly played. Gems from Carmen By Victor Light Opera Company (In English) 31843 12-inch, ll.OO Chorus. " Here They Are " Solo and Chorus. " Hibanera " (Love is Like a Bird) Duet. "Again He Sees His Village Home "Sextette, " Our Chosen Trade " Solo and Chorus. " Toreador Song "Finale. An amazing number of the most popular bits of Bizet's masterpiece have been crowded into this attractively arranged potpourri, which shows both the skill of Mr. Rogers and the remarkable talent of the Opera Company. 51 VICTOR BOOK OF THE O P E R A B I Z E T' S CARMEN Only such an organization as that of the Victor, which stands absolutely alone among record-making bodies, could successfully cope with the difficulties of Bizet's score. The record is one of the most striking and brilliant of the series, including as it does the rollick- ing chorus of boys in Act I ; the favorite Habanera, the lovely Jose-Micaela duet, the Sextette from the Smuggler Scene, the popular Toreador Song and the brilliant finish to Act 111. (Habanera (Whistling) By Guido Gialdinil , , in ; m/ ,t. * n T * The Pretty Maiden (Xylophone) By Peter Leiwn/ 16752 Mnch ' $O ' 75 [Toreador Song By Alan Turner, Baritone (In English)) Trovatore Tempest of the Heart [l6521 10-inch, .75 By j4lan Turner, Baritone (In English)) /Prelude (Overture) By La Scala Orchestral, artl . , ~ , ,,- \ r\ j ../ i_r -a/ft DC ' D jfOoO52 12-inch. 1.25 I Damnation oj raust Hungarian March ay Sousa s Dana] [Prelude (Overture) By La Scala Orchestral \ Scena delle carte (Card Song) By Lavin de Casas, Mezzo- [62617 10-inch, .75 ( Soprano (Piano ace. ) (In Italian) J Canzone del Toreador (Toreador Song) By F. Cigada, Bari- 1 tone; G. Huguet, Soprano; I. Salvador, Mezzo-Soprano: L,,,, Q , n - i -e. T e i ri- it it i- \ ?o2olo lO-inch, ,i5 La Scala Chorus (in Italian) Cavalleria Rusticana Intermezzo By Pryor's Orchestra) [Intermezzo Acto III By La Scala Orchestral jSetum'ami (If You Love Me) By Inez Salvador, Mezzo- 621O2 lO-inch, .75 [ Soprano ; F. Cigada, Baritone (In Italian) ] {Je suis Escamillo (I Am Escamillo!) By Leon Beyle, Tenor; 1 Hector Dufranne, Baritone (In French) [&275O 10-inch, .75 Valse des looses (Metro) By Mile. Korsoff, Soprano (In French)} [Preludio, Acto IV By La Scala Orchestral < Norma Mira o Norma By Ida Qiacomelli, Soprano; Lina Mileri, b2101 lO-inch. .75 [ Contralto (In Italian)} /Carmen Selection (Xylophone) By Wm. Reitz\ , \ BohemeMusetta Waltz (Whistling) By Guido Gialdinif lW921 A FAMOUS OPEN-AIR PRODUCTION IN FRANCE 52 THE METROPOLITAN OPERA HOUSE SETTING (Italian) CAVALLERIA RUSTICANA (Cao-al-leh-rec' -ah Riu-ti-cah' -nah) RUSTIC CHFVALRY OPERA IN ONE ACT Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by Mascagni. First production in Rome, May 17, 1890, the opera having -won the first prize offered by a music publisher for the best one-act work. First London production at the Shaftesbury Theatre under the direction of Signor Lago, October 19, 1891 ; and at Covent Garden (under Harris) May 16, 1892. First American production in Philadelphia, September 9, 1891. Cast SANTUZZA, (San-lool'-zah) a village girl Soprano LOLA, (Low'Jah) -wife of Alfio Mezzo-Soprano TURIDDU, ( Too-ree ' -doo) a young soldier Tenor ALFIO, (At-fee-oh) a teamster Baritone LUCIA. (Loo-chee'-ah] mother of Turiddu Contralto Chorus of Peasants and Villagers. Chorus behind the scenes. The scene is laid in a Sicilian village. Time The Present. NOTE The quotations from text and music of Cavalier ia Rusticana are gioen tu kind permits/on of G. Schirmer. (Copu't 1 89 1 .) 53 VICTOR BOOK OF THE OPERA C A VALLERI A RUSTICANA THE COMPOSER Pietro Mascagni, son of a baker in Leghorn, was born December 7, 1863. Destined by his father to succeed him in business, the young man rebelled, and secretly entered the Cherubini Conservatory. He began composing at an early age, but none of his works at- tracted attention until 1890, when he entered a contest planned by Sonzogno, the Milan publisher. Securing a libretto based on a simple Sicilian tale by Verga, he composed the whole of this opera in eight days, producing a work full of dramatic fire and rich in Italian melody, and easily won the prize. Pro- duced in Rome in 1890, it created a sensation, and in a short time has become one of the most popular of operas. THE STORY Turiddu, a young Sicilian peasant, returns from the war and finds his sweetheart, Lola, has wedded Alfio, a carter. For consolation he pays court to Santuzza, who loves him not wisely but too well. Tiring of her, he turns again to Lola, who seems to encourage him. Prelude By La Scala Orchestra *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 Scala Orchestra record is also a most interesting one. During the prelude Turiddu 's voice is heard in the charming Siciliana, in which he tells of his love for Lola : **<,**. i r r c ? I^-^T-^^FT r' i CARUSO AS TURIDDU 10-inch, $2.00 lO-inch, 2.OO lO-inch, l.OO 10-inch, .75 Siciliana (Thy Lips Like Crimson Berries) By Enrico Caruso, Tenor (Harp ace.} (In Italian) 87O72 By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81O3O By Leo Slezak, Tenor (In German) 612O2 By Carlo Caffetto, Tenor (Piano ace.) (In Italian) *6262O It is sung behind the scenes, before the rise of the curtain, making it peculiarly effective. At the close of the number Turiddu' s voice is heard dying away in the distance. This decrescendo passage is exquisitely sung by Caruso. This delightful serenade, one of the most popular of the Caruso records, is almost the only bright spot in Mascagni's passionate and tragic operatic melodrama. The best of the many translations (Schirmer Edition, copy't 1891) is given here. TfRionu: O Lola, with thy lips like crimson berries, Eyes with the glow of love deepening in them, Cheeks of the hue of wild, blossoming cherries, Fortunate he who first finds favor to win them; A fine rendition in German by Slezak and one by Caffetto in Italian, at a lower price, are also offered. SCENE A Square in a Sicilian Village After the Siciliana the chorus of villagers is heard, also behind the scenes, and during this chorus the curtain rises, showing a square in the village, with the church at one side and the cottage of Turiddu 's mother on the other. * Double-Face d Record For title of opposite side see double-faced list, page 58. 54 Yet tho' I died and found Heav'n on n beaming, Wert thou not there to greet me, grief should cherish! VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA Gli aranci olezzano (Blossoms of Oranges) By New York Grand Opera Chorus (In Italian) 64048 10-inch, M.OO By La Scala Chorus (In Italian) *68218 12-inch, 1.25 This beautiful chorus is rendered here both by the famous organization of La Scala, Milan, and the New York Grand Opera Chorus. It is Easter Day and crowds of villagers cross the stage and enter the church. Santuzza enters, and knocking at Lucia's door, asks her if she has seen Turiddu. His mother replies that he is at Francofonte, but the jealous girl refuses to believe it, and suspects that he is watching for Lola. The cracking of a whip and shouts of the villagers announce Alfio, who appears and sings a merry song. II cavallo scalpita (Gayly Moves the Tramping Horse) By Renzo Minolfi, Baritone (In Italian) *45003 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) AMATO AS ALFIO By La Seala 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: Vol to u - pe tt^o num m, prl . > S*rt tjf ytm know, ok, mam ma. Long * 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 Emma Calve, Soprano (In Italian) 88086 12-inch, $3.OO By Johanna Gadski, Soprano (In Italian) 88136 12-inch, 3.OO By Emma Eames, Soprano (In Italian) 88037 12-inch, 3.OO Stung with the remembrance of her great wrong she sings of vengeance, but love over- powers revenge, and in spite of herself, she cries ril. "ton frandft " ' -t^T-YT. l) 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. * Double-Faced Record For title of opposite side see double-faced list, page 58 55 VICTOR BOOK OF THE OPERA CAVALLERIA RUSTICANA SANTUZZA: Well do you know, good mother, Ere to the war he departed , Turiddu plighted to Lola his troth, Like a man true-hearted. And then, finding her wedded Loved me! I loved him! She, coveting what was my only treasure Enticed him from me! She and Turiddu love again! I weep and I weep and I weep still! Three fine renditions of this dramatic number, by three famous sopranos, are offered to music lovers. Lucia tries to comfort her and passes into the church just as Turiddu appears. He asks Sanluzza why she does not go to mass. She says she cannot, and accuses him of treachery, -which puts him in a rage, and he tells her brutally that she is now nothing to him. This great duet has been recorded in its entirety by two famous artists of Milan. Tu qui Santuzza (Thou Here, Santuzza!) By B. Besalu, Soprano, and G. Ciccolini, Tenor (In Italian) *55O22 12-inch, $1.5O No, No, Turiddu GADSKI AS SANTUZZA By B. Besalu, Soprano, and G. Ciccolini, Tenor (In Italian) *55022 12-inch, 1,50 This scene is now interrupted by Lola 's voice, heard behind the scenes. LOLA (behind the scenes): My king of roses, Radiant angels stand In Heav'n in thousands; None like to him so bright That land discloses, My king of roses! She enters, and divining the situation, shows her power by taking Turiddu into the church with her. Frantic with jealousy, Santuzza turns to Alfio, who now enters, and tells him that his wife is false. Two records are required to present this powerful scene, and of the first part two versions are offered for a choice. Turiddu mi tolse (Turiddu Forsakes Me !) By B. Besalu, Soprano, and E. Badini, Baritone (In Italian) *55O21 12-inch, $1.5O By Clara Joanna, Soprano, and Renzo Minolfi, Baritone (In Italian) * 45002 lO-inch, l.OO Ad essi non perdono OTis They Who Are Shameful) By Clara Joanna, Soprano, and Renzo Minolfi, Baritone (In Italian) *45002 lO-inch, $1.0O Alfio swears vengeance, while Santuzza already regrets her disclosure, but is powerless to prevent the consequences of her revelation. They go out, leaving the stage empty, and the beautiful Inter- mezzo follows. Intermezzo By Pryor's Orchestra *62618 10-inch, 10.75 By Victor Orchestra 4184 10-inch. .60 SANTUZZA PLEADING WITH TURIDDU ACT (DESTINN AND CARUSO) * Double-Faced Record For title of opposite side see double-faced list, page 58 56 VICTOR BOOK OF THE OPERA CA VALLERI A RUSTICANA Lie i trt,, , trimm^f I ipa >Kf ran tt. After the storm and passion of the first scene, this lovely number comes as a blessed relief. The curtain does not fall during the playing of the Intermezzo, although the stage is empty. A casa, a casa (Now Homeward) By La Scala Chorus (In Italian) *45O14 lO-inch, $1.OO 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.OO In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry drinking song, which Turiddu sings as ni a gaily as if he had not a care in the world, . Q r ,*< g f'gi'F-i H . ,t/* \tr""'g a fe ^S iT^F^Fm^ although at that moment the culminating y ' ' ' ' 5: 'l > I i f * I I ^= tragedy of the duel was close at hand. Turiddu cafls to the crowd about the inn : then sings the Brindisi, -which has a most fas- ' cinating swing: At the close of the song occurs a C natural, which is taken by Caruso with consummate ease. TURJIDDU: Hail the red wine richly flowing, Hail the wine that flows and bubbles, In the beaker, sparkling, glowing, Kijls care, banishes all troubles, I ike young love, with smiles bestowing, Brings peace, pleasure it redoubles, Now our holiday 'twill bless. Causes sweet f orgetf ulness ! Alfio now enters, and when Turiddu offers him a cup refuses, saying: Thank you! but wine to drink with you I fear now. Poison I might be drinking, ere I was thinking! Turiddu throws out the wine, saying carelessly : Very well! suit your pleasure! The seriousness of this scene is not lost on the peasants, who now leave the young men together. The challenge is quickly given and accepted after the Siciliana fashion, Turiddu viciously biting Alfio's ear. Turiddu, sobered by the deadly earnestness of his neighbor, feels something of remorse, and says to him : Neighbor Alfio I own my wrong before you, But if through you I perish Poor hapless Santuzza Left without her lover (.Suddenly changing his tone) Yet will I drive my dagcer in your heart! ALFIO (coldly) : I will await you behind the garden! Turiddu now calls his mother from the cottage, and asks for her blessing, bidding her, if he does not return, to be a mother to Santuzza. TAMAGNO AS TURIDDU Addio alia madre (Turiddu's Farewell to His Mother) By Riccardo Martin. Tenor (In Italian) 88277 12-inch, $3.OO By Gennaro de Tura. Tenor (In Italian) 76O15 12-inch. 2.OO By G. Ciccolini, Tenor (In Italian) *55O21 12-inch. 1.5O By Leo Slezak, Tenor (In German) 61205 lO-inch. l.OO By Giorgio Malesci. Tenor (Piano ace.) (In Italian) *62620 lO-inch, .75 * Double-Face d Record For title of opposite tide see double-faced list, page 58. 57 VICTOR BOOK OF THE OPERA CAVALLERI A RUSTICANA TURIDDU (calling) : Mother! (Enter Lucia.) Exciting surely that wine was. I must have taken Too many cups While we" were drinking! For a stroll I am going, But first, I pray you, Give your son your blessing As when I left you To become a soldier! And listen, mother! This also! If I return not, if I return not, You must not falter. To Santuzza be a mother! I have sworn to shield her And lead her to the altar. LUCIA: Why speakest thou so strangely? My son, oh, tell me? TURIDDU (nonchalantly): Oh, nothing! the wine Has filled my brain with vapors! O pray that God forgive me! One kiss, dear mother! And yet another! Farewell now! If I return not Be a mother to my Santa. (He rushes off.) Finale to the Opera By Clara Joanna, Soprano : Sra. Rumbelli, Mezzo- Soprano ; and Chorus (Double-faced See below) (In Italian} 45003 10-inch, $1.00 Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are now heard and a woman screams " Turiddu is murdered ! " Santuzza and Lucia sink down senseless, and the curtain slowly falls. DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA RUSTICANA RECORDS Selection Part I Selection Part II By Victor Orchestra 31057 12-inch, $1.0O By Victor Orchestra 31058 12-inch, l.OO (In Italian)}, ,. . fl Ti I- \fOO2lO (In Italian)! 12-inch, 1.5O 12-inch, 1.5O 12-inch, 1.25 (In Italian) fTuriddu, 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 Here, Santuzza) By B. Besalu, Soprano, and G. Ciccolini, Tenor (In Italian) 155022 1 No, No, Turiddu By B. Besalu, Soprano, and [ G. Ciccolini, Tenor (In Italian)) I Prelude By La Scala Orchestral {Selection By Pryor's Band >35 104 12-inch, 1.25 ( Opening of Act. " Alfio's Song." " Easter Chorale," " Intermezzo." /Coro d' Introduzione By La Scala Chorus (Regina Coeli By La Scala Chorus Turiddu, mi tolse 1'onore (Turiddu Forsakes Me !) By Clara Joanna, Soprano, and Renzo Minolfi, Baritone Ad essi io non perdono By Clara Joanna, Soprano, and Renzo Minolfi, Baritone (In Italian) Finale dell' Opera By Clara Joanna, Soprano ; Sra. Rumbelli, Mezzo-Soprano ; and La Scala Chorus (In Italian) II cavallo scalpita (Gayly Moves the Tramping Horse) By Renzo Minolfi, Baritone (In Italian) A casa, a casa (Now Homeward !) By La Scala Chorus (In Italian) I ..-,,, A ^ i- i D , i-a- D j \r A D A K/T c (-45O14 (juglielmo Ratdiff radre l\ostro By A. Mussim, Soprano, and E. Molinari, Bass (In Italian)} Intermezzo By Pryor's Orchestral Carmen Toreador (Bizet) By Francesco Cigada, Baritone; l^i^ia ^. c T c i j us fo2olo (jiuseppina nuguet, Soprano ; Inez Salvador, Mezzo- Soprano ; and Chorus (In Italian)) /Addio alia madre (Piano ace.) By Giorgio Malesci.Tenorl ,_,--,, lf . \Siciliana (Piano ace.) By Carlo Caffetto, Tenor/ *^ 58 45002 10-inch, l.OO 45003 10-inch, l.OO in ; lO- in ; lO- i no l.OO .75 DAMNATION OF FAUST FOURTH SCENE PARIS OPERA LA DAMNATION DE FAUST I. ah L)an-nah-xe-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 opera, Cast MARGUERITE (M a hr- gU er*ef ') Soprano FAUST (Fount) Tenor MEPHISTOPHELES (M e /-/./ 3 /^/-/eez) Baritone or Bass BRANDER.. ..Bass Place : A German village. THE COMPOSER No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising his originality, his spontaneous force and immense creative power. Le Damnation de Faust, his best known work, originally written as an oratorio, but which has since been adapted for the stage, was first produced in 1846 and met with a cold reception. Ten years after his death, however, what a change began ! A Berlioz memorial in Paris, at the Hippodrome, where thousands were turned away ; Berlioz monuments erected in Grenoble and other cities of France ; and finally, the production of Damnation of Faust as an opera at Monte Carlo in 1903, amid scenes of the wildest enthusiasm. 69 VICTOR BOOK OF THE OPE R A B E RL I OZ' S FAUST AUERBACH'S BEER CELLAR IN LEIPSIC ACT n 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 which have been 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 By Sousa's Band 31424 12-inch, $1.00 This is Berlioz's treatment of the famous "Rakoczy March," known as a national Hungarian melody for a hundred years. Its stirring measures so fascinated the composer that, contrary to his original intention, he laid the scene of his " Faust " legend in Hungary in order that he might make use of this wild and pulse-quickening melody. His treatment of it is brilliant in the extreme, and it remains one of the most effective portions of his "Faust." In this connection it is interesting to remember that Lis2t, although a warm friend of Berlioz, considered himself aggrieved and wrote to Mme. Tardieu in 1882: "My transcription of the Rakoczy March * * is twice as long as the well-known version of Berlioz, and it was -written before his. Delicate sentiments of friendship for the illustrious Frenchman induced me to withhold it from publication until after his death. : : In -writing it he made use of one of my earlier transcriptions, particularly in the harmony." Scene II shows Faust alone in his study, as in the Gounod version. He is about to take poison, when the strains of the Easter hymn come from the adjoining church and arrest his purpose. Mephistopheles then appears and suggests that they go forth and see the -world together, to -which Faust consents. In the third scene Faust and Mephistopheles go to a beer cellar in Leipsic, where students and soldiers are carousing. Brander sings his song of the rat, -which as in the Gounod opera, meets with 60 RENAUD S STRIKING CON- CEPTION OF MEPHISTO VICTOR BOOK OF THE O P E R A B E RLI 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 Plancon, Bass (In French) 81087 lO-inch, $2.0O 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, So he s^ent for his tailor, and to the tailor spake: "Please to measure this youngster, and coat and breeches make!" Faust dislikes the scene, and the two vanish from the gaze of the astonished students amid a fiery glow. 12-inch. $3.OO Voici des roses ( 'Mid Banks of Roses) By Pol Plancon, Bass (In French) 85117 By Mattio Battistini. Baritone (In Spanish) 92023 12-inch, 3.OO We next discover Faust asleep in a lonely forest on the banks of the Elbe, where the demon murmurs a softly penetrating melody into his ear, lulling him to slumber -with these 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. iimn. ML The demon now sum- ,,.,. ff.f" gCCpff ,^T _ , _, fcfi^ \ .. %""!"''' iT' ' mons the will - o'- the- {jfe^^^^M^t-*^^-!" 11 * * ' * I' wisps in this evocation: v. &* it. <* oo*a fire. HM. b.re. , u* .u*. . . > The sprites come flying to Marguerite's door to aid in her enchantment, and the demon continues : Ye spirits of caprice and of evil, conspire To enchant and subdue, and win a maiden soul. Now dance, ye sons of Evil, dance in the name of the devil, Will-o'-the-wisp and gnome, dance, or away you go! Then follows the beautiful dance of the will-o'-the-wisps, after which Mephistopheles sings "To this lute, I'll sing a serenade One that shall please the lady .... It is moral, her tastes to suit!" Serenade Mephistopheles By Pol Plancon, Bass (In French) 81O34 lO-inch, I2.OO Mephistopheles then warbles in his scoffing voice this mocking serenade : in the accompaniment of -which Berlioz has reproduced the peculiar effect of the guitar by pizzicato crescendos for strings. Bl VICTOR BOOK OF THE O P E R A B E R L I O Z ' S FAUST MEPHISTOPHELES: Dear Katherint', why to the door of thy lover, Drawest thou nigh? Why there timidly hover? why art there? Oh, sweet maiden, beware; come away do not enter; It were folly to venture, Refrain, nor enter there! Ah, heed thee well, fair lass, Lest thy lover betray thee; Then good night, alas! From ill-hap what shall stay thee? But let thy lover prove the truth of his advances; When the ring brightly glances, Ah! then only, believe his love! Berlioz's Mephistopheles is a much more sardonic and less gentlemanly devil than the one -we are accustomed to see in Gounod's opera. 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 Vorlex and Giaour, the wild Ride to Hell commences, shown by a striking moving panorama, while at the close the angels are seen hovering above the town to rescue the soul of the pardoned Marguerite. FOURTH ACT SETTING DAMNATION OF FAUST THE RIDE TO HELL ACT V 62 DINORAH (Din-oh' -rah) OPERA IN THREE ACTS Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris, 1859. First London production July 26, 1859. First New York production November 24, 1864, with Cordier, Brignoli and Amodio. Cast HOEL, a goatherd Bass CORENTINO, bag-piper . .Tenor DINORAH, betrothed to Hoe-1 .Soprano HUNTSMAN Bass Place : Breton village of Ploermel. Although the name of Meyerbeer is usually as- sociated with Robert le Diable, Prophete and Huguenots, his opera, Pardon de Ploermel (afterwards revised and renamed Dinorah), was at one time a favorite work with opera-lovers. The revival of Meyerbeer's sparkling opera during the last Manhattan season was most welcome, not only for its tunefulness, but because it was an ideal medium for the exhibition of Mme. Tetrazzini's marvelous gifts of vocalism. Old opera-goers in America will remember the productions of the past that arranged for Marie Van Zandt in 1892; Patti's famous performance a dozen years before; and the fine impersonations of Gerster, di Murska and Marimon. But it is safe to say that no exponent of the part of the wandering Breton shepherd- ess has ever excelled Mme. Tetrazzini in the role. The plot is utterly absurd its demented goat-girl, seeking a runaway lover; the lover himself, who con- trary to operatic precedent is a baritone, and who spends a year chasing an imaginary treasure; a 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 he village of Ploe'rmel, is about to be wedded to Hoel, a goat-herd, when a storm destroys the house of the bride's father. Hoel resolves to rebuild it, and goes off to seek treasure in a haunted region, while Dinorah, thinking herself deserted, loses her reason, and wanders through the country with her faithful goat, seeking the absent Hoel. As the curtain rises, Dinorah enters in her bridal garments, seeking her pet goat, and finding the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object. Si, carina caprettina (Yes, My Beloved One) By Giuseppina Huguet, Soprano (In Italian) *3518O 12-inch, 51.25 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, Amid the thorns! Sleep, my belov d one, sjeep! Ah! wert thou to be seized by the wolf fear Soft the evening breeze is playing, not! 'Xeath the cooling shadows here I will be there to defend thee fear not! Flows a streamlet, fresh and clear, Ves, darling s]eep in peace. Swift, among the flowers straying. Sweet little birds your warbling cease, Alas! six days has she been away. My beauteous one must sleep. Xor yet returns! Awake her not! Yet softer till ! Perchance she has wandered on the hills * Double-Faccd Record On opposite side is the Mad Scene from Hamlet, tu Mme. Huguet. 63 FAURE AS HOEL, 1 859 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 Hoel pursues it, dragging with him the terrified Corentino. The second act begins with the famous shadow dance, for which Meyerbeer has furnished some most beautiful music. Dinorah enters, and seeing her shadow in the moonlight, imagines it is a friend and sings and dances to it. Ombra leggiera (Shadow Song) By Luisa Tetrazzini, Soprano 88298 12-inch, $3.OO By Maria Galvany, Soprano 88222 12-inch, 3.OO Ombra Leggiera (Light Flitting Shadow) Light flitting shadow, companion gay (10 not away! Play here beside me, dark fears betide me When thou dost go far from me! Ah! go not away, go not away! Each coming morn I thee would find, Ah prithee stay and dance with me! If thou wilt stay, nor go away, Thou thus shall hear me sing. Know'st thou not that Hoel loves me? That as his bride he claims me! Love well hath known Our two hearts to unite! (A cloud passes o'cer the moon the shadow disappears.) This dance is accompanied by a waltz, which is full of the most brilliant vocal effects, including a florid cadenza for voice and flute, as in Lucia. The act closes with the rescue of Dinorah by Hoel -when the bridge, on which she was crossing a ravine, gives away. Act III opens with the famous "Hunter's Song," long a favorite concert number. Chant du Chasseur (Hunter's Song) By Pol Plancon, Bass (Piano ace. ) (In French) 81065 lO-inch, $2.OO On, on to the hunt! To follow the trace of beast or bird. The day is awake. The mist from the lake Rising, passes over, Hoel enters, bearing the form of Dinorah, who is still senseless. Thinking her dead, he bitterly reproaches himself in the great air, Sei vendicala. TETRAZZINI AS DINORAH The fresh morning breeze Plays light in the trees, Like a young, a young and happy lover! Hunting is jolly, when night is over. Sei vendicata assai (Thou art Avenged !) By Mario Ancona, Baritone (In Italian) 88169 12-inch, $3.0O HOKL: 'Twas on this self-same spot a year ago When from the tempest an asylum my Dinorah sought : Within these arms I pressed her; and now! Dead! ah! heaven, I 11 not believe it yet! Look up again, dear angel, thy pardon I im- plore! Dinorah now opens her eyes and recognizes Hoel, her reason having been restored by the shock. The reunited lovers go to the village, are greeted by their friends, and the curtain falls on preparations for the wedding. 64 (He anxiously watclies 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! (Italian) DON GIOVANNI 'French) (Don Jec-oh-oahn' -ee) DON JUAN (Don WaM) OPERA IN TWO ACTS Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced at Prague, October 29, 1 787, and at Vienna, May 7, 1 788. 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 Baritone DON OCTAVIO, (Oct-tah'-vee-oh) betrothed to Donna Anna Tenor LEPORELLO, (Let>-oh-rel'-loto) servant of Don Giovanni Bass DON PEDRO, (Pay-dro] the Commandant Bass DONNA ANNA, his daughter Soprano MASETTO, (M Step Serenade By M. Hector Dufranne, Baritone Si j 'itais Rot Un regard de set yeux ! By Leon Beyle, Tenor IMadamina. il catalogo (Gentle Lady. This List) By Arcangelo Rossi. Bass (In Italian Serena ta Deh! vieni alia finestra (Open Thy Window, Love) By Giuseppe de Luca. Baritone (Piano ace.) (In Italian By Victor Dance Orchestra) _, n , n . ;__t. *i <* r/-. , r /- , 35O6O 12-inch, 91.23 ay Victor Dance Orchestra) (In French ) I 45O11 lO-inch,' l.OO (In French] } 62623 lO-inch, .75 THE GARDEN ACT III DON PASQUALE (Don Pas-ku)ah' -lay) COMIC OPERA IN THREE ACTS Text and music by Gaetano Donizetti. Libretto adapted from the older Italian opera, Ser Marc' Antonio, by Camerano. First presented at the Theatre des Italiens, Paris, on January 4, 1843. First London production June 30, 1843. First New York production March 9, 1846. Recently revived at the Metropolitan -with Sembrich, Scotti and Rossi ; and at the Bos- ton Opera House -with Nielsen, Bourrillon, Antonio Pini-Corsi and Fornari. Characters DON PASQUALE, an old bachelor Bass DR. MALATESTA, his friend, a physician Baritone ERNESTO, nephew of Don Pasquale Tenor . NORINA, beloved of Ernesto Soprano A NOTARY Baritone Chorus of Valets and Chambermaids, Majordomo, Dressmaker and Hairdresser. Scene and Period : Rome ; the beginning of the nineteenth century. This brightest of genuine lyric comedies always appeals to that class of opera-goers who find the present-day comic opera or musical comedy to be cheap, gaudy and lacking in genuine humor. Don Pasquale is pure entertainment, nothing else, the true spirit of comedy being found in the music as well as the plot ; and both are delightful when the opera is presented by such artists as the Victor has assembled for this series. 70 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE ACT I SCENE A Room in Don Pasquale's House The Don is eagerly awaiting the arrival of Dr. Malatesta, who has promised to obtain for him a young and lovely bride. Son nov'ore (Tis 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) *621O4 10-inch, $0.75 PASQUALE: A fire, all unfelt before, Ah! hasten speedily, Burns in my heart's core: Sweet little bride, to me! I 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 Alice Nielsen, Soprano (In Italian) 74O87 12-inch, $1.50 By Giuseppina Huguet, Soprano (In Italian) *68272 12-inch, 1.25 NORINA: "(ilances so soft revealing To that sweet maiden kneeling The flame of truest love, He swore he'd faithful prove! ' Cavatina So anch'io la virtu magica (I, Too, Thy Magic Powers Know) By Amelia Pollini, Soprano (In Italian) *621O3 lO-inch, $0.75 She then declares that she too knows the value of a glance and smile. NORIVA: I, too, thy mag^c virtues know, 1 know (he moilc. oh, dear, Of glance well tim'd and tender, ( )f love's bewitching wiles, A gentle smile, born to beguile, His facile arts and guiles. I know an old offender! To lure with wanton smile-;. A hidden tear, a languor near, 1 know the modes, oh, dear! *Double-FaceJ Record For title of opposite siJe see DOUBLE-FACED DON PASQUALE RECORDS, page 75. 71 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE A servant gives her a letter from Ernesto, just as the Doctor enters and informs her that he has conceived a scheme to force her lover's guardian to consent to the marriage. Norina declares she will have nothing to do with it, bidding him to read Ernesto's despairing letter, in which the young man tells her he is disinherited and will leave Rome, bidding her a last farewell. The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals the details of the plot against Don Pasquale, in which he proposes to play on the vanity of the old bachelor, by pretending to find him a young and lovely wife. They decide that Norina shall play the part of this girl, and go through a mock marriage with Don Pasquale. Norina is delighted and begins to rehearse her new role. This takes the form of a charming duet, which ends the first act and which is always greatly admired. Two records of this sprightly duet, at -widely varying prices, are cataloged here. Pronta io son (My Part I'll Play) By Marcella Sembrich, Soprano, and Antonio Scotti, Baritone (In Italian) 89O02 12-inch, $4.OO By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone (In Italian) *68272 12-inch. 1.25 NORINA: DOCTOR: My part I'll play, if not offending l?ravo, bravo, capital! Against my lover's repose and quiet; It can't be better all goes well I \Vell 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 \^e !) By Giuseppina Huguet and Ernesto Badini (Italian) *62O97 10-inch, $0.75 ACT II SCENE A Richly Furnished Hall in Don Pasquale 's House Don Pasquale, in the most youthful of wedding garments, enters and struts up and down, admiring himself, until the Doctor arrives with Norina, -who is closely veiled. She pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous trio, the first of the concerted numbers in this act, begs her to have courage. The pretended notary now arrives, and another comical scene ensues as the mock ceremony is performed. Pasquale, so much in love that his judgment is clouded, is not only induced to sign over one-half his property to his wife, but agrees that she shall be absolute mistress of the house. As Norina is signing, Ernesto 's voice is heard outside demanding admittance, having come to bid his uncle 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 rimaslo. *Double-FaceJ Record For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 75. 72 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE E rimasto la impietrato (He Stands Immovable) By Linda Brambilla, Soprano: Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi. Tenor ; Agusto Scipioni, Bass PASQUALE: (In Italian) *16566 10-inch, $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 coming next! Take heart. Pasquale, my old buck, I, Don Pasquale, she'd think meet _ Don't be discouraged, use your brains. To trample underneath her feet! NORINA: 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, $O.75 I am betray'd, trod down and beat, ALL (pointing to Don Pcsqualc) : A laughing stock, to all I meet; Don Pasquale, poor, dear wi^ht, Oh! with mingled rage and spite Is nearly suffocated quite! I am suffocating quite! MALATESTA (to Pasquale): NORINA (to Ernesto): V'ou'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 HI (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 : With great heat.) PASQUA;.E: \Vhy, you impertinent! Prithee, where are you running in such haste, P.ut there take what you well deserve, sir! Young lady, may I beg you will inform me? (Bojres 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!) 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 11 to your chamber go, this very instant NORINA: Remain content at home stay in the house. Oh. we shall sec each other in the morning. NORINA (ironically): PASQVALK: really! A face of wood a closed door, you will find. "Double-Faced Record For title ofoetxuite side xe DOUBLE-FACED DON PASQUALE RECORDS, page 75. 73 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE As she goes out she intentionally drops a note which Don Pasquale seizes and peruses. He is petrified to find that it reads : "Adored Sophrania Between the hours of nine and ten this evening, I shall be at the bottom of the garden By the small grated gate. 'Tis 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 Malatesla. 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. Malalesta 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 75) (In Italian) 62103 10-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! lie knows not he is building rare Castles in the empty air: He sees not, the simpleton That in the trap, poor elf, He of his own accord Now goes to throw himself! (Exit together.) SCENE II Don Pasquale s Garden // is Night Ernesto is Discovered Waiting This scene begins with the beautiful serenade, the most melodious of the airs in Donizetti's work. Serenata Com' e gentil (Soft Beams the Light) By Enrico Caruso, Tenor (In Italian) 85O48 12-inch, $3.00 By Aristodemo Giorgini, Tenor, and La Scala Chorus (In Italian) 7601O 12-inch, 2.00 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, 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 Malatesla considers it time to end the farce, and proposes to rid Pasquale of his bride by marrying her to Ernesto, revealing that the first marriage was not a real one, and that the lady was not his sister but Norina. Pasquale is so glad to be rid of such an extravagant termagant that he pardons the deception, consents to the union, and settles an income on the happy pair. 74 VICTOR BOOK OF THE OPERA DONIZETTI'S DON PASQUALE By La Scala Orchestra) ,,.. By La Scala Orchestra) DOUBLE-FACED DON PASQUALE RECORDS Signorina in tanta fretta (My Lady, Why This Haste ?) 1 By Emilia Corsi and Antonio Pini-Corsi (In Italian) I 6 a 2 73 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 (In Italian) La,-,, ] Pronta io son (My Part 111 Play) By Giuseppina Huguet and Ernesto Badini (In Italian)] J Overture \ Barbiere di Siviglia Manca un foglio IUn foco insolito (A Fire All Unfelt Before) By Antonio Pini-Corsi and Ernesto Badini (In Italian) L_ ., Vado, corro (Haste We !) By Emilia Corsi, Soprano, and I 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 Io sonno ricco (I Have Riches) By Passari, Soprano; A. Pini-Corsi, Baritone; and Chorus (In Italian) Cavatina So anch'io Io virtu magica (I, Too, Thy Magic Virtues Know) By Amelia Pollini, Soprano (In Italian) Aspetta aspetta cara esposina (Wait, Wait, Dear Little Wife) By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone (In Italian) ISogno soave e casto (Fond Dream of Love) By Giuseppe Acerbi, Tenor (In Italian) ^62624 Faust Coro de soldados (Soldiers ' Chorus) La Scala Chorus] f Vado corro (Haste We) By Giuseppina Huguet, Soprano, 1 and Ernesto Badini, Baritone (In Italian) 68152 12-inch, $1.25 Una furtiva lagrima (A rurtive lear) By Emilio Perea, Tenor (In Italian)} Quant'e bella ! (Ah, How Lovely !) ] By Emilio Perea, Tenor (In 7ta/ian)i62626 10-inch, .75 Udite, udite o rustici By Arcangelo Rossi, Bass (In Italian) \ lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) By Maria Passari, Soprano ; Pini-Corsi and Chorus (In Italian) Don Pasquale Quartet, Act I By Linda Brambilla, Soprano ; Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi, Tenor ; and Augusto Scipioni, Baritone (In Italian) 78 16566 lO-inch, .75 ERXANI RESCUES ELVIRA FROM THE KING ACT I (Italian) (French) ERNANI HERNANI (Er-nah'-nee) (Her-nah' -nee) OPERA IN FOUR ACTS Libretto adapted by Maria Piave; from Victor Hugo's drama "Hernani;" music by Giuseppe Verdi. First production in Venice, March 9, 1844. First London production at Her Majesty's Theatre, March 8, 1845. First New York production, 1846, at the Astor Place. At its Paris production, January 6, 1846, the libretto was altered at Victor Hugo's request, the characters being made Italians and the name of the opera changed to // Proscrilto. Cast of Characters DON CARLOS, King of Spain Baritone DON RUY GOMEZ DE SlLVA, a Grandee of Spain Bass ERNANI. a bandit chief Tenor DON RlCCARDO, an esquire of the King Tenor lAGO, (Ee-ah'-go) an esquire of Don Silva Bass ELVIRA, (El-oet'-rah) betrothed to Don Silva Soprano GlOVANNA, (Gee-oh-oah 1 -nah) in attendance upon her Mezzo-Soprano Chorus of mountaineers and bandits, followers of Don Silva, ladies of Eloira, followers of the King, Spanish and German nobles and ladies, electors and pages. Scene and Period : Aragon ; about 1519. 79 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI ACT I SCENE I The Mountains of 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, $0.75 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 10-inch, $0.75 Ernani, in this passionate aria, sings of the charms of his beloved. ERNANI : Oh thou, my life's sole treasure, I love thy starry glances, Come, come to my arms adoring, Thy smile my heart entrances, Death at thy feet were pleasure, Most blessed he of mortals The joy of heav'n is mine where'er thou art. To whom thou gav'st thy heart! Ernani and his men depart in the direction of Silva'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! would lie came no more with odious words of loving, more deeply confirming my love for Ernani! Ernani involami (Ernani, Fly with Me) By Marcella Sembrich 88O22 12-inch, $3.00 By Celestina Boninsegna 91074 lO-inch, 2.OO 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. Boninsegna; while a popular- priced record is contributed by Mme. Grisi, of La Scala. Elvira's ladies-in-waiting now enter, bringing her wedding gifts, and in the graceful chorus with which this record begins, congratulate her. SEMBRICH AS ELVIRA * Double-FaceJ Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pap.e 85. 80 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI Quante cTIberia giovani (Noble His- pania's Blood By Ida Giacomelli and La Scala Chorus (In Italian) *16567 lO-inch. $O.75 She thanks them, saying : " Each kindly wish awakes a response in my own heart;" then sings, aside, a second number, "Tutto sprezzo che d'Ernani, " in -which she tells of her hope of rescue. The chorus joins in the con- cluding strain. Da quel di che t'ho veduta (From the Day -when First Thy Beauty ) By Angela de Angelis, Soprano: Francesco Cigada. Baritone (In Italian) *35168 12-inch, $1.25 We come now to one of the greatest scenes in the opera. Elvira, who has left the room with the ladies, returns and is amazed to discover in her boudoir the King, who has been secretly in love with her. She appeals to his honor, saying : "In pity, sire, leave me I" The record begins with the dramatic dialogue between Carlos and Elvira. Carlos then declares his love in the aria "Da quel di" leading up to a dramatic duet, which concludes this sixth number. Tu se' Ernani ! (Thou Art Ernani!) By Giacomelli, Martinez-Patti and Pignataro (Italian) *16568 10-inch, $0.75 The King, maddened by Elvira 's resistance, is about to carry her away by force. She snatches a dagger from Carlos ' belt and cries : " Go, or with this dagger I will slay us both !" 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. THE KING PLEADS HIS LC Infelice e tu credevi (Unhappy One !) By Marcel Journet, Bass By Perello de Segurola, Bass By Marcel Journet, Bass By Aristodemo Sillich, Bass (In Italian) (In Italian) (In Italian) (In Italian) 74008 55007 64O77 *63421 12-inch, 12-inch, lO-inch, lO-inch, $1.5O 1.50 1.00 .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 Emani 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, would be simply impossible without new translations for some of the older works. For in- stance, here is a specimen translation of the text of this very air of Infelice. Ah, to win, to win back summer's blossom Far congealing unto the core. In_my breast were tho't too painless. 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, Double-Facfd Record For lUle of opposite side tee DOUBLE-FACED ERNANI RECORDS, pace 85. 81 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI Now anyone -who can tell just -what this means is certainly a highly gifted individual ! In this connection, however, it should be stated that several American music publishers are entitled to praise for their efforts to improve opera translations, especially G. Schirmer, with many beautiful new editions of the older operas and collections of opera airs ; and Oliver Ditson Company, whose Musicians' Library, a splendid piece of music typography, contains many new translations. The editor of this catalogue is indebted to both these firms for permission to quote from their new translations. Vedi come il buon vegliardo (Well I Knew My Trusty Vassal) By Maria Grisi, Soprano: Carlo Ottoboni, Bass; Remo Sangiorgi, Tenor: and Giuseppi Sala, Baritone (In Italian) *35169 12-inch, $1.25 Having reproached his bride for her supposed treachery, Silva thinks of vengeance, and calling for his armor and a sword, demands that the intruders follow him to combat. Before they can reply, the King's squires enter and salute their sovereign. The astounded Silva, though secretly enraged, kneels to his King, saying : " Duty to my King cancels all offences." The great finale then begins with Carlos ' solo, sung aside to his squires : "\Vell I knew my trusty vassal Would his wrath and love surrender Fierce in hate, in passion tender In the presence of his King." This is one of the most impressive records of the Ernani series. Finale, Act I By Maria Grisi, Soprano; Carlo Ottoboni, Bass; Remo Sangiorgi, Tenor; and Giuseppi Sala, Baritone (In Italian) *16568 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): CARLOS: I will save thee! Power, dominion and love's delights, (Aloud to Sih'a): All these are mine all my will must obey! Let this trusty friend depart. SILVA: ERNANI. From my eyes a veil has fallen . . . I thy friend? Never! unto death my ven- I can scarce believe my senses! geance will pursue thee! COURTIERS: ELVIRA: Well doth Silva hide his anger Fly, Ernani, let love teach thee prudence! But within it still doth smolder! Ernani yields to Elvira's pleadings and in the confusion makes his escape. The curtain falls on an impressive tableau. ACT II SCENE A Hall in Silva's Castle After his escape from the castle, nothing has been seen of Ernani. Elvira believes the rumors of his death and despairingly consents to wed Don Siloa. Esultiam (Day of Gladness) By La Scala Chorus (In Italian) *16569 lO-inch, $O.75 The first scene of Act II occurs in a magnificent hall in the castle. The company of knights and pages of Silva, and ladies in attendance on Elvira sing the opening chorus in praise of the noble 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, $0.75 Silva, attired as a Grandee, enters. His squire, fago, 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 tide see DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. 82 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI La vedremo, o veglio audace (I Will Prove, Audacious Greybeard) By Mattia Battistini. Baritone, and Aristodemo Sillich. Bass (Inltalian) 92OO7 12-inch. $3.OO By Ernesto Caronna. Baritone, and Torres de Luna. Bass (Inltalian) *1657O 10-inch, .75 The retainers bring news that the King and his warriors are without the castle. Sifaa hides Ernani in a secret passage and orders that the King be admitted. Don Carlos inquires, with irony, why Silva 's castle is so well guarded, and demands that he surrender Ernani or lose his own life. Silva refuses. The soldiers are ordered to search the castle. This duet then occurs, beginning : CARLOS: I will prove, audacious greybeard, If thou'rt loyal to thy King! In my wrath I will destroy thee! SILVA: Oh King, be just; I cannot yield! Vieni meco (Come, Thou Dearest Maiden) By Emilia Corsi. Soprano; Mattia Battistini, Baritone; and La Scala Chorus (In Italian) 92OO8 12-inch. $3.OO By Maria Grisi. Soprano ; Francesco Cigada, Baritone; Carlo Ottoboni, Bass : and La Scala Chorus (Inltalian) *1657O lO-inch, .75 This record begins with a chorus of soldiers, who have explored the castle but have found no trace of Emani. The King is about to torture Siloa into revealing the secret, when Elvira rushes in and begs the mercy of his Majesty. Carlos turns to her, and sings consolingly of the bright future before her as his Queen, and in the great trio which follows the con- flicting emotions of those in the scene are expressed in Verdi's fiery music. A te scegli, seguimi (Choose Thy Sword, and Follow!) By Luigi Colazza. Tenor, and Torres de Luna, Bass (Inltalian) *35169 12-inch. $1.25 The King, his followers, and the Lady Elvira having retired, Silva exclaims : " Hell cannot hate with the hatred 1 bear thee, vile King!" He then takes down two swords from the armory, and releasing Emani from his hiding place, challenges him to combat. Ernani refuses, saying that his life belongs to Silva, who has saved it. Silva taunts him with cowardice and Emani consents to fight, but asks for one look at Elvira. Silva replies that the King has taken her away. " Fool 1 " cries Ernani to the astonished Grandee, "the King is our rival!" and agrees to combine with Siloa against their mutual foe. Once their revenge is accomplished, Emani agrees to yield his life at Siloa's call, and gives him a hunting horn whichj shall be the signal for his (Emani's) death. For this magnificent num- ber Verdi has written some of his most dramatic music. In arcion, cavalieri (To Horse, Ye "Warriors) By Giuseppi Sala. Tenor; Cesare Preve, Baritone; and La Scala Chorus (Italian) *16571 lO-inch, $O.75 The act closes with the spirited duet and chorus by Ernani, Siloa and the warriors of the Don, who prepare to pursue the King to the death. ACT III SCENE A Vault in Aix-la-Chaf>elle Cemetery O de' verd' anni miei (Oh Bright and Fleeting Shadows) By Giuseppi Campanari. Baritone (Inltalian) 85O87 12-inch, $3.OO By Mario Ancona, Baritone (7/a/ian) 88O62 12-inch, 3.OO * Double-Faced Record For title of opposite tide *c DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. VICTOR BOOK OF THE OPER A V ERDI'S ERNANI The third act occurs in the Tomb of Charlemagne at Aix-la-Chapelle. Carlos con- ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who are plotting against him. He is depressed and melancholy, and sings this famous O de verd, in which he pledges himself to better deeds should the Electors, then in session, proclaim him Emperor. Si ridesti il Icon di Castiglia (Rouse the Lion of Castile) By La Scala Chorus (In Italian) *16571 lO-inch, $0.75 The conspirators, among whom are Ernani and Silva, assemble at the tomb. Ernani is chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father will at last be avenged. The great ensemble then follows. O sommo Carlo (Oh Noble Carlos) By Mattia Battistini, Baritone; Emilia Corsi, Soprano : Luigi Colazza, Tenor; Aristodemo Sillich, Bass ; and La Scala Chorus (In Italian) 92O46 12-inch, $3.00 By Maria Grisi, Soprano; Remo Sangiorgi, Tenor; Francesco Cigada. Baritone; and La Scala Chorus (In Italian) *3517O 12-inch, 1.25 The booming of cannon having announced that Carlos is proclaimed Emperor, he comes from the tomb and surprises the conspirators. At the same time the Electors and the King's courtiers enter from a secret door. Carlos condemns the plotters to death, when Elvira rushes to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Elvira and Ernani. In this great finale all glorify the Emperor except Siloa, who still secretly cries for vengeance. ACT IV SCENE Terrace of a Palace in Aragon Festa da ballo (Hail, Bright Hour of Gladness) By La Scala Chorus (In Italian) *16572 lO-inch, $O.75 The lovers are now happily united, and this scene shows them at Ernani '$ palace, which, with his estates, has been restored to him. A chorus of ladies, masks and pages greets the happy pair. Ferna crudel, estinguere (Stay Thee, My Lord !) By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor; and Torres de Luna, Baritone (In Italian) *3517O 12-inch, $1.25 Elvira and Ernani are alone on the terrace, oblivious to all but each other, when a blast from a horn is heard. Ernani awakes from his dream of bliss and recognizes the sound of his own hunting horn, which he had given to 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, Bass)^g oo7 1 2-inch, $1.5O \ PuritaniSorgealanotte By Perello deSegurola, Bass (In Italian)! Ferna, crudel By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor ; and Torres de Luna. Bass (In Italian) 3517O 12-inch, 1.25 O sommo Carlo By Maria Grisi, Soprano; Remo Sangiorgi, Tenor; Francesco Cigada, Baritone: and Chorus (Italian) ! Ernani Selection By Pryor's Band\ ,,,, . . , , ~ ;_!, IT, < r-> r> r>Tycl. '^ II. */ *^3 111 1 ^i-incn, &) \ Meister singer Prize Song ay Victor oorn, Lellisl) A te scegli, seguimi By Luigi Colazza, Tenor, and } Torres de Luna, Bass (In Italian) Vedi come il buon vegliardo By Maria Grisi, 35169 12-inch, 1.25 Soprano; Remo Sangiorgi, Tenor ; GiuseppiSala, Tenor: and Carlo Ottoboni, Bass (In Italian)) * Double-Faced Record For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. 84 VICTOR BOOK OF THE OPER A V ERDI'S ERNANI Beviam. beviam By La Scala Chorus (In Italian)} Da quel di che t'ho veduta By Angela de Angelis, 35168 Soprano, and Francesco Cigada, Baritone (In Italian) J O tu che Talma adora By Martinez-Patti. Tenor, 1 and Chorus (In Italian) I . , ,, - Quante d'Iberia giovani By Ida Giacomelli, Soprano. and Chorus (In Italian)} Finale. Act I By Maria Grisi. Soprano: Carlo Ottoboni. Bass: Remo Sangiorgi. Tenor: and Giuseppi Sala. Tenor | . f.e.f.0 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: \ 16569 I Luigi Colazza, Tenor : and Torres de Luna, Bass (In Italian) } La vedfemo By Ernesto Caronna. Baritone, and 1 Torres de Luna. Bass (In Italian) I .,., _ 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) 1 165 71 Si ridesti il Icon di Castiglia By La Scala Chorus (Italian)} Fcsta da ballo "O come felici" By La Scala Chorus (In Italian) Hamlet O oin, 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 stressa By Giorgio Malesci, Tenor Come rugiada al cespite By Luigi Colazza O tu che Talma adora By Martinez-Patti. Tenor, and Chorus (In Italian)} (In Italian) (In Italian) (In Italian) (In Italian) (In Italian) (In Italian) I 16572 12-inch. $1.25 10-inch, .75 10-inch, .75 10-inch, .75 lO-inch. .75 lO-inch, .75 lO-inch, .75 63173 lO-inch, .75 63421 10-inch, .75 62627 10-inch, .75 VERDI'S BIRTHPLACE (OCTOBER 10, 1813), RONCOLE, DUCHY OF PARMA 85 l FAUST (FoiDsf) 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 ; and recently with Caruso and Farrar. /\ Characters FAUST (Fowti) Tenor MEPHISTOPHELES (A/e/- s -fo/'-e/-/eez) Bass VALENTINE (Vaf^n-teen) Baritone BRANDER, or WAGNER Baritone SIEBEL (See'-bet) Mezzo-Soprano MARGUERITE (Mahr-guer^et') . . . .Soprano MARTHA Contralto Students, Soldiers, Villagers, Sorcerers, Spirits. The action tal^es place in Germany. 86 VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST TH. IMPERIAL DE L OPERA FAUST .!,. J. llnrhirr d W. Carre. I'll. .oi \ Don't come down until, my dear, The nuptial ring appear On thy finger sparkling clearly The wedding-ring the ring shineth clear. Ha! ha! ha! ha! etc. Caterina! cruel, cruel! Cruel to deny to him who loves thee And for thee doth mourn and sigh A single kiss from thy rosy lips. Thus to slight a faithful lover. Who so long hath been a rover, Too bad, I declare! Ha. ha, ha, ha, ha! Not a single kiss, my dear. Unless the ring appear! Ha, ha, ha, ha! etc. Plancon's Mephistopheles was invariably a finished performance witty, elegant, debonaire and sonorous. It is a polished Devil that he pictured ; yet beneath the polish we could see the sinister Satan ever present. In his record of this mocking serenade he is at his best, and it is sung with the brilliancy and vocal SAM MARCO AS VALENTINE fimsh to be expected of this fine artist. Journet's impersonation has also been highly praised, and he sings the music superbly, acting with freedom and with an ele- gance that exhibits the Prince of Darkness as a gentleman, though we never lose sight of his inner nature. The famous serenade is given -with much spirit by this artist. Que voulez-vous, messieurs? (What is Your Will?) (Duel Scene) By Enrico Caruso, Tenor; Antonio Scotti, Baritone; and Marcel Journet, Bass (In French) 952O6 12-inch, $5.0O By Ellison Van Hoose. Tenor; Marcel Journet, Bass: and Etnilio de Gogorza, Baritone (In French) 740O4 12-inch, 1.50 Valentine, smarting with shame of his sister's disgrace, comes from the house and exclaims, " What is your will with me ? " Mephistopheles replies in his most mocking voice that their " serenade ' was not meant for him. " For my sister, then ! " cries Valentine in a rage, and draws his sword. The great trio then follows, leading up to a splendid climax. This thrilling trio forms one of the most effective scenes in the opera, and is closely followed by the duel, in which Valen- tine is wounded. 101 COPY'T MISH MELBA AS MARGUERITE CHURCH SCENE The Death of Valentine VICTOR BOOK OF THE O P E R A G O U N O D ' S FAUST Morte di Valentino (Death of Valentine) By Antonio Scotti. Baritone, and Grand Opera Chorus (InFrench) 88282 12-inch, I3.OO Leaving the wounded Valentine en the ground, the assailants rapidly de- part, and the crowd of soldiers and women assemble around the dying soldier, the chorus here crying out in accents of pity, in which Marguerite joins. Valentine, seeing his sister, utters curses upon her, the solemnity of which is enhanced by the sustained trumpet tones in the accompaniment. The throng endeavor to mitigate the dying man's anger, and Marguerite begs for- giveness, but Valentine dies with the curse upon his lips. This dramatic scene is vividly pic- tured in the wonderful painting by Kreling, reproduced on the opposite page. Scene de L'Eglise (I) ( Church Scene, Part I) By Geraldine Farrar, Soprano, and Marcel Journet. Bass (InFrench) 89O35 12-inch, $4.0O We now come to the impressive and almost terrible scene outside the church. Marguerite, cursed by her dying brother, abandoned by all but the faithful Siebel, is kneeling at a small altar. Fearing to enter, and endeavoring to seek consolation in prayer, she supplicates Heaven to accept her repentance. MARGUERITE AT MARGUERITE: Oh, Thou who on Thy throne Giv'st an ear for repentance! Here, before Thy feet, let me pray! MEPHISTOPHELES (invisible): No! thou shalt 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 angels, caressing. Did teach thee to pray. Recollect how thou earnest to ask for a blessing At the dawn of the day! When thy feet did fall back, and thy breath it did falter As though to ask for aid: Recollect thou wast then of the rite and the altar In thine innocence afraid! And now be glad and hear Thy playmates do claim thee from below, to their home! The worm to welcome thee, the fire to warm thee. Wait but till thou shalt come! As this terrible prophecy is heard from the invisible Evil Spirit, Marguerite is overcome with terror and sinks down almost fainting. Scene de L'Eglise (II) (Church Scene, Part II) By Geraldine Farrar, Soprano: Marcel Journet, Bass: and Metropolitan Opera Chorus (In French) 89037 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? 103 VICTOR BOOK OF THE OPER A G OUNOD'S FAUST Then as the chorale is heard from within the church, she endeavors to break the encircling Satanic spell and kneels again in prayer. CHOIR (zvitliin the church) : When the book shall be unseaied, When the future be revealed, What frail mortal shall not yield? MARGUERITE: And I, the frailest of the frail, Have most need of Thy forgiveness! MEPHISTOPHELES: No! Let them pray, let them weep! 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. Words are pitiful things in de- scribing such a scene as this, given as these two artists render it. The conflict in the soul of Marguerite, the taunting apos- trophe of Mephistopheles as he strives to prevent his victim from praying, while the sombre strains of the Dies irae issue from the church, form a musical picture which cannot be adequately described. The two records on -which this great scene have been impressed are among the most effective in the Faust series. ^ WALpURGIS NIGHT At the period of the first production of Faust, a ballet was an absolutely essential part of an opera, if it were to be given at the Paris Opera, though to-day it is seldom performed. Gounod placed his ballet between the death of Valentine and the Prison Scene ; called it a Walpurgis Night, set it in a mountain fastness amid ruins, and called to the scene the classic queens, Helen, Phryne and Cleopatra, who danced to weird and distorted versions of melodies from the opera. Ballet Music (Part I Valse, "Les Nubiennes ") By L'Orchestre Symphonique, Paris 58015 12-inch, $1.0O The first part, which in the opera ac- companies the dance of the Nubian Slaves, / is a most striking portion, beginning with introductory chords, followed by the violins in this delicious melody : afterward repeated with bassoon obbligato. Ballet Music No. 2 Adagio (Cleopatra and the Golden Cup) By L'Orchestre Symphonique, Paris 58O18 12-inch, $1.OO The second part is the adagio movement accompanying the scene in which the Nubian Slaves drink from golden cups the poisons of Cleopatra, who herself moistens her lips from a vase in which she has dissolved her most precious pearls. 104 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 5802O 12-inch, $1.OO These two parts are heard during the appearance of the goddess Phryne, who rises, a veiled apparition, and commands the dance to recommence. Ballet Music Finale, " Danse de Phryne " By L'Orchestre Symphonique, Paris 58021 12-inch. $1.00 The tinale is brisk in movement, rising to a wild climax and ending suddenly with a crashing chord. It is a most effective and exciting bit of ballet composition, and accom- panies the dance of Phryne, who surpasses all her rivals and wins the favor of Faust, arousing the anger and jealousy of the courtesans Helen, Cleopatra, Aspasia and Lais and the dance develops into a bacchanalian frenzy, graphically pictured in Gounod's music. ACT V SCENE The 'Prison Cell of Marguerite The short final act of Faust is truly one of the grandest of operatic compositions, Goethe's story giving Gounod ample opportunity for some most dramatic writing. Marguerite's reason is gone grief and remorse have driven her insane, and in a frenzy she has destroyed her child. Condemned to death, she lies in prison, into -which Mephistopheles and Faust, defying bolts and bars, have entered. "Mon coeur est penetre d'epouvante ! " My Heart is Torn with Grief) By Geraldine Farrar and Enrico Caruso (In French) 89O33 12-inch. $4.OO Gazing at the unhappy girl, who is sleep- ing on a pallet of straw, Faust cries : M? Iftrt it lar* mM fr\t/ m*4 ft pt*l tmtf O, **/ funk' 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) 89034 12-inch, $4.00 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 pone by. The day your eye did not dare To meet my eye! Marguerite now rehearses the first meeting with Faust, his respectful greeting, and her modest and dignified reply : "High born and lovely maid, forgive my hum- Every flower is incense breathing, ble duty; And through the still evening air Let me your willing slave, attend you home A cloud of dew, with perfume wreathing; to-day?" Hark! how the nightingale above "No my lord! not a lady am I, nor yet a To every glowing crimson rose beauty, Fondly murmurs thy love! Not a lady, not a beauty, FAUST (urging her): And do not need an arm to help me on Yes! but come! They shall not harm thee! my way!" Come away! FAUST (I'M despair): There is yet time to save thee! Come away! If thou lov'st me! Marguerite! Thou shall not perish! MARGUERITE (dreamily, her thoughts in the MARGUERITE (listlesslv) : past): 'Tis all too late! Here let me die! How my garden is fresh and fair! Farewell! My memory live to cherish! 105 The Redemption of Marguerite VICTOR BOOK OF THE O P E R A G O U'N O D ' S FAUST The impassioned duet then follows, Faust endeavoring to persuade her to escape ; but the poor weak mind cannot grasp the idea of safety. The duet is interrupted by the im- patient Mephistopheles, whose brutal "Alerie " begins the final trio. Trio Alerte ! ou vous etes perdus ! (Then Leave Her !) By Farrar, Caruso and Journet (In French) 952O3 12-inch. $5.0O By Giuseppina Huguet, Soprano: Pietro Lara, Tenor; and Torres De Luna, Baritone (Doublc-faceJSee below) (In Italian) 62O85 lO-inch, .75 Mephistopheles, fearing the coming of the jailers, and uncertain of his own power, cries out : Then leave her, then leave her, or remain to What does he here! He who forbade me to your shame; pray! If it please you to stay, mine is no more the MEPHISTOPHELES (to Faust): game! Let us go, ere with dawn MARGUERITE (in horror, recognising the Evil Doth justice come on: One, the cause of all her u'oes): Hark! the horses panting in the courtyard Who is there! Who is there! below. Dost thtfu see. there in the shadow To bear us away! With an eye like a coal of fire! Come, ere 'tis day; or stay and behold her undone! As he sings, the tramping and neighing of horses are heard in the accompaniment. MARGUERITE (u-ith fresh courage, defying him) : Away, for I will pray! (in rapture) Holy Angels, in Heaven bless'd My spirit longs with thee to rest! FAUST: Come, mine own, Ere 'tis too late to save thee! The inspiring* trio, perhaps the most thrilling and moving of all operatic compositions, then commences; Marguerite continuing her prayer, Faust urging her to follow him, while Mephistopheles, in desperation, repeats his warning to Faust. MEPHISTOPHELES: MARGUERITE: Let us leave her! Come or be lost, for the Holy angels, in Heaven bless'd, day is near! My spirit longs with thee to rest! Come away! the dawn is grey, Great Heaven, pardon grant. I implore thee, Come, ere they claim thee! For soon shall I appear before thee! FAUST: O save me! ere I perish forever: Come with me! Come, wilt thou not hear? To my despair give ear, I pray thee! Lean on my breast. The early dawn is grey. Holy angels, in Heaven bless'd, O come! I'm here to save thee! My spirit longs with thee to rest! (She dies.) At the close of the trio, Mephistopheles is about to triumph over the soul of his victim, when a company of angels appear and announce that Marguerite is saved. The Evil One, dragging Faust with him, disappears in a fiery abyss. DOUBLE-FACED AND MISCELLANEOUS FAUST RECORDS Selection from Faust By Sousa's Band 31 1O4 12-inch. $1.OO /Selection from Faust By Victor Band I ,,_, _ . , -- 1 Crown Diamonds Overture By Victor Bam// 3 * )lb 12 - in c n - *" /Flower Song By Corinne Morgan (In English)} ^, na , . . , . _- \ Drink To Me Only With Thine Eyes By Harry Macdonoughf 3 * 12-inch. 1.25 I Aria dei gioielli (Jewel Song) By Huguet (In Italian)] , A , - . , _, (La Kermesse (Kermesse Scene) By La Scala Chorus (In Italian) T l /Dio possente By Francesco Cigada (In Italian) )<- a ~_- , L , -- \ Fcnorita Quando le soglie By Mileri and Minolfi (In Italian)]' /Alerte! ou vous etes perdus ! Huguet, Lara and De Lunal , ona - . n . , T * \Le parlate d'amor (Flower Song) By Emma Zaccariaf^ /Deponiam il brando (Soldiers' Chorus) By La Scala < ^^\( ) 2624 lO-inch 75 \ DonPasquale Sogno soave e caslo ByAcerbi, Tenor (In Italian)} flo voglio il piacer By Pini-Corsi and Sillich (In Italian) \ , 3 . _ . in ' h 75 ( Forza del Destino Solenne in quest' ora Colazza and Caronnaf /Soldiers' Chorus Pryor's Band\ .,,,_ in - ,< r< rt !' Aji L t e \ n > r> j)-lo5O2 lO-inch, .75 1 Devil s March (von Suppe) Pry or s Band\ /"Waltz from Kermesse Scene Pryor's Band) 1^552- lO-inch 75 \ In Happy Moments (from Montana) jtlan Turner^ 107 (German) (Italian) DIE FAVORITIN LA FAVORITA (Dee Fah-ve-ree' -tin) (Lah Fah-oo-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 lal^e place in Castile, about the year 1 340. Favorita so abounds with charming airs, fine music and striking dramatic situations that it is difficult to account for the neglect of it in America. The opera was revived, it is true, in 1905, with Caruso, Walker, Scotti and Plancon, but has not since been given. However, for the consolation of those who admire Verdi's beautiful work, the Victor has rendered all the best airs and several of the stirring concerted numbers, so that the opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home. ACT I SCENE The Monastery of St. James The rise of the curtain discloses a Spanish cloister with its secluded garden and weather- stained wall, while in the distance is a glimse of the tiled roofs of the city. Ferdinand, a novice in the monastery, confesses to the Prior, Balthazar, that he has seen a beautiful woman and has fallen in love with her. He describes his meeting with the fair one in a lovely song, Una vergine. Una vergine (Like An Angel) By Florencio Constantino, Tenor (In Italian) 64O9O lO-inch. $1.OO 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-Facet] See page 1 12) (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 V ain thy spell I strive to break! Begone! too profane! Fly these cloisters To thee only my truth maintaining, Far. far from hence! avoid my sight. My cloister I forsake! 108 VICTOR BOOK OF THE OPERA LA FAVORITA COT DUPOI 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 the Favorite is anxious, fearing that Ferdi- nand will learn that she is the King's mistress. She shows him a parchment which she says will insure his future, and then bids him leave her forever. CARUSO AS FERDINAND J \^ SC ^ tt { I (Fly By Clotilde Esposito and Sig. Martinez-Patti *683O9 Ferdinand, beginning the duet, indignantly refuses, saying : 12-inch, $1.25 FERDINAND: Fly from thee! Oh, never! 'Twere madness to try From thee to sever; 'Twere better to die! LEONORA: Farewell! Go; forget me! Thy vows and thy love! No longer regret me Mine image remove. The rose tho' she fair be, A canker that wears, Can never restor'd be By anguish or tears! Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives Ferdinand the parchment and exits hastily. He reads it and is delighted to find that it is a 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, Contralto, and Renzo Minolfi. Baritone (In Italian) *68275 12-inch. $1.25 Leonora recalls the circumstances connected with her departure from her father's home. 'Double-Faced Record For title of opposite side *x DOUBLE-FACED LA FA VOR1TA RECORDS, page 1 12. 109 VICTOR BOOK OF THE OPERA LA FAVORITA LEONORA: When from the halls of my father you LEONORA: bore me. Ah! ask not to know it. A poor simple maiden, betray'd. deceived. Permit me, sir, to leave this court! ' Alas! within these walls I hop'd, fulfilled KING: Would be those vows so sworn, and so No man can love thee more than" I; beliey'd! Thou shall see how my heart adores thee! KING (with tender remorse): LEONORA: No more! No more! I dare not look so high as thee. LEONORA: KING (aside): Silent and alone, shunned by the world, Oh. love! soft love! her bosom filling, Live I in the dark: the mistress of the King. With sweet response each fibre thrilling, Vainly plitter these jewels, Inspire her heart! Vainly bloom these flowers around me. LEONORA (aside): Ciod knows my afflictions! Oh, love, alas! this bosom filling. E'en if the lip may smile, the heart is With secret woe each fibre thrilling! weeping! KING: KING: Disperse this gloom; enjoy the feasts I'.ut tell me the first cause of your grief. Spread 'round thee by my tender love! 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 great finale, one of the most impressive of the concerted numbers. Ah ! paventa il furore (The 'Wrath of Heaven) By Amelia Codolini, Mezzo-Soprano ; Francesco Cigada, Baritone ; Aristodemo Sillich, Bass ; La Scala Chorus (In Italian) *16536 lO-inch. $0.75 BALTHAZAR: Do not call the wrath of God, Shall not bend me nor break me; Avenging upon thee; Calm thee, my Leonora, For it visiteth terribly Bright is thy destiny. Those who do not bow to His will. CHORUS: Hasten, pacify Heaven We tremble with fear Before the curse descendeth! In our inmost hearts, LEONORA: Lest he call down upon himself I tremble with fear The wrath of Heaven ! In my inmost heart, BALTHAZAR (denouncing Leonora): Lest this terrible blow All ye that hear me Should crush my fondest hopes. Shun flic adultress; KING: Avoid the outcast. Still this sudden tempest Accurs'd of Heaven is she! The curtain falls on a dramatic tableau, -Leonora weeping with shame, the King hesita- ting between love and ambition, while the terrible Balthazar thunders the papal curse down upon the guilty pair. ACT III SCENE A Room in the Palace Ferdinand is received by the King, who praises him for his great victories, and asks him to name his own reward. The young captain asks for the hand of a noble lady to whom he owes all his renown, and when the King asks her name he points to Leonora. Alfonso gazes at her coldly and sternly and sings his ironical air. A tanto amor (Thou Flow'r Beloved) By Mario Ancona, Baritone (In Italian) 88O63 12-inch, $3.OO By Mattia Battistini, Baritone (In Italian) 92O45 12-inch, 3.00 By Francesco Cigada, Baritone (In Italian) *16536 10-inch, .75 ALFONSO: Both night and morn; Thou flow'r belov'd, Fad'st from my breast, And in hope's garden cherish'd, Thine ev'ry beauty perished, With sighs and tears refresh'd, And in thy stead alone have left a thorn ! He consents to the marriage, however, and announcing that they must prepare to wed in an hour, goes out with Ferdinand. Leonora is distracted with the knowledge that she must tell her secret to her lover. She calls Inez, and bidding her seek out Ferdinand and reveal all, goes to her apartments to prepare for the wedding. Inez prepares to obey, but on her way is arrested by the order of the King. 'Double-Faced Record For till: of ox/fc side see DOUBLE-FA CED LA FA VORITA RECORDS, page / 12. 110 VICTOR BOOK OF THE OPERA LA FAVORITA 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.. $1.50 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 10-in.. .75 Balthazar entreats him to lift his eyes from earthly things and contemplate the stars, which typify a forgiving Heaven. CHORUS (to Ferdinand) : Turn thou to Heaven, where there is no grief! BALTHAZAR AND CHORUS: Look at the stars' heavenly splendor above! Up to them the penitent prayers Of a purified soul ascend, And carry back peace and happiness! The monks now go into the chapel to prepare for the final rites, and Ferdinand, left alone, 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) 88O04 12-inch, $3.00 By Gennaro de Tura, Tenor (In Italian) 76O12 12-inch, 2.00 By Evan Williams, Tenor (In English) 74141 12-inch, 1.50 Caruso's Spirlo gentil, which was the gem of the recent Metropolitan revival, is given with dazzling brilliancy and with that luscious quality of voice so satisfying to the ear. The record is a supremely beautiful one, while the accompaniment is most delicate and pleasing. FERDINAND: In thee delighting, all else scorning, Spirit so fair, brightly descending, A father's warning, my country, my fame! Then like a dream all sadly ending,_ Ah, faithless dame, a passion inviting. Hence from my heart, vision deceiving. Fair honor blighting, branding my name, Phantom of love, grief only leaving, Grief alone thou leav st, phantom of lve! Signor de Tura furnishes a lower priced Italian version, while Mr. Williams' rendering is also one of beauty and power. The monks now lead Ferdinand to the chapel. Leonora, -who has come hither disguised as a novice to entreat forgiveness of her lover, hears him take the final vows and despair- ingly falls at the altar. Ferdinand comes from the chapel, and seeing a poor novice, assists him to rise. He is at first horrified to recognize Leonora, and bids her begone, but she pleads for mercy. . * Double-Face J RecordFor lille of opposite side see DOUBLE-FACED LA FA VOR1TA RECORDS, page 1 12, 111 VICTOR BOOK OF THE OPERA LA FAVORITA LEONORA: Ah, heavenlike, thy mercy showing, Turn not thy heart away from me, Whose bitter tears ne'er ceas'd from flowing When parted, dear, from thee. FERDINAND (his lore returning): From tears thy words persuasion borrow, Like a spell their softness impart, Those sighs, the hope of some bright morrow Waken once more in my heart! (Impetuously.) I love thee! Come, ah, come, 'tis vain restraining Passion's torrent onward that dashes, O'er my bosom still art thou reigning And we together will live and die! One thought on me like lightning flashes, One voice hear I in thunder speaking. Fly we hence, some calm shelter seeking, Loving share we life's care and joy! Pietoso al par d'un Nume (As Merciful as God) By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor (Double-faced See belov) (In Italian) 62659 10-inch, $0.75 Again gently reminding him of his vows, she falls from weakness and privation. LEONORA: LEONORA (feebly): No, no! Heav.'n forgive me, now I'm dying, 'Tis Heaven calls thee! Ferdinand, I am happy, FERDINAND (recklessly) : We shall hereafter meet no more to be parted, Yet more power hath love; Farewell, now, farewell! Come, could I possess thee (She dies.) There's naught I would not brave, Aye, here and hereafter! (Curtain] 1.25 DOUBLE-FACED AND MISCELLANEOUS FAVORITA RECORDS Quando le soglie (From My Father's Halls) By Lina ] Mileri, Contralto, and Renzo Minolfi, Baritone (In Italian)\t)827S 12-inch, $1.25 Faust Dio possente (Gounod) By Francesco Cigada, Baritone (In Italian)) Fia vero! lasciarti! (Fly From Thee!) By Clotilde Esposito, Soprano, and Sig. Martinez-Patti, Tenor (In Italian) [683O9 12-inch, Norma In mia mono alfin tu sei By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian)] Vien Leonora (Leonora, Thou Alone) By Francesco 1 Cigada, Baritone (In Italian) I , Splendon piu belle in ciel (In Heavenly jSplendor) By | Torres de Luna, Bass, and La Scala Chorus (In Italian)) A tanto amor (Thou Flow'r Beloved) 1 By Francesco Cigada, Baritone (In Italian) Ah! paventa il furore (The Wrath of Heaven) By ^16536 lO-inch, .75 Amelia Codolini, Mezzo-Soprano ; Francesco Cigada, Baritone ; Aristodemo Sillich, Bass (In Italian) \ sai tu che d'un giusto (Know'st Thou) By Gino Martinez-Patti, Tenor, and Cesare Preve, Bass i ->;!, i < (In Italian) Bei raggi lucenti (Ye Beams of Gold) By Ida Roselli, Soprano, and La Scala Chorus In Italian) Orsu, Fernando (Stay ! Hear Me, Fernando !) By Maria Cappiello, Mezzo-Soprano : Giuseppe Acerbi, Tenor: Francesco Cigada, Baritone (In Italian) 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) "j By Perello de Segurola, Bass, and Chorus (In Italian) I ManonEt je sais ootre nom (If I Knew But Your Name) By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French)) 112 62635 lO-inch, .75 62659 10-inch, .75 10-inch, .75 (German) FIDELIO (.Fee-Jat/ -lee-o) or, CONJUGAL LOVE GRAND OPERA IN TWO ACTS Words adapted by Joseph Sonnleithner from Bouilly's Ltonore, oa 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, Minicter Baritone DON PlZARRO, Governor of the State Prison Baritone FLORESTAN, a prisoner Tenor LEONORE, his wife, known as Fidelio Soprano ROCCO, jailor Bass MARZELLJNE, his daughter Soprano JAQUINO, gatekeeper Tenor CAPTAIN OF THE GUARD Bass LIEUTENANT Bass Soldiers, Prisoners, People, etc. Place : A Spanish State prison in the vicinity of Seville. 113 VICTOR BOOK OF THE OPERA BEETHOVEN'S FIDELIO Fidelia must ever be regarded with great interest as being the only opera -written by one of the greatest composers. Originally given as Fidelia, it was rewritten and condensed into two acts by Breuning, still a third revision being made in 1814 by Treitschke. At the time of the second production in 1806 the title was changed to Leonore, Beethoven writing a new overture, now known as Leonore No. 3. A portion of this splen- did number has been played here by Pryor's Band. Leonore Overture No. 3 By Arthur Pryor's Band (Double-faced See 4e/on>) 35181 12-inch, $1.25 The action of the opera occurs in a fortress near Seville. Don Florestan, a Spanish nobleman, has been imprisoned here for life, and to make his fate certain his mortal enemy, Don Pizarro, Governor of the prison, has announced his death, meanwhile putting the unfortunate man in the lowest dungeon, where he is expected to die by gradual starvation, thus rendering unnecessary a resort to violent means. One of the best numbers in the opera is this fine air in D minor, which has been sung for the Victor by Mr. Goritz. BEETHOVEN (1770-1827) Ha, welch ein Augenblick (Fateful Moment) By Otto Goritz, Baritone (In German) 64165 lO-inch, $1.OO In this the wicked Governor unfolds his hatred and his malignant intentions toward Florestan. GOVERNOR: Fateful moment! My revenge is near! Long I've waited for this hour, Fearful lest he should escape me! Over my enemy 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 refuses to believe the report of his death. Disguising herself as a servant, and assuming the name of Fidelio, she secures employment with Rocco, the head jailor. Rocco's daughter falls in love with the supposed handsome youth, and he is soon in such high favor that he is permitted to accompany Rocco on his visits to the prisoner. Hearing that the Minister of the Interior is coming to the prison to investigate the sup- posed death of Florestan, the Governor decides to murder him, and asks Rocco 's help. Fidelio overhears the conversation and gets Rocco to allow her to dig the grave. Just as Don Pizarro is about to strike the fatal blow, Fidelio rushes forward, proclaims herself the wife of the prisoner and shields him. The Governor is astonished for a moment, but recovers himself and is about to sacrifice both, when a flourish of trumpets announces the coming of the Minister, and Don Pizarro is soon disgraced, while Florestan is pardoned and given back to his faithful wife. DOUBLE-FACED FIDELIO RECORD /Leonore Overture No. 3 \ Attila Selection Arthur Pry or s Band\ A tL D > D jf Arthur rryor s Hand) 114 , . . 12-mcn, THE PHANTOM SHIP (German) DER FLIEGENDE HOLLANDER (Dehr -gen-dih Hot-lan-der} FLYING DUTCHMAN 1" Sorflfflunfl ira pimrn $0ftbratrr. 3Rctan. tin 1 Mannar 1943. 3m 'flei Wait: flicpk 111 tm Sfitn. ecu 9tt4xirt SJajnnr. lilt III: t'Jli'^X-'s. i-W^itu i.! JX W u, H^> n >..-. I^Mnun 1 <. am 5 Uf. Sntang urn b Ubr. Ub. (Italian) II Vascello Fantasma (.Eel Vao-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 DALAND, a Norwegian sea captain Bass SENTA, his daughter Soprano ERIC, a huntsman Tenor MARY, Senta's nurse Contralto DALAND'S STEERSMAN Tenor THE DUTCHMAN Baritone Sailors, Maidens, Hunters, etc. ORIGINAL PROGRAM DRESDEN, 1843 Place : On the coast of Norway 115 VICTOR BOOK OF THE OPERA FLYING DUTCHMAN THE STORY One of the most melodious of Wagner's operas, and the most popular in Germany to-day, Fliegende Hollander is also the one which was most promptly condemned by the critics after its production. Its present vogue is a notable example of the change in musical taste since 1843. Wagner was led to write the Flying Dutchman after reading Heine's legend of the unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had sworn that he would not desist if he had to sail on the ocean to eternity. To punish his blasphemy he is condemned to the fate of the Wandering Jew, his only hope of salvation lying in his release through the devotion unto death of a woman ; and to find such a maiden he is allowed every seven years to go on shore. Flying Dutchman Overture By Pryor's Band 31787 12-inch, $1.00 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 : ^m THE OPERA IN WAGNER S HANDWRITING 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 Crab, es schloss sich nicht ? ' ' (My grave I find it not!) A gleam of hope appears in the Redemption theme, and a joyous strain is heard from the sailors of Daland's ship, which is safe in the harbor. Thus the various events of the drama are presented in miniature; and the overture is in fact a complete resume of the opera, summarizing the leading motifs. It is superbly played by Mr. Pryor's fine organization. ACT I SCENE The Coast of Norway The curtain rises showing a rocky sea coast in Norway, with the ship of Daland anchored near the shore. As the crew furl the sails, Daland goes ashore, and climbing the cliff, sees that he is only seven miles from home, but as he must wait for a change in the wind, bids the crew go below and rest. The Steersman remains on watch, and to keep awake sings a sailor ballad : STEERSMAN: From the shores of the south, in far-off lands, I oft on thee have thought; Through thunder and waves from Moorish strands, A gift I thee have brought. My maiden, praise the sweet south wind I bring thee a golden ring. O fair south wind, to me be kind! My maiden doth spin and sing. Ho-yo-ho! Hallo-ho! 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! 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) 74230 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 : 116 VICTOR BOOK OF THE OPERA FLYING DUTCHMAN VAN ROOY AS THE DUTCHMAN The term is past, and once again are ended the seven long years; The weary 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, Hut sign'd the cross, and straight was gone Nowhere a grave, no way of death! Mint- is a curse of living breath. Thee do I pray Bright angel sent from Heaven. \\"as there a fruitless hope to mock me given, Daland comes on deck and is astonished to see the strange ship. He wakes the Steersman and they hail the stranger, who asks Daland to give him shelter in his home, offering him treasure from his ship. On hearing that Daland has a daughter, he proposes marriage. The simple Nor- wegian is dazzled by such an honor from a man apparently so wealthy, and freely con- sents, providing his daughter is pleased with the stranger. The wind changes and Daland sails for his home, the Dutchman promising to follow at once. 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! USED IX MUNICH ACT II FIRST \CT SE' SCENE A Room in Daland 's Home Traft ihr das Schiff (Senta's Ballad) By Johanna Gadski, Soprano (In German) 88116 12-inch, $3.OO The maidens are busily spinning all but Senta, Daland 's daughter, who is idly dream- ing, 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. Senla 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 n.i**,s = i i . -< J v ~pi . , . t . Dock ku. dem tM . ckra Mo - M Er 16 < << - Hnu xxk Mr 4 1 hen with emotion she cries: r u *< *~ mi */** * v< '*'"' ~r ** 117 VICTOR BOOK OF THE OPERA FLYING DUTCHMAN This is the theme of Redemption by Woman's Love, and as Senta sings the beautifully tender and melodious phrase, she runs toward the portrait with outstretched arms, hardly conscious of the now alarmed maidens. SCUTA: Yo-ho-hoe! Yo-ho-hoe! Vo-ho-hoe! Yo-ho-hoe! Saw ye the ship on the raging deep Blood-red the canvas, black the mast? On board unceasing watch doth keep The vessel's master pale and ghast! Hui! How roars the wind! Yo-ho-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! (Site gases at the portrait with growing excitement) Yet can the spectre seaman lie freed from the curse infernal, Find he a woman on earth \ViK>'lI 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. The maidens are so alarmed at Senta' j outburst of call Eric, who meets them at the door with news of run to the shore while CADSKI AS SENTA passion that they run out and the Dutchman's arrival. They Eric remains and reproaches Senta. She refuses to listen and the distracted lover runs out. Suddenly the door opens and the Dutchman appears. Senta is transfixed with surprise as she involuntarily com- pares the portrait with the living man. A long silence fol- lows. The Dutchman, his eyes fixed on the glowing face of the maiden, advances toward her. Daland soon observes that the others pay no attention to him, and well satisfied with the apparent understanding between the stranger and his daughter, leaves them together. The Hollander sees in Senta the angel of whom he had dreamed and who is to banish the curse, and she sees the original of the portrait on which the sympathy of her girlish and romantic heart had been lavished. The Hol- lander asks Senta if she agrees with her father's choice of a husband. She gladly consents, and a long love duet follows, the final theme of which is "faith above all." Daland re-enters and is delighted to find such a com- plete understanding bet-ween the two. He invites the Dutch- man to the fete that evening in celebration of the safe arrival of the Norwegian ship. Senta repeats her vow unto death, and a magnificent trio closes the act. ACT III SCENE Daland's Harbor This scene shows the ships anchored in the bay near Daland's home. Daland's vessel is gay with lanterns, in contrast to the gloom and silence which marks the Dutchman's ship. A gay Norwegian chorus is followed by a spirited hornpipe with a most peculiar 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. 110 DESTINN AS SENTA VICTOR BOOK OF THE OPERA FLYING DUTCHMAN The crew appear and begin a sepulchral chant, -which causes the gay Norwegians to cease singing and cross themselves in terror, and finally to go below. With mocking laughter, the crew of the Dutchman also disappear and the ship is in darkness. Senta and Eric appear and a stormy scene ensues. He has heard of her engagement to the strange captain, and is beside himself. He kneels and begs her to have pity on him. Suddenly the Hollander comes upon the scene and is horror-stricken at the tableau. Believing Senta to be false, he cries, "All is lost; Senta, farewell!" The crews of both ships appear and the townsmen rush to the scene. The Dutch- man reveals his identity and declares himself cursed for- ever. He springs upon his ship the crimson sails ex- pand as if by magic and the ship departs, with the crew chanting their weird re- frain. Senta, in wild exaltation, rushes to the highest rock, calling to the departing vessel, "1 am faithful unto death," and throws herself into the sea. The Flying Dutchman sinks beneath the water, and rising from the wreck can be seen the forms of Senta and the Dutchman clasped in each other's arms. The curse has been banished true love has triumphed! SENTA IS FAITHFUL UNTO DEATH MISCELLANEOUS FLYING DUTCHMAN RECORDS /Flying Dutchman Fantasia ^ Pagliacci Prologue By Pryor's Band \_, ,. By Pryor's Band / 35158 12-inch, $1.25 This brilliant selection contains some of the finest music of this -wonderful masterpiece, in which Wagner has portrayed the story of the Dutchman condemned to sail forever on the stormy sea unless redeemed by the love of a woman. Two variations of the exquisite theme representing Redemption by Woman's Love are given. We first hear the magnificent strain played by the orchestra in Act HI 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 : 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: Anifuaa, ma am trtppo atttfn. The Fantasia is brought to an effective close with a portion of the great duet between Senta and the Dutchman, leading up to a splendid climax. 120 (Italian) LA FORZA DEL DESTINO (La Forf-zah del Da-tee' THE FORClToF DESTINY OPERA IN FOUR ACTS Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- ber II, 1862; and in London at Her Majesty's Theatre, June 22, 1867. First New York production February 2, 1865, with Carozzi-Zucchi, Massimilliani and Bellini. CHARACTERS MARQUIS OF CALATRAVA. (KaUh-traH -oah) Bass DONNA LEONORA,) ,. .... /Soprano DON CARLO. ;ischndren {Baritone DON ALVARO. (Ahl.vah'.roh) Tenor ABBOT OF THE FRANCISCAN FRIARS Bass MEUTONE, a friar Baritone CURRA, Leonora's maid TRABUCO, muleteer, afterwards a peddler Tenor A SPANISH MILITARY SURGEON Tenor AN ALCADE Bass Muleteers, Spanish and Italian Peasants and Soldiers, Friars of the Order of St. Francis, etc. Scene and Period : Spain and Italy ; about the middle of the eighteenth century. Verdi's opera of La Forza del Destino was never a great success ; its story, which is taken from a drama of the Duke of Rivas, entitled Don Alvaro o la Fuerzer del Sino, being doleful and so crowded with horrors that not even the beautiful music could atone for the gloomy plot. Old opera-goers well remember the last production of the opera at the Academy in 1881, with Annie Louise Cary, Campanini, Galassi and Del Puente in the cast. The only production in America subsequent to that time was that of the Lombardi Opera Company in San Francisco several years ago. The overture is a most interesting and rather elaborate one. /Overture. Parti La Scala Orchestra) ,__ . , .. _,. {Overture, Part II La Scala Orchestra/ 68 * 12-inch, $1.25 It opens with a trumpet blast -which sufficiently foreshadows the tragic character of the opera, this being followed by an air in the minor, leading up to a striking theme which steals in softly from the strings. This is the beautiful subject of the Madre Pietosa, afterwards heard -with such mag- nificent effect in the opera. Part II opens with a light and pretty pastoral melody quite in the Italian vein. A notably brilliant passage for strings brings us again to the Madre Pietosa melody, this time delivered in a triumphant fortissimo, after which the overture works up to a truly animated and powerful finale. 121 VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO ACT I SCENE Drawing Room in the House of the Marquis of Calatrava Don Aloaro, a noble youth from India, becomes enamored -with Donna Leonora, the daughter of the Marquis of Calalrava, who is strongly opposed to the alliance. Leonora, knowing her father's aversion, determines to make her escape with Aloaro, aided by Curra, her confidant. She is in the act of eloping when her father appears, and is accidentally slain by her lover. Leonora, horror-stricken, rushes to her father, who curses her with his dying breath. ACT II SCENE I An Inn at Hornacuelos The second act begins in a village inn, where Don Carlo, son of the murdered Marquis, is disguised as a student in order to better avenge his father. Leonora, who is traveling in male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sworn to kill her lover Alvaro and herself. She flees to the convent of Hornacuelos, arriving at night. SCENE II The Convent of Hornacuelos Kneeling in the moonlight, she prays to the Virgin to protect her. This beautiful prayer is splendidly sung here by Mme. Boninsegna, accompanied by the chorus of La Scala. Madre, pietosa Vergine (Holy Mother, Have Mercy) By Celestina Boninsegna, Soprano, and La Scala Chorus (In Italian) 92031 12-inch, $3.00 The effect produced by the solo voice with the background of male voices singing the Venite in the chapel is powerful and thrilling, and forms one of the finest of the Victor reproductions of Verdi's scenes. LEONORA: LEONORA: Oh, Holy Virgin, O sublime song, Have mercy on my sins! Which like incense, Send help from Heaven Ascends heavenward. To erase from my heart It gives faith, comfort, That ungrateful one. And quiet to my soul. (The friars are heard in their morning hymn.) I will go to the holy sanctuary. THE FRIARS: The pious father cannot refuse to receive me. Venite, adoremus et procelamus O Lord! Have mercy on me, An te Deum, ploremtis, 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) 91075 10-inch, $2.0O 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 stio manto, Cover you with her mantle, F. i'oi protegga vigile And the angels of God Di Dio I' Angela santo. Watch over you! (Leonora kisses the Iiand of the Abbot and goes to her retreat. The monks return to the church.) ACT III SCENE A Military Camp near Velletri In Act III we are transported to Italy, where we meet Aloaro, who has enlisted in the Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven for pity. O tu che in seno agli Angeli (Thou Heavenly One) By Enrico Caruso, Tenor (In Italian) 88207 12-inch, $3.OO 122 VICTOR BOOK OF THE OPERA-LA FORZA DEL DESTINO ALVARO: 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- Oh, memories! Oh, night! Thou headed! Oh, when will my misfortune cease? hast taken from me all my happiness! I Thou who hast ascended in heaven, all beau- shall ever be unhappy. . . . So it is writ- tiful and pure from mortal sins, do not for- ten. . . . My father tried to make his get to look on me, a poor sufferer, who with- country free, and to wear a crown by marry- out hope fights eagerly for death against ing the only daughter of Ineas. He was destiny! Leonora, help me and have mercy foiled in his design. ... I was born in on my sufferings! In the next scene he saves the life of Don Carlo, whose wanderings in search of ven- geance have led him to this region. Both having assumed fictitious names, they do not know each other, and swear eternal friendship. Shortly afterward, during an engagement, Don Aloaro, -wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he sends away the soldiers and requests that he be left alone with Don Carlo. The great duet, the finest number in the opera, then occurs. * Solenne in quest'ora (Swear in This Hour) By Enrico Caruso. Tenor, and Antonio Scotti, Baritone (In Italian) 89OO1 12-inch, $4.00 By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone (In Italian) *68213 12-inch, 1.25 By Luigi Colazza, Tenor, and Ernesto Caronna. Baritone (In Italian) *63174 10-inch, .75 The wounded man confides a case of letters to his friend Don Carlo to be destroyed, making him swear that he will not look at the contents. Carlo swears, and the friends bid each other a last farewell. ALVARO : My friend . . . swear that you will grant with me .... when I am dead destroy my last wish. the letters. CARLO: I swear! ALVARO: Look at my breast. CARLO: CARLO : A key ! So be it. ALVARO: ALVARO (feebly): Open this case and you will find a sealed Now I die happy .... let me embrace parcel. ... I trust it to your honor you .... farewell ! . . . It contains a mystery which must die CARLO: Put thy trust in heaven! 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. 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 ALVABO (CiBuao). So - len nc in quest' ora giu rar -mi do ye - te Far Swear in Mil kotir my last urttk to frail me. So DON CAB LOS ( SCOTTI ^.cT^ DON ALVABO (CABtno). pa go un mio volo do. not re fuse me. I swrar, I tu-ear. Up - on my heart you 1 II find * Double-Faced Record For title of opposite side see the double-faced list on page 125. 123 VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO Aloaro, however, does not die, and in the next scene his identity becomes known to Don Carlo, who challenges him. They fight, and Aloaro, thinking he has killed his enemy, resolves to end his days in a monastery. ACT IV SCENE Same as Act II, Scene II Five years have now elapsed and the last act reveals again the cloister of Hornacuelos, where Aloaro, now Father Raphael, is discovered by Don Carlo, who with a persistence rival- ing that of a Kentucky mountaineer, revives the feud and tries to force him to renew the combat. Aloaro finally consents, and they agree to fight in a deserted spot near by. This agreement is expressed in a fiery duet. Invano Alvaro ! (In Vain, Alvaro !) By Enrico Caruso, Tenor, and Pasquale Amato, Baritone (In Italian) 89O52 12-inch, $4.0O The host of Victor opera-lovers who are familiar with the wonderful duet from Act 111, by Caruso and Scotti, will note with delight the issue of another famous duet from this opera, sung by Caruso and Amato. This great scene has been recorded in two parts. Carlo demands that Aloaro renew the feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him with a terrible persistence, until the monk, goaded past endurance, consents to fight to the death. CARLOS : In vain, Alvaro, Thou hast hid from the world, And concealed thy coward heart With the habit of a monk! My hate and desire for vengeance Have enabled me to persist Until I have discovered your retreat! In this lonely spot We shall not be disturbed, And your blood shall wipe out The stain upon my honor; That I swear before God! ALVARO (recognizing him) : Don Carlos! Thou livest! CARLOS: Yes! and for long years I have sought and now find thee. By thy hand I fell, But God restored my strength That I may avenge thy crimes! Here are two swords, Thy choice now make! ALVARO : Leave me! By this holy habit Thou may'st see my repentance! CARLOS (in fury) : Coward! Thou shall not hide behind thy robes! ALVARO (agitated) : Coward! Oh, God Give me strength to forgive thee! Le minaccie, i fieri accenti (Thy Menaces Wild !) Part II By Enrico Caruso, Tenor, and Pasquale Amato, Baritone (In Italian) 89053 12-inch, $4.00 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 125) (In Italian) 68213 12-inch, 1.25 Aloaro recovers his poise and endeavors to appeal to the reason of his enemy, showing him the futility of reopening the feud. Part II begins as follows : ALVARO (firmly) : Thy menaces wild Be heard only by the winds, I cannot listen! Brother, let us submit to fate And the will of God! CARLOS : Thou hast left me A sister deserted and dishonored! ALVARO: No! I swear it! I adore her with a holy love. CARLOS (furiously) : Thy cowardly pleadings Cannot move me to pity. Take thy sword and fight! ALVARO: Brother, let me kneel to thee. (He kneels.) CARLOS: Ah, by such an act Thou showest thy base origin! ALVARO (rising, unable to control himself) : My lineage is brighter than a jewel CARLOS (sneeringly) : A jewel flaw'd and discolored! ALVARO (in fury) : Thou liest! Give me a sword. Lead on! CARLOS: At last! ALVARO (recovering himself) : No, Satan shall not thus triumph. (Throws down liis sword.) CARLOS: Then coward, I brand thee with dishonor! (Strikes him.) ALVARO: Oh, God, no more! (To Don Carlos) Defend thyself! BOTH: We both must die, Our hatred will be appeased And Satan will claim us for his own! 124 VICTOR BOOK OF THE OPERA LA FORZA DEL DESTINO ACT V SCENE A Wild Spot Near 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 Cclestina Boninsegna. Soprano (In Italian) 92O27 12-inch. $3.0O 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 and 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 See below) (In Italian) 68026 12-inch, $1.25 Don Alvaro then completes the catalogue of horrors by throwing himself from a cliff just as the monks arrive singing the Miserere. The curtain then falls, evidently because, as one critic has said, every member of the cast being dead, there seems to be no reasonable excuse for keeping it up any longer ! DOUBLE-FACED AND MISCELLANEOUS FORZA DEL DESTINO RECORDS /Overture, Part I By La Scala Orchestral, anno ,~ - . , ~, (Overture, Part II By La Scala Orchestra/ 6 ' ch ' $1 ' 25 fLe minaccie. i fieri accenti (Let Your Menaces) By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone (In Italian) \682l 3 12-inch, 1.25 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 Maschera Ah ! qual soave brroido ( 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 , . _. , n . , r~ f i. .1 . / T~I r>i r \r .1 <. r> fOjli+ lU-incn, .73 raust Jo voglio il piacer ( I he Pleasures of Youth) oy G. Pini-Corsi, Tenor, and Arittodemo Sillich, Baritone (Italian)) 125 68026 12-inch. 1.25 (English) DER FREISCHUTZ THE FREESHOOTER CDer Fry' -shoots) ROMANTIC OPERA IN THREE ACTS Words by Friedrich Kind ; music by Carl Maria von Weber (his eighth opera) ; com- pleted as Die Jagarsbraut, May 13, 1820. Produced at Berlin, June 18, 1821 ; in Paris, (as Robin des Bois, with new libretto by Blaze and Sauvage, and many changes) at the Od6on, December 7, 1824. Another new version, with accurate translation by Pacini, and recita- tives by Berlioz, at the Academic Royale, June 7, 1841, under the title of Le Franc Archer. In London as Der Freischutz or The Seventh Bullet, with many ballads inserted, July 23, 1824; In Italian, as // Franco Arciero, at Covent Garden, March 16, 1850 (recitatives by Costa) in German, at King's Theatre, May 9, 1832. It was revived at Astley's Theatre with a new libretto by Oxenford, April 2, 1866. First New York production, in English, March 12, 1825. " Cast PRINCE OTTOKAR, Duke of Bohemia Baritone CUNO, head ranger Bass MAX, ) c i i . f Tenor CASPAR 1 young roresters serving under him <, r> KlLJAN, a rich peasant . , Tenor A HERMIT Bass ZAMIEL, the fiend huntsman Speaking Part AGNES, Cuno's daughter Soprano ANNIE, her cousin Soprano Chorus of Hunters, Peasants, Bridesmaids, and invisible Spirits. Scene and Period : The scene is laid in Bohemia, shortly after the Seven Years ' War. The word freischutz, probably better translated as " free marksman," means a Schutz or marksman who uses "free bullets," or charmed bullets which do not depend on the aim of the shooter. 126 VICTOR BOOK OF THE OPERA DER FREISCHUTZ Overture By Sousa's Band By La Scala Orchestra * 35000 * 62636 12-inch, $1.25 10-inch, .75 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 falling and mysterious sounds are heard. The allegro, represent- ing the doubts of the good but vacillating young hunter, begins, and the sound of the magic bullets can be heard as they drop in the melting pot. Next a beautiful melody, portraying love and happiness, appears, but this in turn is succeeded by another mood of distress. At length the triumphant strain indicative of the final victory is sounded, leading up to a splendid climax. Sousa's Band has given a stirring performance of this brilliant over- ture, -while the rendition by La Scala Orchestra will please those who prefer orchestral music. The story of the opera is founded on a German tradition, told among huntsmen, that whoever will sell his soul to Zamiel, the Demon Hunter, may receive seven magic bullets, which will always hit the mark. For each victim whom he succeeds in securing for the Demon, his own life is extended, and he receives a fresh supply of the charmed missiles. Cuno, head ranger to Ottok.ar, a Bohemian prince, has two assistants, Max and Caspar, both excellent marksmen. Max is in love with Agnes, Cuno's daughter, who has promised to be his bride only on con- dition that he proves himself the best shot at a forthcoming contest. This contest, however, is won by Kilian, a peasant. Max, in a dramatic air, bitterly bewails his bad luck. MAX Durch die Walder (Thro* the Forest) By Daniel Beddoe, Tenor (In English) 74244 12-inch, $1. SO He believes he is cursed by an evil spirit which causes his hand to fail at the critical moment. MAX: O, I can bear my fate no longer! E'en hope is banished from my soul! What unknown grief thus haunts my spirit, And o'er me works its dark control? Thro' the forests, thro' the meadows, Joy was wont with me to stray, While my rifle, never failing, Made each bird and beast my prey. When at length from chase returning, Ere home rose before my sight, Agnes, smiling met me, Cloth'd in beauty's heavenly light. But now am I by Heaven forsaken And left the power of chance to know? Will hope's long slumber ever waken, Or am I doomed to endless woe? Now, methinks, beside her lattice, I my lovely fair one see; \Vhile her ear seems fondly list'ning, Every coming sound for me: See, she fondly waves a welcome, Fancy's eye her lover sees; But her signal gains no answer, Save the sigh of whispering trees! What dark'ning power is ruling o'er me? My anxious bosom fear hath riven, Despair hath spread her snares before me: Does fate rule blindly? Aid me, Heaven! Caspar, who has already put himself in the power of Zamiel, sees here an opportunity to extend his own days of grace, and advises PHOTO HOVER Max to seek the magician and secure some of the magic bullets. CASPAR *Doublc-Faccd Record-Far title ofot>tx>site side xe DOUBLE-FA CED DER FREISCHUTZ RECORDS, page 128. 127 VICTOR BOOK OF THE OPERA DER FREISCHUTZ In the meantime Agnes is anxiously awaiting her lover and is much alarmed at his non- appearance. Annie, her cousin, endeavors to cheer her by singing a gay air, Comes a Gallant Youth. Annie's Air, '* Comes a Gallant Youth " By Marie A. Michailowa, Soprano (In Russian) 61134 lO-inch, $1.00 She describes playfully the attitude a shy maiden should assume when the right young man happens along. ANNIE: Comes a gallant youth towards me, Be he golden hair'd or dark, Eyes that flash as he regards me, Him my captive I will mark! Eyes bent down to earth for shyness, As befits a modest maid, With a stolen look of slyness Yet may ev'rything be said! And if swift emotion rushes, Shot from answ'ring lip and eye, Nothing worse than maiden blushes Need the gallant stranger spy! Annie begs Agnes to retire, but the young girl says she will wait for her lover. Left alone, she draws the curtains aside, revealing a starlight night. She ex- claims at the beauty of the night, and folding her hands in prayer she delivers the lovely air which is the gem of the opera. Preghiera di Agatha (Agatha's Prayer) (Double-faced See below) By Emilia Corsi, Soprano (Piano ace.) (In Italian) * 62636 lO-inch, $0.75 She prays for the safety of her lover, and asks Heaven to watch over them both. Earth has lull'd her care to rest; Why delays my loitering love? Fondly beats my anxious breast: Where, my Rudolph, dost thou rove? Scarce the breeze among the boughs Wakes a murmur thro' the silence, Save the nightingale lamenting, Not a sound disturbs the night! PHOTO BOYEB AGATHA AND ANNA AGNES: Softly sighing, day is dying, Soar my prayer heay'nward flying! Starry splendor shining yonder, Pour on us thy radiance tender! How the golden stars are burning Thro' yon vault of ether blue, But lo, gath'ring o'er the mountains Is a cloud, foreboding storm, Max arrives, followed by Annie, but seems embarrassed and says he must go to bring in a stag he has shot near the Wolf's Glen. Agnes begs him not to go near that haunted spot, but he disregards her warning and goes out. The scene changes to the Wolf's Glen, where Max meets Caspar, and the magic bul- lets are cast amid scenes of horror, while the demon Zamiel hovers near awaiting his prey. Max is returning with his prize when he meets the Prince, who asks him to shoot a dove. The hunter complies, just missing Agnes, who has come to the wood in search of her lover. Caspar is wounded by the very bullet which he had intended should slay Agnes at the hands of Max. Zamiel rises and carries off his victim, while Max is forgiven and all ends happily. By Sousa's Band| 35000 oy jousa s tianaj DOUBLE-FACED FREISCHUTZ RECORDS /Overture \ Carmen Selection [Overture By La Scala Orchestra] i Preghiera di Agatha (Agatha's Prayer) ^62636 [ By Emilia Corsi, Soprano (Piano ace.) (In Italian) J 128 12-inch, $1.25 10-inch, .75 THE BATTLEFIELD OF LEIPZIG ACT III (CARUSO, DESTINN AND AMATO) (Italian) GERMANIA C/er-man' -ee-a A) 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 CR1SOGONO (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 LUTZOW Bass CARLO TEODORO KORNER Tenor SIGNORA HEDVIGE Mezzo-Soprano PETERS, a herdsman Bass Chief of German Police Bass Historical Personages, Students, Soldiers, Police officers. Members and Associates of the " Tugendbund," " Louise-Bund " and " Black Knights " ; Forest Girls. Time: 1813. The opera is the work of an Italian nobleman, who, although a very wealthy man, is ambitious and makes the writing of operas his hobby. German/a is a picturesque and in- teresting opera, full of local color, describing the Germany of the time of Napoleon, with its many conspiracies ; and for this the Baron has written much effective and agreeable music. The action takes place in 1813, at the time of the battle of Leipzig. 129 VICTOR BOOK OF THE OPERA FRANCHETTI 'S GERMANIA PROLOGUE SCENE An Abandoned Mill near Nuremberg A company of students, under the leadership of Giovanni Palm, have occupied an old mill, and are shipping sacks of grain, which really contain political documents intended to rouse the people to revolt. Prominent among the students is Worms, who previously had a love affair with Ricfce, 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 Ricl^e dreads his coming, as she has made up her mind to tell him her guilty secret. Worms, however, divines her purpose and bids her keep silent, as in the duel which was sure to occur Loewe would likely be the one to die. Loewe arrives and is joyfully greeted by the conspirators. He encourages them to fresh efforts in his noble aria. Student!, udite ! (Students, Hear Me !) By Enrico Caruso, Tenor (In Italian) 87053 lO-inch, $2.0O Caruso delivers this inspiring number with splendid effect, showing -well the beauty and power of his marvelous voice. The enthusiasm which follows Loewe' s great address is rudely interrupted by the ar- rival of the police, who seize Palm and take him away to his death. ACT I SCENE A Cottage in the Black Forest Seven years have elapsed. Hither Loeae has come after the disastrous campaign of 1806, which followed the plotting in the old mill. He lives in this hut with his aged mother and the two girls, Ricfce and her sister Jane. Worms has disappeared and is supposed to be dead. Loewe is about to be married to RicT^e, and the bridesmaids now arrive to deck the cottage with flowers. Ric^e, thinking of her past, is melancholy, but the marriage ceremony is performed and the bride and bridegroom are left alone. Federico clasps her in his arms and sings his beautiful air to the eyes of his bride. Non chiuder gli occhi vaghi (Close Not Those Dreamy Eyes) By Enrico Caruso, Tenor (In Italian) 87054 lO-inch, $2.OO Forgetting the past, Ric^e yields herself to the joy of the moment and tenderly kisses him, when suddenly from the forest is heard a familiar voice singing an old student song. " Worms!" joyfully cries Federico, and runs out to meet his old friend, who is wasted and battle-scarred. Worms comes in and is astonished to see Ric^e. She looks coldly at him and he uneasily says he must be on his way. Federico protests, but Worms insists and departs. Riclfe, over- come by this reminder of her past misfortune, resolves to leave her husband, and writes him a note and flees into the forest. Federico returns, reads the note, and wrongfully con- cludes that she has fled with Worms. ACT II SCENE A Cellar in Konigsberg In this underground retreat Worms is again plotting against Napoleon. A meeting of the Council is in progress, when Federico appears and demands that Worms shall fight with him to the death, but Worms, kneeling, asks Federico to kill him. Federico replies with a violent blow in the face, at which Worms decides to fight him, and preparations for the duel are begun. They are interrupted by the entrance of Queen Louise, who suggests that such brave men had better be using their swords for their country. Fired with enthusiasm, the enemies embrace each other and swear to die for Germany. EPILOGUE SCENE The Battlefield of Leipzig The awful three days' conflict is over and the field is a mass of ruins, battered -wheels and dead and wounded men. 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. Ric^e looks on the face of the man who had ruined her life and forgives him. She returns to her hus- band and when he dies in her arms waits beside his body for her own death, which she feels approaching. As the sun sets the defeated Napoleon with the shattered remains of his army is seen retreating. 130 (Italian) LA GIOCONDA (Lah Jee-oh-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-ai/-kah) her blind mother Contralto AL.VlSE,\Al-oee'-zay) one of the heads of State Inquisition . . Bass LAURA, his wife Mezzo-Soprano ENZO GRIMALDO. a Genoese noble Tenor BARNABA a spy of the Inquisition Baritone ZUANE, 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. PROGRAM OF FIRST PERFORMANCE (MILAN) Gioconda is a work of great beauty, full of wonderful arias, duets and ensembles, with fine choral effects, and a magnificent ballet. The book is founded on Hugo's "Tyrant of Padua," and tells a most 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 Scak Chorus (Inltalian) *4501O lO-inch, $1.0O At the close of this number, Barnaba advances and an- nounces the commencement of the Regatta. All hasten to the shore, while Barnaba remains to soliloquize on his plot to secure the lovely Gioconda. Gioconda enters, leading her mother, La Cieca, by the hand, and Barnaba hastily hides behind a column to watch them. La Cieca sings a beautiful air, blessing her daughter for her tender care, and this leads to a trio. * Double-Faced Record For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 131 MUSICAL AMEIICA DESTINH 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 : Ernesto Badini, Baritone (In Italian) *55O17 12-inch, $1.50 LA CIECA: Daughter, in thee my faltering steps Find guidance and protection; I gratefully bless my loss of sight, That heightens thy affection! 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. While thou unto mankind thy songs are sing- 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! Beware thee, moth, if in my net thou'rt taken! 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 witch who has cast a spell over him, causing his defeat. The old woman is being roughly handled by Zuane and his friends when Enzo suddenly appears and protects her, holding the mob at bay. Alvise, Chief of the Council, enters with his wife Laura, formerly betrothed to Enzo. Laura pleads for Cieca, and she is protected by 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) 85104 12-inch, $3.00 Although the part of the blind mother, La Cieca, has never been sung by Mme. Homer, she being usually cast for Laura (the superb lady of Venice and rival of Gioconda), this beautiful air has always appealed to her. It is considered the finest single number in Ponchielli's work, and is undoubtedly one of the loveliest gems in this or any other opera. Certain it is that no Cieca of present memory has ever delivered this romance with such richness of voice and such touching pathos. This beautiful passage SCENE ACT f> .ioleu.. ..pro. 1 1 r frr prt (hit re . do n. j. <.; /// #>* r/.r. 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 opposite aide see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 132 COPVT DUPONI 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) *45033 10-inch, $1.OO BARNABA (approaching Enso) : Enzo Crimaldo, Prince of Santa Fior, thou art pensive. ENZO (aside) : I am discovered! BARNABA: What magic stupor steals away thy senses? '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. Thy birthplace was Genoa! ENZO: ' Prince I am not, but sailor. Vender's my ship. I am Dalmatian, Enzo Giordan. BARNABA: For others, but not for me. Proscribed thou wert by Venice, Yet hither thou art led, by chainless impulse, Thy life to peril. Thou didst love a maiden Yonder, in thine own Genoa, but she another's bride became. CARUSO AS 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 /\nd recognized thee. ENZO (joyfully) : Oh, happiness! BARNABA: Love sees through disguises. All this night will her husband stay at the Doge's palace, With the Great Council. Laura shall be on board thy vessel. Love's sweetest consolations await thee! ENZO: Ah, with what joy my heart is filled, Fortune at last is kind! But who art thou, oh, gloomy messenger of joy? BARNABA: I hate thee! I am the demon-in-chief Of the Council of Ten. Read this. Beware thee! (Opens 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.) * Doublt-Faced Record For title of opposite ,ide see DOUBLE FACED LA GIOCONDA RECORDS, page 1 37. 133 VICTOR BOOK OF THE OPERA LA GIOCONDA Barnaba then -writes to Ahise that his wife plans to elope -with Enzo. He speaks the words aloud as he -writes, and is heard by Cioconda, -who is overcome at this evidence of her lover's faithlessness, and heartbroken, enters the church -with her mother. The act closes with a famous dance, the Furlana, played here by the famous Orchestra Sinfonica of La Scala. Furlana (Finale. Act I) By Italian Orchestra *45O33 lO-inch, $1.0O ACT II SCENE A Lagoon near Venice it is night. Enzo's ship is shown at anchor, with sailors grouped on deck,, resting Barnaba, disguised as a fisherman, appears in his boat, hails the sailors, and sings them a merry ballad, Ah, pescator! Ah, pescator affonda Tesca (Fisher Boy, Thy Bait Be Throwing !) By Pasquale Arnato, Baritone, and Metropolitan Opera Chorus (In Italian) 87093 lO-inch, $2.OO By Ernesto Badini, Baritone, and Chorus (In Italian) *45O10 10-inch, l.OO This is one of the most popular numbers in the opera, its beautiful melody and rhythmical swing being a -wel- come relief in the midst of so much that is gloomy. It is superbly sung here by Amato, one of the greatest of Barnabas, who is assisted by the Metro- politan Opera Chorus. A popular priced rendition is furnished by Badini and the chorus of La Scala. After taking careful note of the strength of the crew, Barnaba sends his aide for the police galleys and leaves in his boat. Enzo now appears, and is greeted by his men with en- thusiasm. He is in a gay hu- mor, thinking of Laura's expected visit, and bids the sailors go below while he keeps the watch. Left alone, he gives expression to his joy in this great aria, one of the most beautiful in the whole range of opera. Caruso sings the number -with exquisite purity of tone and a lavish outpouring of voice. Cielo e mar (Heaven and]Ocean) By Enrico Caruso, Tenor By Florencio Constantino, Tenor By Franco de Gregorio, Tenor ENZO S VESSEL ACT II (In Italian) 88246 12-inch, $3.OO (In Italian) 64O7O lO-inch, l.OO (In Italian) *45027 10-inch, l.OO Especially noticeable is this fine passage 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-FaccJ Record For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 134 VICTOR BOOK OF THE OPERA LA GIOCONDA 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 creato ! (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- COPVT MISHKIN preaching. 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 III SCENE A Room in the Palace of Aloise. Night Aloise 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) *55O19 12-inch, $1.5O ALVISE (in violent agitation): Yes, to die is her doom! My name, my honor, Shall not with impunity be disgraced. From Badoers, when betrayed, Pity 't were vain to hope. Though yesterday upon the fatal isle She 'scaped this vengeful hand, She shall not escape a fearful expiation. Last night a sharp poniard should have pierced her bosom ; This night no poniard I'll use; she dies by poison! (Pointing to the adjoining room.) While there the dancers sing and laugh, In giddy movements flying, Their mirthful tones shall blend with groans, Ureath'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 Aloise 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 Aloise is giving a masked ball. The famous Dance of the Hours is given for the entertainment of the guests. * Double-FaceJ Record For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 135 VICTOR BOOK OF THE OPERA LA GIOCONDA Dance of the Hours By Victor Orchestra 31443 12-inch, $1.OO This is one of the most beautiful of ballets and symbolizes, like many other modern Italian ballets, the struggle between the conflicting powers of light and darkness, progress and ignorance. The music is fascinating in the extreme, and is one of the most popular parts of the opera. Enzo is present among the maskers, and when Barnaba whis- pers in his ear that Laura is dead, he unmasks and denounces Alvise, who causes his arrest. The great finale begins with Enzo's solo, Gia ti vedo (I Behold Thee) By F. Lotti, Soprano ; de Gregorio, Tenor ; Badini, Baritone ; and Chorus (In Italian) *55O19 12-inch, $1.50 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 Soon we'll share celestial GIOCONDA: Sadly fall the tear-drops, In the silence of despair; Break, oh heart! sad eyes, rain torrents! Fate, thy sharpest doom prepare! BARNABA (aside to Gioconda) : Yield thee, yield thee! all around thee See what pow'r I have for ill! Well may st thou fear me; pow'rs infernal To ill deeds attract me still ! GIOCONDA (aside to Barnaba) : Do thou save him, bring him safe out there, Close by the Redentor, and then Myself I will surrender To thee, fearfulest of men. BARNABA (to Gioconda) : Though despair may prompt thy offer, I accept it for my part. And the bitterest fate will welcome, Once to press thee to this heart. juide me, bliss! COPY'T MISHKIN ANCONA AS BARNABA LA CIECA: Thou art weeping, O Gioconda, Let me fold thee to my breast. Never love, like love maternal, Can encounter every test. ALVISE: 'Mid the splendor this fete surrounding, Thou art unwelcome, cavalier; But, ere long, new scenes of horror Shall from thee attention claim. Thou shalt soon see if I am watchful Of the honor of my name ! To complete his revenge, Alvise now draws aside a cur- tain and shows the guests the body of Laura, acknowledging that he took her life. Horror and indignation are expressed by those present, and Enzo attempts to kill Alvise. He fails, is seized by the guards, and is led away to prison as the curtain falls. ACT IV SCENE A ruined palace on an island in the Adriatic. Venice visible in the distance To this desolate island Gioconda has managed to bring the unconscious Laura, in an endeavor to save her. As the * Doubk-FaccJ Record For title of opposite 3iJc see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 136 VICTOR BOOK OF THE OPERA LA GIOCONDA curtain rises two men are carrying the insensible form into the ruin. Gioconda asks the men to seek out her mother, whom she fears never to see again. Left alone, she approaches the table, looks fixedly at a flask of poison, and begins her terrible song, one of the most dra- matic of the numbers in Ponchielli's work. Suicidio (Suicide Only Remains) By Elda Cavalieri (Doable-Faced Sec below) (In Italian) 55015 12-inch, $1.50 For a moment the unhappy girl is tempted to complete Alvise'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 Bamaba 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 coitr- And ne'er will Gioconda be false to her oath. age, and retains it to the end) : May Heaven in mercy withhold condem- Yes, I keep to my compact; we both swore nation, to keep it, And pardon us both! Barnaba is overjoyed and begins the final duet, the most dramatic scene in the opera. Vo' farmi piu gaia (Thou'rt Mine Now !) By A. Rossi Murino, Soprano, and E. Badini. Baritone (In Italian) 55017 12-inch. $1.5O BARNABA: Thou'rt mine now! and swift from this deso- Thou claimest Gioconda? Now demon accursed, late hearl, Gioconda is ihine! Expelled by love's rays, sombre shadows de- (She stabs herself in the heart with the dagger parl. that she had secreted while adorning herself, GIOCONDA (to Barnaba, who is approaching her): and falls dead at his feet.) Restrain awhile thy ardent passion! BARNABA (in horror): '1 hou soon shall in splendor Gioconda behold! Ah, stay thee! "Tis a jest! For thee I am braiding my clustering tresses (With fiendish joy.) With purple and gold! Well, then, thou shall hear this, (Concealing her terror, she begins to adorn And die ever damned! herself.) (Bending o-cer the corpse of Gioconda, and With glittering jewels, the gay tinsel worn screaming furiously into her ear.) nightly LAST NIGHT THY MOTHER DID OFFEND ME: By madcaps theatrical, cover'd I'll be: I HAVE STRANGLED HER! Now list to the song lhal this ardent young siren (Wildly.) Will sing unto thee! She hears me not! I keep to my compact.no fake oath was mine; (With a cry of half-choked rage he rushes (Changing her tone.) from the ruin. The curtain falls.) DOUBLE-FACED AND MISCELLANEOUS LA GIOCONDA RECORDS iglia che reggi tremulo pie (Daughter, My Faltering Steps) ] By Murino. Nunes and Badini (In Italian) I -- rtl - , ,Vo' farmi piu gaia (Thou'rt Mine Now) 55 17 12 - inch "- 50 By A. Rossi Murino, Soprano; E. Badini, Baritone] IGia ti vedi (I Behold Thee) By F. Lotti, Soprano; | de Gregorio, Tenor : E. Badini. Baritone (In Italian)\5SOl9 12-inch, 1.5O Si! morir ella de'! By Amleto Galli, Bass (In Italian)) /Suicidio ! (Suicide Only Remains) By Elda Cavalieri\- ttrk , , ._ . , . 45O27 lO-inch. l.OO By Franco de Gregorio, Tenor (In Italian)} 137 HEATH ACT III (German) G OTTERD AMMERUNG ( Got-ter-da hm'-er-u ng) THE DUSK (English) OF THE GODS MUSIC DRAMA IN THREE ACTS AND A PRELUDE Words and music by Richard Wagner. First produced at Bayreuth, August 17, 1876, with Materna and Unger. First American production at New York, January 25, 1888, with Lehmann, Seidl-Krauss, Traubman, Niemann and Fischer. Characters SIEGFRIED Tenor GUNTHER (Goon'-ter) Bass HAGEN (Hah'.gen) Bass BRONNHILDE Soprano GUTRUNE (Goot-troon '-e/i) Soprano WOGLINDA, } ( Soprano WELLGUNDA, [Rhine-Nymphs { Soprano FLOSSHILDE, J [Contralto PRELUDE SCENE The Walkure's Rock The Dusk of the Cods, the last part of the tetralogy, consists of three acts and a prelude. In the prelude we once more see Briinnhilde on the rock, where she had lain during her magic sleep, and where Siegfried had found her and taken her as his bride. Siegfried, after a brief period of domestic happiness in a cave near by, decides to leave her for awhile in search of adventures, and gives her the Nibelung's Ring as a pledge of faith. This ring he had obtained when he slew the dragon Fafner, and as the opera progresses it will be seen that he is doomed to suffer the consequences of the fatal curse, invoked on every possessor of the Ring by Alberich, from whom it was forcibly taken by Wotan. 138 VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS EDOUARD DE KESZKE AS HAGEN As the curtain rises Briinnhilde and Siegfried come out of the cave, Siegfried in full armor and the Valkyrie leading her horse by the bridle. She begins her tender address of farewell : 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! Zu neuen Thaten (Did I Not Send Thee ?) By Johanna Gadski, Soprano In German 87O98 10-inch, $2.OO 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 Gulrune, and their half-brother Hagen, who is a son of Alberich, the dwarf. Hagen knows the history of the Ring and is anxious to re- store it to his father, so he artfully tries to win the help of Gunther. Knowing that the hero is approaching the castle, he outlines this scheme, -which is to give Siegfried a drink which will make him forget Briinnhilde and fall in love with Gutrune, after which Gunther can win the peerless Briinnhilde 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 Briinnhilde. Seeing the lovely Gutrune, -who stands -with lowered eyes, he exclaims : SIEGFRIED (gazing on Gutrune with a kindling eye) : Thou fair one, whose beams My breast have enflamed, 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 Gunlher if he has a -wife. The King, prompted by Hagen, replies that he knows of one he -would wed, but that she is surrounded by a magic fire -which he 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 I And my arm is thine: If Gutrune for wife I may gain! In order that Briinnhilde may think that it is Gunther who has -won her, it is agreed that Siegfried shall, by means of the Tarnhelm, change himself into Gunther's form. Thinking only of his reward, Siegfried eagerly departs. 139 ALBERICH AND HAGEN ACT II VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS GAPSKI AS BRUNNHILDE 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 Cunther come to win her for his wife. Briinnhilde, in horror and despair, holds up the Ring, exclaiming : BRL'NNHII.DE: 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. Gulrune comes to meet Siegfried, and a long duet follows, after which they go to the Hall. Hagen sounds his horn to summon the vassals and bids them prepare for a feast, as Gunther has taken a bride. Gunther now arrives in his boat, leading Briinnhilde, -who is pale and downcast. Siegfried and Gutrune come out to meet them and Briinnhilde sees Siegfried in his rightful form. She recoils in horror at seeing him with another woman, and regarding her as a stranger. She then perceives the Ring on Siegfried's finger and demands to know where he obtained it. He seems confused and regards the Ring with a puzzled air. Briinnhilde, beginning to comprehend what has occurred, denounces him, and Gunther, beginning to doubt whether Siegfried had kept his oath to respect Briinnhilde as a brother's bride, looks threateningly at him. Siegfried, eager to set himself right, swears the oath of the spear. The vassals make a ring round Siegfried and Hagen. Hagen holds out his spear; Siegfried lays two fingers of his right hand on its point. SIEGFRIED: Where steel e'er can strike me, Haft of war, hallowed weapon! Strike thou at me: Hold thou my oath from dishonor! Wher'er death can be dealt me On this spotless spear-head Deal it to me, I speak the oath: If she is really wronged, Spear-point, aid thou my speech! If I have injured my friend! Briinnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his oath and denounces him. Helle Wehr ! 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 Briinnhilde that he will avenge her wrongs. "Thou?" says Briinnhilde, contemptuously. BRUNNHILDE: One angry glance of his glittering eyeball That, e'en through his fraudulent shape, Fell unshadowed on me, Would subdue thy most mettlesome daring! She then tells him that only in his back is he vulnerable, and that no magic pro- tection was placed there because she knew that never would he retreat. Gunther now rouses himself and the three decide that Siegfried must die for his treachery. ACT III SCENE I A Wild Valley near the Rhine The Rhine nymphs rise to the surface of the water and sing of the Rhinegold. They 140 VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS spy Siegfried and ask him to give up the Ring, but he refuses, and they warn him that he shall die that very day. He laughs at the prophecy, and as he watches them swim away, says lightly: THE RHINE MAIDENS WARN SIEGFRIED ACT III, SCENE I SIEGFRIED: Alike on land and water, Woman's ways I've learnt to know. The man who resists their smiles They seek by threats to frighten. And when these both are scorned They bait him with bitter words. And yet were Gutrune not my wife, I must have promptly captured One of those pretty maids! Hunting horns are heard and Siegfried gayly answers with his own. Gunther, Hagen and the hunters descend from the hill and greet him. They camp and begin to eat and drink. Siegfried tells them of his adventure with Mime and the Dragon. Hagen gives him a magic drink which brings back his memory and he goes on to tell of the forest bird and his quest of the lovely Briinnhilde. Gunther begins to listen attentively, but when Siegfried reaches this part of his narrative, Hagen plunges his spear in Siegfried's back and he falls. Gunther, in pity for the dying man, leans over him, and Siegfried faintly says : SIEGFRIED: Brunnhilde! 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 Brunnhilde beckons to me! (He dies.) SCENE II Hall in Gunther' s Palace Siegfried's body is borne mournfully to the Hall, where the weeping Gutrune meets them and clasps her husband's lifeless form. Hagen now demands the Ring as his booty, but Qunther refuses to yield it and they draw their swords, Qunther being killed by Hagen. Hagen now attempts to withdraw the Ring from Siegfried's finger, but as he approaches, the arm of the dead hero is raised threateningly. All recoil in terror and Brunnhilde ap- proaches. She gazes long and sadly at Siegfried's face, then orders a funeral pyre erected to burn the hero's body. The vassals obey and build a huge pyre on the bank of the Rhine, on which the body is laid. BrUnnhilde summons two ravens from the rocks, and begins her great Immolation Scene. .141 VICTOR BOOK OF THE OPERA THE DUSK OF THE GODS Fliegt heitn (Immo- lation Scene) By Johanna Gadski, Soprano (In German) 88185 12-inch, $3.0O She bids the ravens fly to Lol^i, god of fire, that he may complete the downfall of the gods by burning Valhalla. BRUNNHILDE: Draweth near in gloom The Dusk of the gods. Thus, casting my torch, I kindle Valhalla's tow'rs! She kindles the pile, which burns rapidly, and Brunnhilde's horse is brought in, and she takes Feel how my breast too hotly doth burn; Sparkling fureflame my spirit enfolds. O, but to clasp him Recline in his arms! In madd'ning emotion Once more to be his! Ileiajaho! Grano! Greet we our hero! Siegfried! Siegfried! see! Sweetly greets thee thy wife! SETTING OF ACT AT BAYREUTH the two ravens disappear in the distance, 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! She swings herself on the steed and rides straight into the burning pile, which flames up mightily, half consuming the Hall itself. The Rhine then rises and puts out the flames, and on the surface are seen the Rhine daughters, who seize the Ring from the embers. Hagen, who has been anxiously watching, now rushes into the waters, crying : " The Ring is mine ! " The nymphs seize him and drag him down in the flood. An increasing red glow is seen in the sky, and Valhalla appears in flames, with the gods and heroes calmly await- ing their doom. As the flames envelop all, the curtain falls. THE DESTRUCTION OF THE GODS 142 HAMLET AND THE ACTORS ACT II HAMLET OPERA IN FIVE ACTS Book by Barbier and Carre 1 , based on Shakespeare's play. Music by Ambroise Thomas. First production March 9, 1868, at the Paris Academic. First London production June 19, 1869. Cast HAMLET Baritone CLAUDIUS, King of Denmark Bass LAERTES, Polonius* son Tenor Ghost of the dead King Bass POLONIUS, Chancellor Bass GERTRUDE, Hamlet's Mother, Queen of Denmark Mezzo-Soprano OPHELIA, daughter of Polonius Soprano Lords, Ladies, Officers, Pages, Peasants, etc. Scene : Elsinore, in Denmark* The story of Hamlet, Prince of Denmark, is so -well known that it would seem hardly necessary to describe the plot at any length. However, for operatic purposes the librettists were obliged to modify and reconstruct certain portions of the tragedy, and the revised ver- sion will be briefly sketched here. The present King of Denmark, Claudius, has seized the throne, after having murdered 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. 143 VICTOR BOOK OF THE OPER A T HOMAS' HAMLET Nega se puoi la luce (Love Duet) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 925OO 12-inch, $4.OO HAMLET: Celestial maiden, 'tis not thee I chide, The purity of thy mind doth speak through those sweet eyes! "Doubt that the stars are fire, Doubt that the sun doth move, Doubt truth to be a liar; But never doubt my love." OPHELIA: It may be so, but such excess of love Hath no enduring power; Thou couldst not leave me to my sorrow, Did thy heart know such love as' mine! Ye heavenly powers, celestial choir, That aye surround the eternal throne, From your bright homes above, Bear witness to my truthful love. HAMLET: Beloved Ophelia! OPHELIA: In thee this heart doth trust! HAMLET: My heart doth beat for thee alone! OPHELIA: Ah! never will we part! SCENE II Esplanade of the Palace. It is Night Horatio and Marcellus are discovered excitedly discussing the PHOTO DU cuv appearance of the spectre of the murdered King. They greet Hamlet RENAUD AS HAMLET a nd tell him of the ghostly visitor, -which appeared just at mid- night. Hamlet is much affected, and suggests that as it is nearly twelve the ghost may come again. The clock strikes, and the figure of the murdered King appears. Hamlet speaks to the spectre : HAMLET: Thou spirit dread, thou shade revered, Wherein we saw thee peacefully entombed, Hear tnou thy hapless son's lament. Hath op'd his ponderous and marble jaws, In pity answer, speak to me! To cast thee forth again? Tell me why the sepulchre, The ghost motions Horatio and Marcellus to withdraw, and when they are gone he tells Hamlet of the murder and bids him become the avenger, but asks him to leave his mother's pun- ishment to God. Hamlet is much affected and exclaims : HAMLET: Yes! Shade revered! Thy bidding shall be done. O light, O sun, O glory, O love to me so dear, Farewell! Farewell! The ghost, before disappearing, pauses at the back of the stage, and stands with one hand extended toward Hamlet; at this moment Horatio and Marcellus re-enter, and appear terror- stricken at the spectacle before them. Trumpets and joyous music are heard without as the curtain falls. ACT II SCENE Garden of the Palace Ophelia enters and is much dis- turbed because Hamlet seems to avoid A PICTORIAL HAMLET AND THE GHOST 144 VICTOR BOOK OF THE O P E R A T H O M A S ' HAMLET her. The Queen finds her weeping, and after questioning her says that Hamlet has also acted strangely toward his mother and fears his reason is affected. Hamlet, seeking to entrap the King in some manner into betraying himself, has engaged a troupe of players to present a play which shall enact a similar crime. The King and Queen are delighted that he seems to seek amusement, and gladly accept his invitation to witness the play. When the royal pair have departed, the players come on and are instructed by Hamlet in the plot he has conceived. The Prince then calls for wine and bids the players be merry, offering to sing them a drinking song. O vin, discaccia la tristezza (Brindisi) (Wine, This Gloom Dispel) By Mario Sammarco, Baritone (In Italian) 88312 12-inch, $3.OO By Emilio de Gogorza, Baritone (In French) 8818O 12-inch, 3.OO By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92037 12-inch, 3.OO By Francesco Cigada, Baritone, and La Scala Chorus * 165 72 lO-inch, .75 HAMLET: O wine! the gloom dispel, That o'er my heart now weighs; Come grant me thine intoxicating joy; The careless laugh the mocking jest! O wine! Thou potent sorcerer, Grant thou oblivion to my heart! Yes, life is short, death's near at hand, We'll laugh and drink while yet we may. Each, alas, his burthen bears. Sad thoughts have all; grim thoughts and sorrows; But care avaunt, let folly reign, The only wise man he, Who wisdom's precepts ne'er obeys! (The curtain falls on a scene of merriment.) 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) 92042 12-inch, $3.00 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-FaceJ Record For title of opposite side see DOUBLE-FACED HAMLET RECORDS, page 146. 145 VICTOR BOOK OF THE O P E R A T H O M A S ' HAMLET PHOTO SRMI 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 lalfe. 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 (7/a//an)*35 180 12-inch, 1.25 An exquisite introduction by the orchestra is heard as Ophelia enters a strange, wild figure, with flowing hair and torn white dress. She speaks to the -wondering peasants and tells them childishly of the lark which she heard at dawn, fol- lowing with a brilliant display of bird-like trills and staccatos. Ophelia then turns to the shepherds and asks them to listen to her song, a strange, sad melody, -which is interrupted at intervals by -wild laughter and weeping. Presently she seems to forget, and placidly plays -with her flowers, until the magical siren's song is heard luring her to the water's edge, and she plunges in and floats away, singing of Hamlet 's vow of love. Mme. Melba fairly surpasses herself in this scene, -with its sudden alternations of joy and sorrow, the pathos -which over- shadows every phrase. Other fine renditions, that of Mme. Galvany and a popular- priced one by Mme. Huguet, are also offered to opera-lovers. ACT V The Churchyard Hamlet comes hither to attend the funeral of Ophelia. He sings his beautiful song to her memory and resolves to take his own life upon her grave. Come il romito fior (As a Lovely Flower) By Titta Ruffo, Baritone, and La Scala Chorus (In Italian) 92064 12-inch, $3.OO By Enrico Pignataro, Baritone (In Italian) *63424 lO-inch, .75 When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlet, who stabs the King, and as the curtain falls the people, now convinced of their monarch's guilt, acclaim Hamlet as his successor. RUFFO AS HAMLET COPY'T OUPONT CALVE AS OPHELIA DOUBLE-FACED HAMLET RECORDS /Ballata d'Ofelia (Mad Scene) By Huguet, Soprano (Italian)} 5 g \_ Dinorah Si, carina caprettina By Giuseppina Huguet, Soprano ( 12-inch, $1.25 (Brindisi By Francesco Cigada and Chorus \ Ernani Festa da hallo By La Scala Chorus /Come il romito fior By Enrico Pignataro \ Pallide Mammole Romanza By Laoin de Casas 146 (InJtalian)\ (In Italian)! (In Italian)\ (In Italian)! 16572 lO-inch, .75 63424 lO-inch, .75 (German) HANSEL UND GRETEL (Hahn'-sel oondt Grey -let) (Italian) 'English) NINO E RITA HANSEL AND GRETEL (Neen-yo ay Ree'-lah) (Han-xl and Gratf-let) (or HANS AND GRETCHEN) A FAIRY OPERA IN THREE ACTS Text by Adelheid Wette. Music by Engelbert Humperdinck. First produced 1893, at Weimar. First American performance at the Metropolitan Opera House, New York, 1895. Cast PETER, a broom-maker Baritone GERTRUDE, his wife Mezzo-Soprano HANSEL, t ., , ., , ( Mezzo-Soprano ^ ___,_. > their children < c GRETEL, I I boprano THE WITCH who eats children Mezzo-Soprano SANDMAN, the Sleep Fairy Soprano DEWMAN, the Dawn Fairy Soprano \M A It is now some seventeen years since Humperdinck s lovely fairy AMERICA opera was brought out in America by Augustin Daly, and it has HUMPERDINCK since been firmly established in the reper- toire of every producer of grand opera. Hansel and Gretel has been called the Peter Pan of grand opera ; the audiences who witness it being invariably delighted with the childish joyousness and fairy charm of Humperdinck's work. 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 sis- ter's children. It w a s afterward elaborated into a complete opera, which has be- come one of the most important and interesting of modern German works. Two German peasant chil- ALTEN AS GRETEL dren, Hans and Gretchen, are sent to the woods for straw- berries and get lost. The Sandman finds the babes and sings them to sleep, while angels and fairies watch over them. They are awakened by the Dew Man, and go for breakfast to the house of the 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 THE CHILDREN AT HOME 147 VICTOR BOOK OF THE OPERA HANSEL AND GRETEL Several numbers from this interesting opera are pre- sented here, the first being the beautiful Prelude. Prelude By Arthur Pryor's Band 31853 12-inch, $1.OO This Prelude is an es- pecially beautiful number. It opens with the Prayer of the Children, played by the brass at first softly, then swelling to the full strength of the band. This is followed by a passage portraying morning in the forest, and upon this pas- toral scene there breaks in rudely the Hocus 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. The second number is Peter's air in Act I. Eine Hex' steinalt (The Old Witch) By Otto Goritz, Baritone (In German) 64164 10-inch, $1.OO This is sung when Peter returns to his cottage and finds the children gone after straw- berries. In this air he frightens his wifs by telling of the witch who lives in a honey-cake house, and who after enticing little children into it, bakes them into gingerbread in her oven. Mr. Goritz's admirable character study as Peter, the tipsy, kind-hearted and super- stitious father, is one of the features of the Metropolitan revival, and this odd number is given with much effectiveness. The third number is the famous Hexenritt, or Witch's Ride, which occurs in Act III. Hexenritt (Witch's Ride) By Albert Reiss, Tenor (In German) 64188 10-inch, $1.OO The curtain rises, showing Hansel and Grelel still asleep in the wood. The Dawn Fairy shakes dewdrops on the children and wakes them just as the mist clears away, revealing the house of the Witch. The children approach cautiously and begin to nibble at the gingerbread fence, when the Witch comes out and casts a spell over them. She makes a good fire in the stove for the purpose of roasting the babes, and in her joy she rides wildly around the room on a broomstick, singing this unique Hexenritt. Mr. Reiss tries his best to conceal his naturally sweet tenor when delivering this number, but only partially succeeds. However, the Witch's part is not intended to be sung but "squeaked," and as a humorous performance this rendition is a masterpiece. HANSEL AND GRETEL KNOCKING AT THE WITCH S DOOR 148 THE CHAMBER OF HEROU f (French) HERODIADE (Her-ro-Jee-ah' -d) OPERA IN FIVE ACTS Words by Paul Milliet and Henri Gremont, based on Gustave Flaubert's novelette, Herodias. Music by Jules Massenet. First production December 19, 1881, at the Theatre 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 Theatre de la Quite in 1903, with Calve and Renaud. First German production in Hamburg, 1883, with Sucher, Krauss and Winkelmann. First London production 1904, under the title Salome, with the locale changed to Ethiopia by the British censor's orders. First American produc- tion at the Manhattan Opera House, New York, November 8, 1909, with Cavalieri, Gerville- R6ache, Duchesne, Dal mores 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 takes place in Jerusalem Time, about 30 A. D. 149 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 several of the most melodi- ous of these airs have been recorded by the Victor. The plot, while based on the well-known Scrip- tural story, does not follow the Bible or tradition very closely, and differs quite largely from Salome. ACT I Salome enters and is greeted by Phanuel, a young Jew, who is astonished that she should be in the Palace, and wonders if she can be ignorant of the fact that Herodias is her mother. Salome tells him she is seeking John the Prophet, and in this air she describes how he had saved her from the desert when a child, and how good and kind he is. II est doux, il est bon (He is Kind, He is Good) By Emma Calve, Soprano (In French) 8813O 12-inch, $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 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, I3.0O ~ R L " R4ACHE AS HERODIAS IN HERODIADE Herod describes the vision of Salome which haunts him night and day, and declares that to possess her he would gladly surrender his soul. He drinks the love potion, and falls on the couch in a delirious sleep. The scene changes to the great square at Jerusalem, where Herod receives messages from the allies, and denounces Rome. Herodias enters and announces that the Roman general, Vitellius, is approaching. The people are 150 RENAUD AS HEROD VICTOR BOOK OF THE OPERA MASSENET'S HERODIADE terrified, but Vitellius declares that Rome desires the favor of the Jews and will give back the Temple of Israel. John and Salome enter and Vitellius is surprised at the honor paid to the Prophet. Herod gazes -with eyes of love at Salome, while Herodias watches her jealously. John denounces Vitellius as the curtain falls. ACT III The third act begins in Phanuel 's house. He is gazing at the city, which lies silent under a starry sky, and prophesies the fate -which is to overwhelm it. Air de Phanuel (Oh, Shining Stars) By Marcel Journet, Bass (In French) 74152 12-inch, I1.5O 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 I" The second scene shows the entrance of the Temple. Salome enters half fainting, having heard that John has been cast in prison, and falls exhausted at the prison entrance. Herod enters, and seeing Salome, breaks out into a mad declaration of his love, but she repulses him with horror, and tells him she loves another. He declares he will find this lover and kill him, and goes out as the people enter the Temple. John is brought in and denounced by the priests, but prays for them as they demand his death. Salome runs to John and falls at his feet, wishing to die with him. Herod, seeing that it is John -whom Salome loves, orders them . .. - . J J both put to death, and they are seized and borne out by guards as the curtain falls. ACT IV In Act IV John and Salome are seen in prison. John admits that he loves her, and urges her to fly and save her life, but she refuses, declaring she will die with him. Priests appear and order John to death, and command Salome to be taken to the Palace by Herod's com- mands. She resists desperately, but is dragged away. In the second scene occurs the great festival in honor of the Roman Empire. 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 ! " Salome recoils in horror, curses her mother and stabs herself. (Curtain) MISCELLANEOUS HERODIADE RECORD Herodiade Selection By Arthur Pryor's Band 31786 12-inch. $1.25 151 THE GREAT BALLROOM SCENE ACT IV (French) (German) LES HUGUENOTS DIE HUGENOTTEN (Leh Hueg -noh) (Dee Hoo-^en-otf -en) GLI UGONOTTI (Italian) (English) THE HUGUENOTS (Glee Oo-goh-nof-tih) (Hew-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 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, Planc.on, Scotti and Journet; in 1907, with Nordica, Nielsen, Constantino andl de Segurola; and the Manhattan production in 1908, with Pinkert, Russ, Bassi, Ancona and Arimondi. Cast COUNT OF ST. BRIS, (SahBree')\ r t , ,. , , I Baritone COUNT OF NEVERS. (NevW) / <- athohc noblemen | Baritone RAOUL DE NANGIS, (Rah-ool' day Non-zhee) a Protestant gentleman Tenor MARCEL, (Mahr-chef) a Huguenot soldier and servant to Raoul Bass MARGARET OF VALOIS, (Val-ooati) betrothed to Henry IV Soprano VALENTINE, daughter of St. Bris Soprano URBANO, (Ur-baH -noh) page to Queen Margaret Mezzo-Soprano Ladies and Gentlemen of the Court, Pages, Citizens, Soldiers, Students, etc. Scene and Period : Touraine and Paris ; during the month of August, 1 572, 152 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 Never s 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. Neoers 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.OO By M. Gautier, Tenor (In French) * 45007 10-inch, l.OO Caruso makes a manly picture as the young nobleman, and sings the music allotted to Raoul charmingly, especially this delicate Romanza, in which he describes the vision of the unknown with -whom he has fallen in love. In dreamy tones he sings the recitative, after which a short introduction brings us to the romanza, beginning Andantino Graziox). Piti bian ca, Fair _- er far Nothing could be more tender and beautiful than Caruso's singing of this number. RAOUL: Fairer far e'en than fairest lily, And in her eyes the love-light gleamed, Than spring morr more pure and more lovely Bidding me hope her love to gain. and bright, Oh! she was charming past all expression! An angel of Heaven born beauty And as before her form divine I bent my Burst upon my ravish'd s-ight. knee, Sweetly she smiled as I stood by her side, I falter'd forth, "Fair angel, that cometh Sighing the love which e'en her tongue to from Heav'n above, speak denied; For evermore shall I love none but thee!" A French rendition by M. Gautier, of the Paris Opera, 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 suns;, 'mid the din of drums, and trumpets; with a full accompaniment piff, paff. piff, paff, of bullets from our ranks, thus out it rang: *Double.FaceJ Record For tttk of opposite ilde see DOUBLE-FACED HUGUENOTS RECORDS, page 158. 153 VICTOR BOOK OF THE OPER A T HE HUGUENOTS COPV-T DUPONI PLANCON AS ST. BR1S 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 Neoers announces a veiled lady to see him and he retires to an adjoining room. Raoul catches sight of the lady through the window as she lifts her veil, and is astonished and grieved to recognize the beauty he had saved from the ruffians. A young page now enters, and in a lovely air, familiarly called the Page Song, announces that she has a message for one of the cavaliers present. Nobil Signori salute ! (Noble Sirs, I Salute You) By Louise Homer, Contralto (In Italian) 85107 12-inch, $3.OO This gay and brilliant cavatina is considered one of the most difficult of contralto num- bers. It begins with a long and very ornamental cadenza, followed by this graceful melody : Andantino Cantabile, eon jrazia. t&i7^*j-j+^53tJiL- No - bil don-i From a U - che far lie-to t ly. king po - tria. tight woo. worked up with much spirit and reintroduced after a striking series of vocal figures sung on the word "no." Mme. Homer's execution of this florid air exhibits well the great flexi- bility of her fine voice. Meyerbeer intended this part for soprano, but it is usually transposed and sung by a contralto. URBANO: A most charming noble lady. Whom with envy kinps might view. With a message here has charged me, Cavaliers, cavaliers, to one of you. I do not name him; but honor be Unto the good knipht, 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 Valoit, and cast looks of envy at him as he follows the page. 154 VICTOR BOOK OF THE OPER A T HE HUGUENOTS COPVI DUPON HOMER AS THE PAGE 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. Two fine records of this florid number, by two famous sopranos, are presented here. O, vago suol della Turenna (Fair Land of Touraine) By Maria Galvany, Soprano (In Italian) 88234 12-inch, $3.OO By Giuseppina Huguet, Soprano (In Italian) *35123 12-inch. 1.25 QUEEN: Oh, lovely land of fair Touraine! Thy vine-clad hills, thy sparkling fountains, Thy green banks and thy murm'ring zephyrs, All fill my soul with peace and love! Yet, for a difference in belief. This fair scene may by war be stain'd! Oh, that men would observe the moral, To love and fear the all-powerful Being! 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, having been sent for by Margaret. She announces that she is planning a marriage which shall reconcile all their differences, and asks them to swear to live in peace with each other. MARGARET: Swear that, by the marriage vow, Which each this day shall plight, No more shall enmity prevail, No more each other's lives assail. In party feud or nght! (Raoul, Nevers, St. Bris and the Nobles, gather around the Queen and take the oath.) THE NOBLES: We swear by our forefathers bold, The Queen and all her powers, That kindly acts and generous thoughts Shall evermore be ours! Valentine is now led in by her father and presented to Raoul. He starts in astonishment, having recognized the lady he had res- cued, and whom he had seen meeting Nevers. 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! SCALCHI AS THE PAGE I her husband! Never, never! *Dot,bk-Facc35118 Contralto, and Harry Macdonough, Tenor (In English) ] O vago suol della Turenna (Fair Land of Touraine) By Giuseppina Huguet, Soprano (In Italian) Dillo ancor (Speak Those "Words Again) By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) (Huguenots Selection By Victor Band \ Norma Overture By Victor Band) Plus blanche (Fairer Than the Lily) 1 By M. Gautier, Tenor (In French) [ Guillaume Tell j4sile H credit aire By M. Gautier, Tenor (In French)] Nella notte io sol qui veglio (Here By Night Alone I Wander) By Maria Grisi, Soprano, and Perello de Segurola, Bass (In Italian) ^63404 Lucrezia Borgia Vie.ni la mia vendetta (Haste Thee, To Glut a Vengeance) By Giulio Rossi, Bass (In Italian) 12-inch, $1.25 35123 12-inch, 1.25 12-inch, 1.25 45OO7 lO-inch, l.OO 10-inch, 1.00 "-I THE FINAL TRAGEDY 158 (French) LAKME (Lak'-meh) OPERA IN THREE ACTS Book by Goudinet and Gille, taken from the story Le Manage de Loti. Music by Leo Delibes (Day-led/). 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, \ CUD--U -TJ- / Tenor rv,r-rNr-r,,^ t officers ot the British army in India < _. h REDERIC, J 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. This opera, with its graceful music and scenes of Oriental splendor, was first given in America by the American Opera Company in 1886. (The Emma Abbott version in 1883 need not be considered seriously.) 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 composi- tions lovely in idea and execution. The story resembles in some points both Aida and Africaine ; all three are more or less Oriental ; La\m, like Ai da, loves her country's enemy ; Nilakantha and Nelusko possess simi- lar traits ; while Lak.tne' and Selika both poison themselves botanically. The Oriental atmosphere is somewhat spoiled by the introduction of the modern and somewhat commonplace English characters, but the romantic ending atones for any shortcomings. ACT I SCENE A Qarden in India Nilankatha, Lakmt'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 Lakmd had left in the garden. He takes up the trinkets and sings his charming air, Idle Fancies. Fantaisie aux divins mensonges (Idle Fancies) By M. Rocca, Tenor (Double-faced See page 162) (In French) 16573 lO-inch, $0.75 He is struck with the daintiness and beauty of the gems and tries to picture the unknown beauty to -whom they belong. 159 VICTOR BOOK OF THE OPER A D ELIBES' LAKME GERALD: The small foot, that but reposes Idle fancy, cradled by delusion, _, ,9 n m< >ssy banks or beds of flowers. You mislead me now as of old. Thls necklace, too, with her own perfume Go to dreamland, turn back in confusion, _, scented, Fair dove fantastic, with wings of gold. Embalm'd M yet with sweets from her l.ps (Taking up a bracelet.) Has felt the 'true heart, beating, glad, con- Of some fair maid round her arm folding, tented This bracelet rich must oft entwine. Trembling with joy at the one well-loved Ah! what delight would be the holding, name The hand that passes there, in mine. AwaV) fly ; fon j illusions, (Taking up a ring.) Swiftly passing visions that my reason dis- This ring of gold, my dream supposes, turb! Oft has followed, wand'ring for hours, Idle fancy, cradled by delusi9n, etc." (From the Ditson Edition.) This beautiful air has been sung for the Victor by a brilliant and accomplished young tenor, M. Rocca, of the Opera Comique. Hearing some one approaching, he hides himself in the shrubbery. La^me enters and lays flowers at the feet of an idol. She is about to go when she pauses and tries to analyze a strange feeling which has come over her, saying : 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 162) (French) 450O6 lO-inch, $1.OO and asks herself why she loves to wander in the forest and why she is both sad and glad. LAKM: Why love I thus to stray, Ah! why? In woods here, day by day, Why look for reasons here, in the song of While tears have sway? the stream, Why doth the dove's note sadden, Where roses dream ? And fill my heart with sighing; In leaves that fall around? As doth a fading flow'ret, In my heart soft reposes, like a lily at rest, Or a leaf eastward flying? Sweeter balm than yield roses, by gentle winds Yet are these tears most sweet to me, caressed, Tho' sad they be! Or by loving lips pressed. Tho' I sigh, I'm And my heart is gladsome, gladsome, Tho' I'm sighing, I'm gladsome. Ah, why? She suddenly sees Gerald among the trees and utters a cry of fear. Her attendants run in, but some intuition tells her not to reveal Gerald's presence, and she sends them away. Going to his hiding place she denounces him for trespassing on sacred ground, and bids him begone. He begs her for a few moments' conversation, and tells her of the impression she has made on his heart. GERALD: Ah! linger, go not yet, so thoughtful, sweet, unchiding! Let blushing charms that mine eyes now have met, O'errnantle thy cheek, Its lily pallor hiding! Laffme 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 La^rne's attendants, enters, and seeing traces of a trespasser, declares that he must die. They go in pursuit of Qerald, leaving La^rne motionless with fear. ACT II SCENE A Street in an Indian City Act II shows a public square, lined with Chinese and Indian shops and bazaars. Eng- lish visitors are strolling about, viewing the scenes with interest. Nilafyantha, disguised as a beggar, is seeking traces of the intruder, whom he has sworn to kill. La^me' is with him, wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng- lishman -will recognize her voice and betray himself. She sings the famous Bell Song. NOTE Quotations are from the Ditson libretto by permission Copy't 1 890, Oliver Ditson Co. 160 VICTOR BOOK OF THE OPER A-D ELIDES' LAKME (In Italian) (In French) (In Italian) (In French) 88297 88084 88219 7409O 12-inch, $3.OO 12-inch, 3.OO 12-inch, 3.OO 12-inch. 1.5O Ou va la jeune Hindoue (Bell Song) By Luisa Tetrazzini. Soprano By Bessie Abott, Soprano By Maria Galvany, Soprano By Ellen Beach Yaw, Soprano Delibes has ingeniously used bells to give character to this number, -which is a most intricate one, especially in the refrain, where voice, woodwind and bells blend with many charming touches. LAKM: Down there, where shades more deep arc- glooming. What trav'ler's that, alone, astray? Around him flame bright eyes, dark depths illuming. But on he journeys, as by chance, on the way! % The wolves in their wild joy are howling, As if for their prey they were prowling; The young girl forward runs, and doth their fury dare. A ring in her grasp she holds tightly, Whence tinkles a bell, sharply, lightly, A bell that tinkles lightly, that charmers wear! (She imitates the bell.) Ah! Ah! Ah! Ah! While the stranger regards her Stands she dazed, flush'd and glowing, More handsome than the Rajahs, he! And to heaven she soars in his holding, It was Vishnu, great Brahma's son! And since the day in that dark wood. The trav'ler hears, where Vishnu stood. The sound of a little bell ringing, The legend back to him bringing, A small bell ringing like those the charmers wear! ABOTT AS LAKM Mme. Tetrazzini's rendition of this beautiful air is wholly charming, and the vocal em- bellishments which she introduces will be something of a novelty to those who are familiar only with the usual cadenzas. Other fine renditions of this brilliant air are given by Mme. Galvany, who indulges in some quite astonishing cadenzas; by Bessie Abott, -whose fresh young voice is heard to great advantage; and by Miss Yaw, -who provides a lower-priced version. As Nilakantha had planned, Gerald recognizes Lakme and betrays himself. The Brahman goes to collect his Hindoos, intending to kill the Englishman, while Lakme finds Gerald and warns him of the plot. She begins the duet: Dans la foret, pres de nous (In the Forest) By Mme. Vallandri. Soprano, and M. Rocca, Tenor (Doable-faced See page 162) (In French) 45OO5 and tells him of a hut in the forest where he may be free from pursuit. LAKM: In the forest near at hand, A hut of bamboo is hiding, 'Neath a shading tree doth stand. This roof of my providing. Like a nest of timid birds, In leafy silence abiding. From all eyes secret it lies, And waits it there a 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 shall thou follow me! , When dawn earth is greeting, Thee with smiles I shall be meeting. For 'tis there thy home shall be. 161 lO-inch, $1.OO VICTOR BOOK OF THE OPER A D ELIBES' LAKME Gerald at first refuses thus to hide, declaring it unworthy of a British officer, but La^me" pleads with him and he consents ; but as he attempts to follow her he is stabbed by Nila- kantha, who then escapes. La^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 La^me watches over him, singing soothing melodies. He opens his eyes and greets her with rapture, singing his beautiful In Forest Depths. Vieni al contento profondo (In Forest Depths) By John McCormack, Tenor (In Italian) 64171 10-inch, $2.00 This lovely cantilena is given in delightful style by Mr. McCormack. GERALD: I too recall, still mute, inanimate, I saw you bent o'er my lips; while thus lying, My soul upon your look was attracted and fastened; 'Neath your breath life awoke and recovery hastened. O my charming Lakme; Through forest depths secluded, Love's wing above us has passed; Earth-cares have not been intruded, And heaven on us falls at last. These flow'ring vines, with blooms capricious, Bear o'er our pathway scents delicious; Which soft hearts, with raptures beset, While all else we forget! As the days pass and Gerald recovers his strength, he seems to forget all else but his love for the Brahman maiden, but one day, while she is absent, his friend Frederic finds him and urges him to return to his duty. When Lalyne comes back she finds Gerald changed. She asks the reason, but before he can answer the distant sound of bugles calling the regi- ment together is heard. She sees by his face that he means to go back to his friends, and in despair she eats some flowers of the deadly stramonium tree and dies in his arms. DOUBLE-FACED AND MISCELLANEOUS LAKME RECORDS ( Pour quoi dans les grands bois ("Why Love I Thus to Stray ?) 1 By Alice Verlet, Soprano (In French) U50O6 Mignon Polonaise By Mile. Korsoff, Soprano (In French)} Dans la foret, pres de nous (In the Forest) By Mme. Vallandri, Soprano, and M. Rocca, Tenor (In French) Manon J'ecris a mon ftere By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) IFantaisie aux divins mensonges (Idle Fancies) By M. Rocca, Tenor (In French) 1 1 65 73 Rigoletto Corligiani, oil razza dannata By Renzo Minolfi, Baritone (In Italian)) lO-inch, $1.0O 45OO5 lO-inch, l.OO 10-inch, .75 NOTE Quotations from the text of Lakme are printed by kind permission of Oliver Ditson Company (Copy't 1890). 162 (Italian) LINDA DI CHAMOUNIX OPERA IN THREE ACTS Words by Rossi; music by Donizetti. First production at the Karnthnerthor Theatre, Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843. Cast MARQUIS OF BOISFLEURY Baritone CHARLES DE SIRVAL, his son Tenor THE PARISH PRIEST Bass ANTONIO LOUSTOLOT, a farmer Bass MADELINE, his wife Mezzo-Soprano LINDA, their daughter Soprano Time and Place : Chamounix and Paris, 1 760, 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. Two renditions of this lovely air, by Sembrich and Huguet, are given here, the Huguet record being doubled with the Trentini-Caffo duet below. O luce di quest' anima (Guiding Star of Love !) By Marcella Sembrich, Soprano (In Italian) 88142 12-inch, $3.OO By Giuseppina Huguet, Soprano In Italian) 62090 lO-inch, .73 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 62090 lO-inch, $O.75 LINDA AND CHARLES: Oh! that the blessed day were come, And then, my love, we'll never part, When standing side by side. But each a treasure find We before God and man shall be In having brought a faithful heart As bridegroom and as bride. To heav'nly love resigned! The worthy parish priest having warned Linda's parents of the dishonorable intention of the Marquis, they decide to remove Linda from the danger, and send her to Paris. The Marquis pursues her to the city and renews his attentions, -while Charles (who is in reality the son of the Marquis) is compelled by his father to transfer his attentions to another. Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to be an abandoned woman, he curses her, and she becomes insane through grief. The last act again shows the little farm at Chamounix. The demented Linda has made her way back to her parents, and is found by Charles, -who has escaped the unwelcome marriage and now brings the release of the farm from debt. The sight of her lover causes Linda to fall in a death-like swoon, but when she recovers her reason has returned, and the lovers are united. 163 LOHENGRIN (Lou/ -en-grin) OPERA IN THREE ACTS Words and music by Richard Wagner. First produced at Weimar, Germany, August 28, 1850, under the direction of Liszt. First London production, 1875; Paris, 1887. First American production in New York, in Italian, March 23, 1874, with Nilsson, Gary, Campanini and Del Puente; in German, in 1885, with Brandt, Krauss, Fischer and Stritt this being Anton Seidl's American debut as a conductor. it. Wiurnorti !< 28 a(l I860 Jut ort$r-/Mrr: * ft c ii g t i n. ScUT ""* '~^:: Characters HENRI THE FOWLER, King of Germany LOHENGRIN Tenor ELSA OF BRABANT Soprano DUKE GODFREY, her brother Mute Personage FREDERICK OF TELRAMUND, Count of Brabant . . Baritone ORTRUD, his wife Mezzo-Soprano THE KING'S HERALD Saxon, Thuringian and Brabantian Counts and Nobles, Ladies of Honor, Pages, Attendants. Scene and Period : Antwerp, first half of the Tenth Century. ! TWt lonely, I unto Heav'n have pray'd, One boon I ask'd for only, To send the orphans aid; I pray'd in tears and sorrow, With heavy heart and sore, Hoping a brighter morrow Yet was for us in store. Away my words were wafted, I dreamt not help was nigh. Rut One on high vouchsaf'd it, While I in sleep did lie. (with growing enthusiasm) I saw in splendor shining, A knight of glorious mien, On me his eyes inclining. With tranquil gaze serene. A horn of gold beside him, He leant upon his sword. Thus when I erst espied him, 'Mid clouds of light he soar'd; His words so low and tender, Brought life renew'd to me. (with rapture) My guardian, my defender, Thou shall my champion be. The King is much moved, and calls for a judgment of God after the fashion of the time. The trumpeters blow the summons to the four points of the compass, and the Herald calls : HEPALD: Who will do battle here on life or death For Elsa of Brabant! Let him appear! At first there comes no response, and Elsa is in despair, but after a second call a knight in shining armor is seen approaching in a boat drawn by a swan. EI.SA AND LOHENGRIN 166 VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN ARRIVAL OF LOHEXGRIX The King bids the nobles pre- pare to fight, and in this noble Gebet calls upon Heaven to judge between the combatants. Mem Herr und Gott Koenig's Gebet (King's Prayer) By Marcel Journet, Bass (In German) 64013 lO-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: () King of kings, on Thee I call; Look down on us in this dread hour! Let him in this ordeal fall Whom Thou know'st guilty, Lord of pow'r! To stainless knight give strength and might. With craven heart the false one smite; Do Thou. O Lord, to hear us deign, For all our wisdom is but vain! 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. $2.00 By Leo Slezak. Tenor In German 612O3 lO-inch, l.OO Lohengrin steps out, then turning and caress- ing the swan, sings : LOHEXGRIX: 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. LOHEXGRIX: Ye knights, nobles and freemen of this land. Guiltless and true is Klsa of Brabant! Thy tale was falsehood, Count Telramund, By Heav'n's assistance all thou shall recant! THE FIGHT BETWEEN LOME 167 VICTOR BOOK OF THE OPERA WAG NER'S LOHENGRIN THE PLOT ACT II ELSA: ACT II SCENE Court of the Palace This scene shows the inner court of the palace at Antwerp. It is night. Fred- erick and Ortrud, disgraced and dressed in sombre garments, are seated on the church steps. They upbraid each other, Frederick accusing Ortrud of inventing the story of Elsa's crime. A long duet follows, ending in a terrible plot for vengeance. Elsa appears on the bal- cony of the palace, all un- conscious of the wretched and disgraced Telramund and Ortrud, \vho are hidden in the shadow. In a blissful reverie, the young girl sings to the soft breezes of the knightly Lohengrin, to whom she is now betrothed. Ye wancPring 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: "Pis she! Be near, darkness! ye powers of ELSA (continuing dreamily) : Thro' heaven's azure ye bore him, Ye wafted him to me; 'Mid stormy waves watched o'er him, My guide, my love to be! Where'er thy pinion rusheth, The mourner's tears are dried; My cheek that burns and flusheth With love, oh cool and hide! Du Aermste (Thou Un- happy One) By Emma Eames, Soprano, and Louise Homer, Contralto (In German) 89O21 12-inch, $4.OO Elsa, who has finished her raptur- ous soliloquy to the wandering breeze, still lingers on the balcony, enjoying the balmy night and dreaming of her be- trothal on the morrow. Ortrud, pursuing the plot agreed upon with Frederick, appears and calls to Elsa, -who hearing her name, cries : Who calls? How strangely My name resoundeth thro' the night! " ORTRUD KNEELING TO ELSA Ortrud feigns repentance, and Elsa, in the flush of her new-found happiness forgives her, saying : Unhappy one, that thy heart could know No child of earth that bliss can measure the treasure Who doth not dwell in faith devout! Of love that knows not fear or doubt! Rest thee with me! 168 VICTOR BOOK OF THE OPERA 'WAGNER'S LOHENGRIN THE KING DENOUNCING TELRAMUND ACT II OriruJ -warns Elsa against trusting her husband too blindly, hinting of the mystery in his life, and thus plants a seed of suspicion in the young girl's heart. The duet then follows- ELSA: Oh, let me teach thee How trust doth hallow joy and love. Turn, then, to our faith, I beseech thee, Oh, turn unto our faith divine, For God is love ! ORTKUD (aside with fierce joy) : Oh: pride of heart, I yet will teach thee, That an illusion is this love, The gods of vengeance soon shall reach thee, Their wrath-destroying thou shall prove! Elsa enters the palace and the dark plotters renew their vow of imprecation. Day breaks, and the Herald appears and announces the banishment of Telramund. Elsa, attended by her ladies, passes on her way to the minster but is suddenly confronted by Ortrud, who has arrayed herself again in splendid garments. She taunts Elsa with the fact that her knight has no name. ORTRUD: Your stranger, say, as what doth thou proclaim him? If I have heard aright, thou canst not name him ! ELSA (indignantly) : Thou slanderer, taunt me no more. Let my reply all doubts assure So pure and noble is his nature. As none can match in high renown. Oh, can there live so vile a creature As to asperse all honor's crown ? The King and Lohengrin now enter and Elsa, astonished and grieved, goes to Lohengrin, saying : r'T OUPOIT SCHUMANN-HEIXK OKTKUD ELSA: My champion! shelter me against her wrath ! Blame me, if I obey'd not thy command; 1 heard her weeping sore by yonder portal, And in compassion harbor'd her this night. And now with harsh and bitter words of hatred She taunts me for my boundless trust in thee! 169 VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN ACT III SCENE I The Bridal Chamber in the Palace The act opens with the Wedding March, played by the orchestra. Prelude to Act III The "Wedding March By La Scala Orchestra *62693 lO-inch, $0.75 This is followed by the beautiful Bridal Chorus, one of the loveliest numbers in the opera. As the curtain rises, showing the bridal chamber, the strains of the march continue, but in a softer mood. The great doors at the back open, and the bridal party enters, the ladies leading Elsa and the King and nobles conducting Lohengrin, they come to the front and the chorus begins : CHORUS: Faithful and true, we lead thee forth Where Love, triumphant, shall crown ye with joy! Star of renown, flow'r of the earth, lUest be ye both far from all life's annoy! Champion victorious, go thou before! Maid bright and glorious, go thou before ! Mirth's noisy revel ye've forsaken, Tender delights for you now awaken; Fragrant abode enshrine ye in bliss; Splendor and state in joy ye dismiss! EIGHT LADIES (passing around the bridal pair} : As solemn vows unite ye We hallow ye to joy! This hour shall still requite ye, When bliss hath known alloy! After a striking and effective modulation the first strain is repeated by the full chorus. Faithful and true, now rest you here. Where Love, triumphant, etc. The party goes slowly out, leaving the bridal pair alone, while the strains of the nuptial air die away in the distance. The full strength of the Victor organization has been used for the vocal rendition, and the result is a record of surpassing beauty. An instrumental record of this number is also offered. '9? ' *^1 f ' *tf COPY'T OUPOr HOMER AS ORTRUD * Double-Faced Records- FRAGMENT OF THE BRIDAL CHORUS IN ChorilS WAGNER'S OWN HANDWRITING By Victor Opera Chorus (In English) 31846 12-inch, $1.OO By Arthur Pry or's Band 31227 12-inch, l.OO By La Scala Chorus (In Italian) *16537 lO-inch, .75 The bridal pair are left alone and a long duet occurs, part of which is recorded here by two famous artists of La Scala. Cessero i canti alfin (The Song Has Died Away) By Giuseppina Huguet, Soprano; Fernando de Lucia, Tenor (In Italian) 92O55 12-inch, $3.00 The beautiful air which Lohengrin sings in the duet, Dost Thou Breathe the Incense, is also given here by Dalmores. Athmest du nicht mit mir die siissen Diifte ? (Dost Thou Breathe the Incense Sweet ?) By Charles Dalmores, Tenor (In German) 87O88 10-inch, $2.OO This duet is scarcely over when the poison instilled in Elsa's mind by Ortrud causes her, in violation of her promise, to question For title of opposite side see DOUBLE-FACED LOHENGRIN RECORDS.page 172. 170 VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN Lohengrin as to his name and origin. He remonstrates with her, at first gently and then with authority, reminding her that she has promised not to ask his name. She becomes more and more agitated, saying: ELSA: No, them shalt not compel me to trust by words of blame No, not unless thou tell me thy country and thy name! LOHENGRIN: Elsa, oh, I conjure thee! ELSA: What fatal spell is thine? In vain wouldst thou assure me Declare ^hy race and name! They are interrupted by the entrance of Frederick and four associates, who break in with drawn swords. Elsa shrieks and hands Lohengrin his sword, with which he strikes Frederick dead. The nobles surrender, and Elsa falls senseless in Lohengrin's arms. After a long silence, Lohengrin orders the body into the Judg- ment Hall, and gives Elsa in charge of her ladies. SCENE II Same as Act I A quick change of scene shows again the banks of the Scheldt at Antwerp, as in Act I. The King and his nobles await the coming of Lohengrin, who is to ac- company them to battle. They are startled by the entrance of the nobles bearing the body of Telramund. greeted by the King with warmth : PAIEL Br BBAUIt TELRAMUND INTERRUPTING THE ACT II BRIDAL PROCESSION Lohengrin enters and is VI NISNKII UALMORES AS LOHENGRIN KING: Hail, heav'n-sent hero, welcome here! Thy loyal vassals all are near, Waiting for thee to give the word, And fight by thy all-conq'ring sword. All are surprised when the knight announces that he is forced to de- cline the command of the expedition, and tells of the attempt on his life. LOHENGRIN: My gracious sov'reign, bear me blameless, Reasons have I that must be nameless, The destin'd campaign I suspend! To lead ye forth to battle here I came not; But judge me, for your leniency I claim not. Then, firstly, do ye hold that I am guilty? Your just decree to me is due. He sought my life despite honor and fealty Say, did I right when him I slew? The King declares Telramund to be justly slain, and Lohengrin now reveals with reluctance that Elsa has broken her promise. LOHENGRIN: And further, I declare in face of Heav n, Though bitter grief to me it bode. That from her fair allegiance hath been driven The wife that Heav'n on me bestow'd. MEN: Elsa! say, oh, what hast thou done? Sentence so stern how hast thou won? LADIES: Woe is thine, Elsa! 171 VICTOR BOOK OF THE OPERA WAGNER'S LOHENGRIN LOHENGRIN: Vainly I hop'd she would fulfil her task! Ye all have heard her give her word in token Now mark me well, I will no more withhold it, That she my name and country ne'er would Nor have I cause to shrink from any test; ask: When I my name and lineage have unfolded That promise her impatient heart hath broken Ye'll know that I am noble as the best! Then follows the great narrative of Lohengrin, one of the most dramatic declamations in all opera. Lohengrin's Narrative By Evan Williams, Tenor (In English) 74130 12-inch, $1.5O LOHENGRIN : In distant land, by ways remote and hidden, There stands a mount that men call Monsalvat; It holds a shrine, to the profane forbidden: More precious there is nought on earth than that, And thron'd in light it holds a cup immortal, That whoso sees from earthly sin is cleans'd; 'Twas borne by angels thro' the heav'nly portal Its coming hath a holy reign commenc'd. Once every year a dove from Heav'n descendeth, To strengthen it anew for works of grace; 'Tis called the Grail, the pow'r of Heav'n attendeth The faithful knights who guard that sacred place. He whom the Grail to be its servant chooses Is armed henceforth by high invincible might; All evil craft its power before him loses, The spirits of darkness where he dwells take flight. Nor will he lose the awful charm it blendeth, Although he should be called to distant lands, When the high cause of virtue he defendeth: While he's unknown, its spell he still commands. By perils dread the holy Grail is girded, No eye rash or profane its light may see; Its champion knight from doublings shall be warded, If known to man, he must depart and flee. Now mark, craft or disguise my soul disdaineth, The Grail sent me to right yon lady's name; My father, Percival, gloriously reigneth, His knight am I, and Lohengrin my name! After this amazing narrative, which causes a great stir among the people, the swan appears to conduct Lohengrin away. LADIES AND MEN: While I hear him the wondrous tale revealing, The holy tears adown my cheek are stealing! ELSA: 'Tis dark around me! Give me air! Oh, help, help! oh, me, most wretched! LADIES AND MEN (in great excitement) : The swan! the swan! the swan! The stream he floateth down. The swan ! ah, he comes ! ELSA (half -fainting): Oh, horror! ah, the swan! Ortrud, in triumph, now reveals the fact that the swan is really Elsa's brother, whom she had transformed by magic. Lohengrin kneels in prayer, and as the dove of the Grail is seen descending, the swan sinks, and Gottfried, the young Duke, arises, restored to human form. Lohengrin's boat is drawn away by the dove as Elsa faints in her brother's arms. LOHENGRIN : Too long I stay I must obey the Grail! My trusty swan! O that this summons ne'er had been! Oh, that this day I ne'er had seen! I thought the vear would soon be o'er When thy probation would have pass'd; Then by the Grail's transcendent pow'r, In thy true shape we'd meet at last! Oh, Elsa, think what joys thy doubts have ended! Couldst thou not trust in me for one short vear? DOUBLE-FACED AND MISCELLANEOUS LOHENGRIN RECORDS Selection, No. 1 /Selection, No. 1 \ Flower Song (Blumenlied) [Selection, No. 2 < Meditation from Thais Intermezzo Fantasie /Prelude, Act III \ WalkureCavalcata /Coro delle nozze (Bridal Chorus) \ Tannhauser Pilgrims' Chorus 31425 - , , ^ * By Sousa's Band By Sousa's Band By Victor Sorlin, 'Cellist By Pryor's Band Religieuse By Howard Ratlay, Violinist By Victor Sorlin, 'Cellist By La Scala Orchestra \ By La Scala Orchestra } By La Scala Chorus \ ,---,- By Pryor's Band] lb5 ' 172 12-inch, $1.0O 12-inch, 1.25 35147 12-inch. 1.25 31 785 12-inch, lO-inch, 1.00 .75 lO-inch, .75 (Italian) LUCIA DI LAMMERMOOR (Loo-chee'-ah dee Lah' -mair-moor) LUCY OF LAMMERMOOR OPERA IN THREE ACTS Text by Salvator Cammerano, derived from Scott's novel, "The Bride of Lammermoor." Music by Gaetano Donizetti. First production at Naples, September 26, 1835. Performed in London, April 5, 1838; Paris, 1839; New York, in English, at the Park Theatre, 1843; and in Italian, 1849. . Characters HENRY ASHTON, of Lammermoor Baritone LUCY, his sister Soprano SIR EDGAR, of Ravens-wood Tenor LORD ARTHUR BUCKLAW Tenor RAYMOND, chaplain to Lord Ashton Tenor ALICE, companion to Lucy Mezzo-Soprano NORMAN, Captain of the Guard at Ravenswood Tenor Ladies and Knights related to the Ashtons ; Inhabitants of Lammermoor ; Pages, Soldiery, and Domestics in the Ashton family. Scene and Period : The action taffes place in Scotland, part in Ravenswood Castle, part in the ruined tower of Wolf scrag. The lime is the close of the sixteenth century. The prolific Donizetti (1797-1848) wrote no fewer than sixty-three operas, the most popular of these being, of course, Lucia di Lammermoor. It has long been the custom with a certain class of critics to run down the old Italian school of opera represented by Lucia, and talk about the artificiality of the music, thinness of the orchestration, etc. But the public in general pays very little attention to these opinions, because they love the music of Lucia, as their grandfathers did, and realize that throughout the whole work there runs a current of tenderness and passion, expressed in simple melody that will ever appeal to the heart and senses. Let us now forget the critics and tell the simple and sorrowful story, and listen to the melodious airs -which have given pleasure to many millions in the seventy-six years since its production. The plot of Lucia is founded on Sir Walter Scott's novel, The Bride of Lammermoor. Lord Henry Ashton, Lucy's brother, knowing nothing of her attachment to his enemy, Edgar of Ravenswood, has arranged a marriage between Lucy and the wealthy Lord Arthur, in order to retrieve his fallen fortunes. Learning that Lucy is in love with Edgar, he intercepts her lover's letters and executes a forged paper, which convinces Lucy that Edgar is false to her. Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwillingly consents to wed Sir Arthur. The guests are assembled for the ceremony, and Lucy has just signed the contract, when Edgar appears and denounces Lucy for her fickleness. Edgar is driven from the castle, and the shock being too much for the gentle mind of Lucy, she becomes insane, kills her husband and dies. Edgar, overcome by these tragic happenings, visits the churchyard of Ravenswood and stabs himself among the tombs of his ancestors. ACT I SCENE I A Forest near Lammermoor The curtain rises, disclosing Norman, and followers of Sir Henry. Norman tells the retainers to watch -carefully and ascertain -who is secretly meeting Lucy. In the opening chorus they promise to watch with diligence. 173 VICTOR BOOK OF THE O P E R A D ON I Z ETT I 'S LUCIA Opening Chorus, Act I By La Scala Chorus (In Italian) *621O6 10-inch, $0.75 Sir Henry enters and talks with Norman of his suspicion that Lucy has formed an attach- ment for some unknown knight. Norman suggests that it may be Edgar. Henry is furious and declares he will have a deadly vengeance. SCENE II A Park near the Castle Lucy enters, accompanied by her faithful attendant, Alice. She has come from the castle to meet her lover, Edgar ; and while waiting for him, tells Alice of the legend of the fountain, -which relates how a Ravenswood lover once slew a maiden on this spot. Regnava nel silenzio (Silence O'er All) By Luisa Tetrazzini, Soprano (In Italian) 883O3 12-inch, $3.0O By Giuseppina Huguet, Soprano (In Italian) *16539 10-inch, .75 Lucy shudderingly relates how she once saw the spectre of the murdered girl, and fears it is an omen of the future. LUCIA: Silence o'er all was reigning Dark was the night and low'ring, And o'er yon fountain her pallid ray Yon pale moon was pouring. Faintly a sharp but stifled sigh Fell on my startled ear, And straightway upon the fountain's brink, The spectre did appear! But slow on high its skeleton hand, Threat'ning it did uprear, Stood for a moment immovable, Then vanish'd from my view! (Despondently.) Oh, what horrid omen is this? I ought to banish from my heart this fatal love, But I cannot; it is my life, And comfort to my suff'ring soul! This graceful number is given by Mme. Tetrazzini with rare charm and pathos ; the concluding ornamental passages being sung with especial delicacy, and the beauty of the long sustained A at the close being notable. The popular-priced rendition by Mme. Huguet is also a very attractive one. This is followed by the second part, the beautiful Quando rapita, Quando rapita in estasi (Swift as Thought) By Graziella Pareto, Soprano (In Italian) 76OO9 12-inch, $2.00 By Giuseppina Huguet. Soprano (In Italian) *63172 10-inch, .75 also given here by Mme. Huguet and Mme. Pareto. This animated melody is well fitted to display the brilliant tones of these admirable singers. Edgar appears and tells Lucy that he has been summoned to France, and proposes that he seek out Henry and endeavor to end the mortal feud which exists between the families. Lucy, knowing her brother only too well, entreats him to keep their love secret or they will be forever parted. Edgar, roused to fury by this evidence of Henry's mortal hate, re- news his vow of vengeance, beginning this dramatic duet, Sulla tomba. LUCY AND EDGAR PHOTO ERMINI CONSTANTINO AS EDGAR * Double-FaceJ Record For title of opposite side see DOUBLE-FACED LUCIA RECORDS, page 179. 174 VICTOR BOOK OF THE O P E R A D O N I Z ETTI *S LUCIA lO-inch, $O.75 LUCY : Ah! pray calm thee, ah, restrain thee; Think what misery will soon enthral me; I can scarce from fear sustain me; Would'st thou have me die from terror? Yield thee, yield thee to the dictates affection, 'Tis a nobler, purer passion, Let that thought thy rage assuage! of Sulla tomba che rinserra (By My Father's Tomb) By Emma Trentini, Soprano, and Gino Martinez-Patti, Tenor (In Italian) * 165 74 EDGAK: By the lone tomb, o'er" the cold grave Where my father's bones lie moulding, With thy kindred eternal warfare To the death I swore to wage! Ah! when I saw thee my heart relented: Of my dark vow I half repented; But my oath remains unbroken, Still I've power to redeem my gage! Edgar now says that he must go, and in a tender duet, -which closes the act, the lovers bid each other farewell. Verranno a te suir aura (Borne on Sighing Breeze) By Alice Nielsen, Soprano, and Florencio Constantino, Tenor (In Italian) 74Ofc>4 12-inch, $1.5O By Emma Trentini, Soprano, and Martinez-Patti, Tenor (In Italian) *621O6 10-inch, .75 EDGAR: My sighs shall on the balmy breeze That hither wafts thee, be borne, love; Each murm'ring wave shall echo make. How I thy absence do mourn, love! Ah! think of me when far away, With nought my heart to cheer; I shall bedew each thought of thee With many a bitter tear! LUCY : The balmy breeze that bears thy sigh, Will waft one back from me, love; The murm'ring waves re-echoing still I'm ever constant to thee, love! Ah! think of me when far away, With nought my heart to cheer; I shall bedew each thought of thee With many a bitter tear! Ah! thou wilt not fail to write me, Many a lonely hour 'twill cheer; EDGAK: Fear not! Have no fear, thou shall hear! BOTH: My sighs shall on the balmy breeze That hither wafts thee be borne, love; etc. Edgar tears himself from her arms and departs, leaving the half-fainting Lucy to be con- soled by her faithful Alice. ACT II SCENE I An Ante-room in the Castle Sir Henry and his retainer Norman are discussing the approaching marriage of Lucy to Arthur. The events which have occurred since Act I are indicated by this extract from the text: HENRY: ' HENRY: See, she approaches! Thou hast that forged letter, Give it me. Now haste thee to the northern entrance, There keep watch and await The approach of Arthur, and with all speed, on his arrival Conduct him hither! COPVT FOLEY MCCORMACK AS EDGAR Should Lucy still persist In opposing me XORMAN: Have no fear! The long absence Of him she mourneth, the letters We've intercepted, and the thou'lt tell her, Will quench all hope that yet may linger. Believing Edgar faithless, from her bosom love will vanish! false news (Exit Norman.) Lucy enters, pale and listless, and to her brother's greeting : HENRY Draw nearer, my Lucy. On this fair day accept a brother's greeting! May this glad day, sacred to Love and Hymen, she answers with a last appeal to him to release her from this hated marriage. Auspicious prove Thou'rt silent! to thee. Thou hear'st me? * Doubk-FaccJ Record For title of opposite side xe DOUBLE-FACED LUCIA RECORDS, page 179. 175 VICTOR BOOK OF THE O P E R A D ON I Z ETT I 'S LUCIA II pallor funesto (If My Cheek is Pale) By Linda Brambilla, Soprano, and Francesco Cigada, Baritone (In Italian) *16574 10-inch, $O.75 LUCY: LUCY: See these cheeks so pale and haggard, Cease to urge me! See these features so worn with sadness! To another true faith have I sworn! Do not they betray too plainly HENRY: All my anguish, all my despair? 'Tis well! Pardon may'st thou from Heaven By this letter thou may'st see Not vainly ask for this thy inhuman constraint. How he keeps his faith with thee! HENRY: Read it. Cease this wild recrimination, (Hands her a letter.) Both to me and thee degrading, LUCY: Of the past be thou but silent! How beats my flutt'ring heart! I, thy brother, will no further make complaint! (Reads): Flown has my anger! Banish thy dejection! Ah! great Heaven! Buried be all that thine honor could taint. A noble husband, thou wilt have. Henry, in desperation, now tells her that unless she consents to wed Arthur he will be disgraced and ruined. This begins another duet, the Se tradirme. Se tradirme tu potrai (I'm Thy Guardian) By Giuseppina Huguet, Soprano, and Francesco Cigada, Baritone (In Italian) *62089 lO-inch, $0.75 HENRY: LUCY: I'm thy guardian, dar'st thou brave me? I'm thy sister, dost thou love me! I'm thy brother wilt thou save me? I am dying, will that move thee! From the hands of thee, my sister, From the hands of thee, my brother, Must I meet a traitor's doom? Must I meet now this dreadful doom! See the axe, by one thread hanginc; Hopeless misery all surrounding, Hark! the deep toned deathbell clanging. E'en while the marriage bell is sounding: Hath affection lost all power? Fear and hate will be my dower; Wilt consign me unto the tomb? Better had I wed the tomb! However, convinced of Edgar's falseness, she half consents to the sacrifice, and retires to prepare for the ceremony. SCENE II The Great Hall of the Castle The knights and ladies sing a chorus of congratulation to the bride and bridegroom, while Sir Henry greets the guests and asks them to pardon Lucy 's agitated bearing, as she is still mourning for her mother. i Lucy enters and is escorted to the table where the notary is preparing the marriage papers. Believing her lover false, she cares little what becomes of her, and passively signs the contract. Pale as death and almost fainting, she is being supported by her faithful maid and her family adviser, Raymond, when suddenly a terrible silence ensues, as Edgar, the lover of Lucy and the deadly enemy of her brother, appears at the back of the room dressed in a sombre suit of black. The wedding guests are dumb with amazement at the daring of the young noble in thus presenting himself unbidden at the house of his enemy. The great sextette, the most dramatic and thrilling number in the entire range of opera, now begins. Unlike many operatic ensembles, this sextette is not merely a most remarkable bit of concerted writing, but is so well fitted to the scene in which it occurs that even the enemies of Donizetti, who call Lucia merely a string of melodies, are compelled to admit its extreme beauty and powerful dramatic qualities. Sextette Chi mi frena ("What Restrains Me) By Marcella Sembrich, Soprano; Enrico Caruso, Tenor; Antonio Scotti. Baritone; Marcel Journet, Bass; Mme. Severina, Mezzo-Soprano ; Francesco Daddi, Tenor (In Italian) 962OO 12-inch, $7.0O By Victor Opera Sextette (In Italian) 7OO36 12-inch, 1.25 By Victor Band 31020 12-inch, l.OO By Pryor's Band 31460 12-inch, l.OO Edgar remains standing, with his eyes steadily fixed on the unhappy Lucy, who is unable to meet his glance. This dramatic silence is broken by the commencement of the sextette, as Edgar and Sir Henry, with suppressed emotion, sing their short duet : * Double-FaceJ Record For title of opposite side see DOUBLE-FACED LUCIA RECORDS, page 179. 176 VICTOR BOOK OF THE O P E R A D O N I Z ETTI 'S LUCIA LUCY (despairingly) : I had hop'd that death had found me, And in his drear fetters bound me, But he comes not to relieve me! Ah! of life will none bereave me? RAYMOND AND ALICE: Ah! like a rose that withers on the stem. She now is hovering 'twixt death and life! He who for her by pity is not mov'd. Has of a tiger in his breast the heart. ARTHUR: Hence, thou traitor, hence betake thee, Ere our rage shall o'erwhelm thee! HENRY AND EDGAR: Instant vengeance, what restraineth, What thus stays my sword in scabbard? Is't affection that still remaineth, And each angry tho't enchaineth? Of mine own blood {j^" rt } betrayer, And despair I m ^. | heart doth wither, EDGAR: Vet, ungrateful one, I love thee still! HENRY: And remorse my breast doth fill! One by one the characters in the scene take up their portions of the sextette until the great climax, one of the most dramatic moments in opera, is reached. Several records of this magnificent number are offered to Victor audiences. Besides the splendid Caruso-Sembrich rendition, which made such a sensation on its appearance several years ago, the Victor has recently issued a superb record by the Victor Opera forces at the popular price of $1.25, -while for those who prefer an in- strumental rendition two fine band records are offered. Henry and Edgar, who have drawn their swords, are separated by Raymond, who commands them in Heaven's name to sheath their weapons. Henry asks Edgar why he has come, and the knight replies: EDGAR: Hither came I For my bride thy sister Unto me her faith hath sworn! RAYMOND: Thou must all hope of her relinquish; f She is another's! He exhibits the signed contract, but Edgar refuses to believe the evidence of his eyes and asks Lucy if she had signed it. With her eyes fixed on him she tremblingly nods her head in assent. Edgar, in a furious rage, tears the contract in pieces, flings it at the fainting maiden, and rushes from the castle as the curtain falls. ACT III SCENE I The Tower of Ravenswood Castle Edgar is brooding on his misfortunes when a horseman rides up, dismounts and enters the tower. It proves to be Sir Henry, who has come to challenge Edgar to a duel to the death. They agree to fight the following morning, and in this duet ask the night to hasten away, that their vengeance may be consummated. SALEZA AS EDGARDO O sole piu rapido (Haste, Crimson Morning) By Giuseppe Acerbi, Tenor, and Renzo Minolfi, Baritone (In Italian) *62644 lO-inch, $O.75 Why the gentlemen do not take advantage of the present moment the librettist does not reveal ! This scene is so melodramatic that it borders on the absurd, and it is usually omitted in this country, although it is well worth hearing from a musical point of view. SCENE II Hall in Lammermoor Castle The peasants and domestics of the castle are making merry at their feast in honor of the marriage when Raymond enters, greatly agitated, bearing the fearful news that Lucy has become insane and has killed her husband. This gives opportunity for a dramatic air, sung here by Signor Sillich and the La Scala Chorus. O qual funesto avvenimento (Oh ! Dire Misfortune) By Aristodemo Sillich. Bass, and Chorus (In Italian) *62644 lO-inch, $O.75 Raymond's tidings have scarcely been spoken when Lucy enters, a pale and lovely figure in white, and all unconscious of the horror-stricken servants, begins her famous so-called Mad Scene. * Double-Faced Record For title of opposite tide , : DOUBLE-FACED LUCIA RECORDS, page 179. 177 VICTOR BOOK OF THE O P E R A D ON I Z ETT I ' S LUCIA (In Italian) 88299 12-inch, $3.00 (In Italian) 88O21 12-inch, 3.OO (In Italian) 88071 12-inch, 3.OO (In Italian) 88221 12-inch, 3.OO (In Italian) 76006 12-inch, 2.0O (In Russian) 61129 lO-inch, l.OO Mad Scene (With Flute By Luisa Tetrazzini, Soprano By Marcella Sembrich, Soprano By Nellie Melba, Soprano By Maria Galvany, Soprano By Graziella Pareto, Soprano By Marie Michailowa. Soprano Forgetting her marriage, the demented maiden speaks one moment of the happy day when she will be Edgar's wife, and next is terrified by a vague feeling that something has come between them. This famous number must be judged solely as a brilliant piece of vocalism ; it can hardly be considered dramatically, because when the prima donna loses her reason in this style of opera, it only means that the scales become more rapid and the roulades more difficult! The unfortunate Lucy in her agony seems inclined and able to sing the most difficult and florid music conceivable, and venture without hesitation on passages at -which a sane person would stand aghast ! In short, Donizetti forgot his dramatic mission temporarily in his efforts to write a show piece of musical execution. LUCY: I hear the breathing of his voice low and tender, That voice beloved sounds in my heart forever. My Edgar, why were we parted? Let me not mourn thee; See, for thy sake, I've all forsaken! What shudder do I feel thro' my veins? My heart is trembling, my senses fail! (She forgets her trouble and smiles.) Come to the fountain; There let us rest together, Ah me! see where yon spectre arises, Standing between us! Alas! Dear Edgar! See yon phantom rise to part us! (Her mood again changes.) Yet shall we meet, dear Edgar, before the altar. Hark to those strains celestial! Ah! 'Tis the hymn for our nuptials! For us they are singing! The altar for us is deck'd thus, Oh, joy unbounded! 'Round us the brilliant tapers brightly are shining, The priest awaits us. Oh! day of gladness! Thine am I ever, thou mine forever! (She falls fainting into the arms of Raymond.) Donizetti's scene seems especially set apart for the display of such a coloratura as Melba possesses, and she sings this florid music with such brilliancy and graceful fluency that the listener is dazzled. Her runs, trills and staccato notes glitter and scintillate, and compel a new admiration for the wonderful vocal mechanism over which she has such absolute command. The role of the unhappy Lucy is also admirably fitted to Tetrazzini's peculiar talents, and as the heroine of Donizetti's lovely opera she has made quite the greatest success of her career. When she reaches this florid and difficult Mad Scene, the listeners are absolutely electrified, and such a torrent of enthusiasm bursts forth that the diva is usually compelled to repeat a portion of the aria. Mme. Sembrich's rendition proves that the compass of her voice is all but phenomenal, and she sings the difficult music with delightful flexibility and with an intonation -which is faultless. Other renditions of this -well-known scene are given by Mme. Galvany and Mme. Pareto, the famous Italian prima donnas, and by Michailowa, the famous Russian singer. Although none of these artists has yet visited America, their beautiful voices are heard in thousands of homes in which the Victor is a welcome entertainer. The unhappy Lucy, after having in this scene again enacted the terrible events of the previous day, falls insensible and is carried to her room by Alice and Raymond. SCENE II The Tombs of the Raoenswoods Edgar, weary of life, has come to the rendezvous arranged with Henry, intending to throw himself on his enemy's sword, the last of a doomed race. But he waits in vain, for Henry, filled with remorse at the consequences of his schemes, has left England, never to return. Edgar sings the first of the two beautiful airs written by Donizetti for this scene. 178 TETRAZZINI AS THE DEMENTED LUCY VICTOR BOOK OF THE O P E R A- D ON I Z ETTI 'S LUCIA Fra poco a me ricovero (Farewell to Earth) By John McCormack, Tenor (In Italian) 74223 12-inch $1.5O His attention is now attracted by a train of mourners coming from the castle, accom- panied by Raymond, who reveals to the unhappy man that Lucy is dying, and even while they converse the castle bell is heard tolling, a signal that the unhappy maiden is no more. The grief-stricken lover then depicts his emotion in the second air, a lovely number with sadness in every tone. Tu che a Dio spiegasti Tali (Thou Hast Spread Thy "Wings to Heaven) (O Bell' alma innamorata) By John McCormack, Tenor (In Italian) 74224 12-inch, $1.5O By Florencio Constantino. Tenor (In Italian) 74O66 12-inch, 1.5O By Gino Martinez-Patti, Tenor (In Italian) *62089 10-inch. .75 The dramatic interest deepens as the air proceeds, until the finale, when Edgar, in an excess of penitence, prays that not even the spirit of the wronged Lucy may approach so accursed a tomb as that of Ravenswood. EDGAR: Tho' from earth thou'st flown before me, My ador'd, my only treasure; Tho' from these fond arms they tore thee, Soon, soon, I'll follow thee, I'll follow thee above. Tho' the world frown'd on our union, Tho' in this life they did part us, Yet on high, in fond communion. Shall our hearts be turned to love! Breaking from Raymond, who endeavors to prevent the fatal act, Edgar stabs himself, and supported in the good man's arms, he repeats in broken phrases the lovely O bell' alma innamorata, and lifting his hands to Heaven, as if to greet the spirit of Lucy, he expires. DOUBLE-FACED AND MISCELLANEOUS LUCIA RECORDS Regnava nel silenzio (Silence O'er All) By Giuseppina Huguet, Soprano (In Italian) Norma Casta Ditia (Queen of Heaven) By Giuseppina Huguet, Soprano (In Italian) } II pallor funesto (If My Cheek is Pale) By Linda Brambilla, Soprano, and Francesco Cigada. Baritone (In Italian) Sulla tomba che rinserra (By My Father's Tomb) By Emma Trentini, Soprano, and Gino Martinez-Patti, Tenor (In Italian) Se tradirme su potrai (I'm Thy Guardian) By Giuseppina Huguet, Soprano, and Francesco Cigada, Baritone (In Italian) Tu che a Dio spiegasti 1'ali (Thou Hast Spread Thy Wings to Heaven) (O bell' alma innamorata) By Gino Martinez-Patti, Tenor (In Italian) O qual funesto avvenimento By Aristodemo Sillich, Bass, and Chorus (In Italian) O sole piu rapido (Haste, Crimson Morning!) By Giuseppe Acerbi. Tenor, and Renzo Minolfi, Baritone (In Italian) Opening Chorus By La Scala Chorus (In Italian) Verranno a te sull' aura (Borne on Sighing Breeze) By Emma Trentini, Soprano, and Gino Martinez- Patti, Tenor (In Italian) Quando rapita in estasi (Swift as Thought) By Giuseppina Huguet, Soprano (In Italian) I, _ . io_inch 75 Lucrezia Borgia -.Rischiarata e la finestra By La Scala Chorus (In Italian)) 16539 10-inch, $O.75 16574 lO-inch. .75 62O89 10-inch, .75 62644 10-inch. .75 621O6 lO-inch, .75 * Double-Faccd Record For title of opposite side see above list. 179 LUCREZIA AND THE SLEEPING GENNARO ACT (Italian) LUCREZIA BORGIA (Loo-kray' -tzee-ah Bor'-jee-ah) OPERA IN THREE ACTS Text by Felice Romani, taken from a work of the same name by- Victor Hugo. Music by Gaetano Donizetti. First presented to the public at La Scala, Milan, in 1834; given at the Theatre Ilalien, Paris, October 27, 1840. First London production at her Majesty's Theatre, June 6, 1839; in English at the Princess' Theatre, December 30, 1843. Produced in New York at the Astor Place Opera House, 1847. Characters LUCREZIA BORGIA Soprano MAFF1O ORSINI (Maj'-fee-oh Or-xe'-nee) ' Contralto Young noblemen in the service of the Venetian Republic Tenor Tenor Tenor Bass GENNARO. (Jen-nah'-roh) LlVEROTTO, VITELLOZZO, PETRUCCI, GAZELLA, lL DUCA ALFONSO Baritone RUSTIGHELLO, in the service of Don Alfonso Tenor GUBETTA.l . iU t r i / Bass A o-r i-/-. f m the service or IJonna Lucrezia < D ASTOLFO, j (Bass BATTISTA Tenor LA PRINCIPESSA NEGRONI Soprano CHORUS Scene and Period: Italy; the beginning of the sixteenth century. 180 VICTOR BOOK OF THE OPERA DONIZETTI'S LUCREZIA BORGIA COPT'T DUPO DE MOSCIII AS LUCREZIA The plot of Donizetti's opera cannot be called a cheerful one it is, in fact, crowded with horrors. However, it was a great favorite with American audiences for many years, being one of the stock operas of Emma Abott during nearly her whole career. The opera -was revived in 1904 for Caruso, but failed to score, and it is quite likely that those who admire its few fine airs must depend on their Victors if they -wish to hear them. Lucrezia, the heroine, was a conspicuous member of the notorious patrician family the Borgias celebrated for their diabolical success as poisoners. Lucrezia Borgia married as her second husband Don Alfonso, Duke ofFerrara. By her former marriage she had a son named Gennaro, of whose existence the Duke is ignorant. This son had, at birth, been placed in the care of a fisherman who brought him up as his own child. ACT I At the opening of the story Lucrezia, who in spite of her criminal practices has still the mother's yearning towards her own child, goes in disguise to Venice to visit him. She finds her son in the company of some gay Venetian gallants. She -watches them, and presently Gennaro, -wearied by the mirth of his companions, draws apart and falls asleep on a seat. Lucrezia draws near, and gazing on his youthful beauty, she forgets everything except that she is his mother. She gently presses a kiss on his brow and prepares to depart, when he awakes and asks her who she is. She evades the question, and leads him to talk about his mother, whom he says he has never seen. Feeling drawn toward the beautiful stranger, he tells his story, in the fine Di pescatore. Di pescatore ignoble (In a Fisher's Lowly Cot) By Francesco Marconi, Tenor (In Italian) 760O4 12-inch, $2.OO By Carlo Albani, Tenor (In Italian} 74O98 12-inch, 1.50 She bids him farewell, and is about to take her leave -when Orsini appears, recognizes her, and after brutally reciting her crimes one by one, tells the horror-stricken Gennaro that it is the Borgia. All turn from her in horror, and Lucrezia falls fainting. ACT II Gennaro after-wards shows his hatred and contempt for the Borgias by tearing down Lucrezia' s coat of arms from her palace gates, and is imprisoned by the Duke's orders. Lucrezia, ignorant of the identity of the individual who has insulted her, complains to the Duke, who promises that the perpetrator shall be immediately punished. He gives vent to his feelings in his air, Vieni la mia vendetta. Vieni, la mia vendetta (Haste Thee, for Vengeance) By Giulio Rossi, Bass (In Italian) *634O4 lO-inch, $0.75 Gennaro is sent for and Lucrezia at once recognizes him. Full of horror, she turns to the Duke and begs him to overlook the offense. The Duke is relentless and compels Lucrezia herself to hand a poisoned cup to her son. She obeys, but after-ward contrives to give the youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that he trusts her and drinks the remedy. ACT III This act opens -with a chorus of bravos, who have been set to watch the dwelling of Gennaro. Rischiarata e la finestra (Yonder Light is the Guiding Beacon) By La Scala Chorus (In Italian) *63172 lO-inch, $0.75 Gennaro, -whose life has been saved by the antidote Lucrezia had given him, instead of escaping from the city as she had advised him, accompanies Orsino to a banquet which has been secretly arranged by Lucrezia, and to -which have been invited the young men who had recognized and denounced her in Venice. In this scene occurs the famous BrinJisi, or drinking song. *Double.FaceJ Record For title of opposite *iJe see DOUBLE-FACED LUCREZIA BORGIA RECORDS. pase 182. 181 VICTOR BOOK OF THE OPERA DONIZETTI'S LUCREZIA BORGIA Brindisi (It is Better to Laugh) By Ernestine Schumann-Heink, Contralto (In German) 88188 12-inch, $3.00 This air is a very well known one, and has been frequently sung, but Mme. Schumann- Heink puts such brilliant spirit into it, and sings it with such wealth of gayety, such astonish ing range and such agility, that the rendition amazes the listener. It is certain that no music- lover of the present generation has ever heard it sung so brilliantly. The high notes are taken with the ease of a soprano, and altogether this familiar drinking Eong has never been so well delivered. The role of Maffio Orsini was always one of Mme. Schumann-Heink's favorites, and she makes a gallant figure as the gay Roman youth. The words are well suited to the gayety of the music, and have been translated as follows : Brindisi It is better to laugh than be sighing. In the world we some beings discover, When we think how life's moments are flying; Far too frigid for friend or for lover; For each sorrow Fate ever is bringing, There's a pleasure in store for us springing. Tho'- our joys, like to waves in the sunshine, Gleam awhile, then are lost to the sight, Yet, for each sparkling ray That so passes away, Comes another as brilliant and light. Souls unblest, and forever repining, Tho' good fortune around them be shining. It were well, if such hearts we could banish To some planet far distant from ours; They're the dark spots we trace, On this earth's favored space; They are weeds that choke up the fair flow'rs! Then 'tis better to laugh than be sighing; They are wise who resolve to be gay; When we* think how life's moments are flying, Enjoy Pleasure's gifts while we mail In the midst of the feast the door opens, the Borgia appears and tells them that they are doomed, as the wine has been poisoned by her. To her horror she sees Gennaro among the guests. He, too, has drunk of the fatal wine. She again offers him an antidote, which he refuses, because the amount is insufficient to save the lives of his friends. Lucrezia confesses the relationship between them, but Gennaro spurns her and dies. The Duf^e now appears, intending to share in Lucrezia' s hideous triumph, but finds his wife surrounded by her victims some dead, others dying. Lucrezia, a witness to the horrible result of her crime, suffers the keenest remorse, drinks some of her own poison and herself expires. DOUBLE-FACED AND MISCELLANEOUS LUCREZIA BORGIA RECORDS IVieni, la mia vendetta By Giulio Rossi, Bass (In Italian)} Qli Ugonotti Duetto Valentino Marcello [&34O4 By Maria Grist, Soprano, and Perello De Segurola, Bass] IRischiarata e la finestra (Yonder Light is the Guiding Beacon) By La Scala Chorus (In Italian) Lucia di Lammermoor Quando rapita in estasi By Qiuseppina Huguet, Soprano 182 lO-inch. $0.75 63172 lO-inch, .75 THE MARRIAGE SCENE ACT I (Italian) MADAMA BUTTERFLY ( Mah' -da h-mah) MADAM BUTTERFLY OPERA IN THREE ACTS A Japanese lyric tragedy, founded on the book of John Luther Long and the drama by David Belasco, -with Italian libretto by lllica and Giacosa. Music by Giacomo Puccini. First produced at La Scala, Milan, in 1904, it proved a failure. Revived the following year in slightly changed form with much success. First American presentation fin English) occurred in October, 1906, in Washington, D. C., by Savage Opera Company. First representation in Italian at Metropolitan Opera House, February II, 1907, with Farrar, Caruso, Homer and Scotti. Characters MADAM BUTTERFLY (Cho-Cho-San) Soprano SUZUKI, (Soo-zu -key) Cho-Cho-San's servant Mezzo-Soprano B. F. PlNKERTON, Lieutenant in the United States Navy Tenor KATE PlNKERTON, his American wife Mezzo-Soprano SHARPLESS. United States Consul at Nagasaki Baritone GORO, a marriage broker Tenor PRINCE YAMADORI. suitor for Cho-Cho-San Baritone THE BONZE, Cho-Cho-San's uncle Bass CHO-CHO-SAN'S MOTHER Mezzo-Soprano THE AUNT " Mezzo-Soprano THE COUSIN Soprano TROUBLE, Cho-Cho-San's child Cho-Cho-San's relations and friends Servants. At Nagasaki, Japan Time, the present. 183 VICTOR BOOK OF THE OPERA MADAM BUTTERFLY The Story Puccini's opera, which from the first aroused the keenest interest among opera-goers, has become an enduring success. The original Metropolitan production in Italian -was under the personal direction of Puccini himself, -who refined and beautified it according to his own ideas into one of the most finished operatic productions ever seen here. The story of the drama is familiar to all through John Luther Long's narrative and the Belasco dramatic version. The tale is the old one of the passing fancy of a man for a woman, and her faithfulness even unto death, which comes by her own hand when she finds herself abandoned. Puccini has completely identified his music -with the sentiments and sorrows of the characters in John Luther Long's drama, and has accompanied the pictorial beauty of the various scenes with a setting of incomparable loveliness. Rarely has picturesque action been more completely wedded to beautiful music. ACT I SCENE Exterior of Pinkerton 's house at Nagasaki At the rise of the curtain GOTO, the marriage broker who has secured Pinkerton his bride, is showing the Lieutenant over the house he has chosen for his honeymoon. Sharpless, the American Consul and friend of Pinkerton, now arrives, having been bidden to the marriage. Then occurs the fine duet, which Caruso and Scotti have sung here in splendid style. Amore o grillo (Love or Fancy ?) By Enrico Caruso, Tenor, and Antonio Scotti, Baritone (In Italian) 89O43 12-inch, $4.OO By Riccardo Martin, Tenor (In Italian) 87O81 lO-inch, 2.0O NOTE. Mr. Martin sings only Pinkerton's solo from above duet. Pinkerton, joyous in the prospect of his marriage with the dainty Japanese girl, and quite careless of the conse- quences which may result from such a union, describes his bride to the Consul, who gives the young lieutenant some good advice, bidding him be careful, that he may not break the trusting heart of the Butterfly who loves him too well. The number closes with a splendid climax, as Pinkerlon recklessly pledges the " real American wife " whom he hopes to meet some day ; while the Consul gazes at his young friend with some sadness, as if already in the shadow of the tragedy which is to come. Now is heard in the distance the voice of Butterfly, who is coming up the hill with her girl friends ; and she sings a lovely song, full of the freshness of youth and the dawning of love. Entrance of Cio-Cio San By Geraldine Farrar, Soprano (In Italian) 87O04 lO-inch, $2.00 This dainty little number is given by Miss Farrar with the naivetd and grace of a fascinating child of fifteen, as she pictures the young girl in Act I. The friends and family having been duly introduced to Pinkerton, they go to the refreshment table, while Butterfly timidly confides to Pinkerton, in this touching number, that she has for his sake renounced her religion, and will in future bow before the God of her husband. leri son salita (Hear Me) By Geraldine Farrar, Soprano (In Italian') 87031 10-inch, $2.00 The contract is signed and the guests are dispersing when Butterfly 's uncle rushes in and denounces her, having discovered that she has been to the Mission, renounced her religion, and adopted that of her husband. CUPV'I MISHKIN MARTIN AS PINKERTON 184 VICTOR BOOK OF THE OPERA MADAM BUTTERFLY She is cast off by the family, who flee from the scene in horror. Butterfly at first weeps, but is comforted by the Lieutenant, who tells her he cares nothing for her family, but loves her alone. Then occurs the incomparably beautiful duet which closes the first act, and which is beyond all question the finest of the melodious numbers which Puccini has composed for the opera ; and the effect of this exquisite music, given on a darkened stage amid the flashing of fireflies, is wholly beautiful. O quanti occhi fisi (Oh Kindly Heavens) (Love Duet from Finale, Act I) By Geraldine Farrar, Soprano, and Enrico Caruso. Tenor (In Italian) 89O17 12-in., $4.OO Miss Farrar sings all of Puccini's music fluently and gracefully, but is al- ways at her best in this exquisite love duet, while the number is Caruso's finest opportunity in the opera, and he makes the most of it. The blending of the voices of the artists is remarkably effective, and the ecstatic climax at the end is splendidly given, both singers ending on a high C sharp ; the effect being absolutely thrilling. ACT II SCENE Interior of Butterfly 's Home at the back a Garden with Cherries in Bloom Three years have now elapsed, and Butterfly, with her child and faithful maid, Suzuki, are awaiting the return of Pinkerton. Suzuki begins to lose courage, but Butterfly rebukes her and declares her faith to be unshaken. Un bel di vedremo (Some Day He'll Come) By Geraldine Farrar, Soprano (In Italian) By Emmy Destinn, Soprano (In Italian) BUTTERFLY S UNCLE DENOUNCING HER ACT I By Agnes Kimball THE LETTER FROM PINKERTON ACT II (GERALUINE FARRAR) 88113 12-inch, $3.OO 92057 12-inch, 3.0O (In English) 3TOO54 12-inch, 1.25 This highly dramatic number is sung after Butterfly has reproached Suzuki for her doubts, and in it she proudly declares confidence in her husband. In the English version this is called the " Vision Song," as it describes her vision of the arrival of Lieutenant Pinker- ton 's ship. Ora a noi ! (Letter Duet) By Geraldine Farrar, Soprano, and Antonio Scotti. Baritone (In Italian) 89O14 12-inch, $4.0O Butterfly is visited by Sharpless, -who has received a letter from Pinkerton, and has accepted the unpleasant task of informing Butterfly that the Lieutenant has de- serted her. He finds his task a difficult one, for when he attempts to read Pinkerton' s letter to her, she mis- understands its purport and continually interrupts the Consul with little bursts of joyful anticipation, thinking that Pinkerton will soon come to her. Finally real- izing something of his message, she runs to bring her child to prove to Sharpless the certainty of her husband's home-coming. 185 VICTOR BOOK OF THE OPERA MADAM BUTTERFLY PHOTO WHITE BUTTERFLY AND "TROUBLE Sai cos' ebbe cuore (Do You Know, My Sweet One) By Geraldine Farrar, Soprano (In Italian) 87O55 10-in., $2.OO By Emmy Destinn, Soprano (In Italian) 91084 lO-in., 2.OO In this pitiful air she asks little " Trouble" not to listen to the bad man (Sharpless) , who is saying that Pinfaerton has deserted them. Shocked at the sight of the child, -which he knew nothing about, Sharpless gives up in despair the idea of further undeceiving her, knowing that she will soon learn the truth, and leaves Butterfly, who refuses to doubt Pinlferton, in an exalted state of rapture over the idea of her husband's return. Throughout the duet may be heard the mournfully sweet "waiting motive" played softly by the horns, and accompanied by strings pizzicaii. This is beautifully given here, and the record is a most impressive one. The sound of a cannon is heard, and with aid of a glass the two -women see Pinfcerton 's ship, the Abraham Lincoln, entering the harbor. Duet of the Flowers By Geraldine Farrar, Soprano, and Louise Homer, Contralto (In Italian) 89008 12-in., $4.00 Greatly excited, Butterfly bids the maid strew the room -with flowers, and they scatter the cherry blossoms everywhere, singing all the -while weird harmonies which are hauntingly beautiful. Miss Farrar's impressive Cio-Cio-San, childish and piquant in its lighter aspects and pitifully tragic in its final scenes, and Mme. Homer's Suzuki, the patient handmaiden, who loves and protects her mistress through all the weary years of -waiting, are two most powerful impersonations. Of the music written for these two roles, this exquisite duet is especially attractive. Night is falling, and not expecting Pinlferton until morning, Butterfly, Suzuki and the child take their places at the window to watch for his com- ing. As the vigil begins, in the orchestra can be heard the " Waiting Motive," with its accompani- ment by distant voices of the sailors in the har- bor, producing an effect which is indescribably beautiful. FARRAR AND HOMER IN ACT II SCENE II Same as the Preceding The curtain rises on the same scene. It is daybreak. Suzuki, exhausted, is sleeping, but Butterfly still watches the path leading up the hill. Suzuki awakes and insists on Butterfly taking some rest, promising to call her -when the Lieutenant arrives. Sharpless and Pinlferlon now enter, and question Suzuki, the Lieutenant being deeply touched to find that Butterfly has been faithful to him, and that a child has been born. Suzuki, seeing a lady in the garden, demands to know who she is, and Sharpless tells her it is the -wife of Pinkerton, he having married in America. 186 VICTOR BOOK OF THE OPERA MADAM BUTTERFLY The introduction by Puccini's librettist of this character has been severely criticised, many considering it of doubtful taste, and forming a jarring note in the opera. So strong is this feeling in France, that the part of Kate has been eliminated from the cast. The faithful maid is horrified, and dreads the effect of this news on her mistress. Weeping bitterly, she goes into Butterfly's chamber, while the friends are left to bitter reflections, expressed by Puccini in a powerful duet. Ve lo dissi ? (Did I Not Tell You ?) By Enrico Caruso, Tenor, and Antonio Scotti, Baritone (In Italian) 89047 12-inch. $4.00 Pinkerton realizes for the first time the basenes of his conduct, while the Consul reminds him of the -warning he had given him in Act 1, to beware lest the tender heart 'of Butterfly be broken. The part of the Consul is not a great one, but Scotti almost makes it one with his care- ful portrayal, singing with dignity and tenderness and giving the part its full dramatic value. With the re-entrance of Suzuki occurs the trio for Pinkerton, Sharpless and Suzuki. Lo so che alle sue pene (Naught Can Console Her) By Riccardo Martin, Tenor : Rita Fornia. Soprano : Antonio Scotti, Baritone (In Italian) 875O3 lO-inch, $3.OO This trio is dramatically given by Martin, Fornia and Scotti, who have this season made successes in the several roles of Pinkerton, Suzuki and Sharpless. Finale Ultimo (Butterfly's Death Scene) By Geraldine Farrar, Soprano (In Italian) 87O3O lO-inch, $2.OO By Emmy Destinn, Soprano (In Italian) 91OS6 lO-inch, 2.00 Now comes the pathetic death scene at the close of the opera. Butterfly, convinced that Pinkerton has renounced her, blindfolds her child that he may not witness her suicide, takes down the dagger with which her father committed hari-kari, and after reading the inscription on the handle, " To die with honor when one can no longer live with honor," she stabs herself. In her death struggle she gropes her way to the innocent babe, who, blindfolded and waving his little flag, takes it all in the spirit of play. The tragic intensity of this scene always moves many to tears. Miss Farrar puts into this final number all the pathetic despair of Cio-Cio-San's over- burdened heart; her rendition being a most impressive and wholly pathetic one ; while Mme. Destinn gives a most dramatic interpretation of this scene, perhaps the most heart- rending in the entire range of opera. Pinkerton enters to ask Butterfly's forgiveness and bid her farewell, and is horrified to find her dying. He lifts her up in an agony of re- morse. In the orchestra, strangely mingling with the American motive, the tragic death motive may be heard as the curtain slowly falls. THE DEATH OF BUTTERFLY 187 VICTOR BOOK OF THE OPERA MADAM BUTTERFLY DOUBLE-FACED AND MISCELLANEOUS MADAM BUTTERFLY RECORDS Madame Butterfly Selection By Victor Orchestra 31631 12-inch, $1.00 This selection begins with the entrance music of Pinlferton, accompanied by the American theme for which Puccini has utilized the "Star Spangled Banner." Then in succession are heard the gay air of the thoughtless Lieutenant (as a cornet solo) in which he describes the characteristics of his countrymen ; the principal strain of the love duet with which the act closes; the exquisitely poetical "Duet of the Flowers," part of which is given on the orchestra bells ; and the beginning of the supremely beautiful scene where Butterfly, her maid and little son, take their places at the window to watch until morning for the husband's coming, while in the distance can be heard the faint voices of singers in the night, producing a mournful and indescribable effect. Then from the last scene we hear the return of Pinkerton announced just as Butterfly has taken her life ; the American motif strangely contrasting with the tragic music of the death scene ; and a few measures of the final curtain music, with its ancient Japanese melody. /Madame Butterfly Selection \ Bartered Bride Overture Madame Butterfly Selection By Pryor's Band \ By Pryor's Band} By Pryor's Band 31697 12-inch, $1.25 12-inch, 1.00 The interest of the public in this exquisite Puccini opera continues to grow, and the fine records the Victor has offered of the music have been much enjoyed and favorably commented upon. This really beautiful twelve-inch fantasia, composed of the most effective portions of the opera, is splendidly played, as usual, by this fine concert band. Madame Butterfly Fantasie By Victor Herbert's Orch 70055 12-inch, $1.25 Madame Butterfly Fantasie By Victor Sorlin 'Cello 31696 12-inch, l.OO Some of the most beautiful passages in this fascinating Puccini opera have been combined in this attractive fantasie. Among the themes used are the last part of Butterfly's "Song of Devotion" in Act II, sometimes called the "Vision Song"; and the mournful but beautiful " Waiting Motive." This motive, which is also sung by a distant chorus with a peculiarly charming and mysterious effect, is one of the composer's happiest inspirations. The pizzicati passages on the violin which accompany this strange melody are most effectively given by the orchestra. 188 THE BRILLIANT MAGIC FLUTE REVIVAL OF IQII IN BERLIN (French) LA FLUTE ENCHANTEE I. ah Fleut Aftn-ahan-lcu') (German) y young and old, from zone to zone. Knows how to whistle every sound That birds may sing the whole year round. Oh, none can be more blithe than I, With these sweet warblers of the sky. The f9wler comes, in spite of rain. And sings his song in merry strain ; This merry fowler, too, is known By young and old, from zone to zone. A net for maidens I should like Would catch the pretty dears by dozens, I'd shut them safely up at home. And never let them forth to roam. In the part of Papageno Mr. Goritz has few rivals, and his impersonation was one of the great features of the recent revival at the Metropolitan. Tamino now comes forward and gives Papageno credit for having killed the serpent, an honor which he promptly accepts. The three ladies now return, rebuke Papageno and show Tamino a photograph of the Queen of Night's daughter, the lovely Pamina, who has been * Double Faced RzcordFor titlz of opposite side see DOUBLE-FA CED MA GIC FL UTE RECORDS, pase 1 92. VICTOR BOOK OF THE OPERA THE MAGIC FLUTE taken from her mother by Saraslro, the Priest of Isis, to save her from evil influences. Tamino falls in love with the picture and offers to rescue the maiden. He is given an all-powerful magic flute, and accompanied by Papageno sets out for Sarastro's palace. The scene changes to a room in the palace of the High Priest, where Pamina is dis- covered in charge of Monostatos, a Moor. The Moor is betraying his trust by persecuting Pamina with his attentions, when Papageno enters and frightens him away. The bird catcher then tells Pamina of Tamino 's love for her, and offers to conduct her to this mysterious lover. La dove prende (Smiles and Tears) By Emma Eames, Soprano, and Emilio de Gogorza, Baritone (In Italian) 89O03 12-inch, $4.0O This charming duet, with its grace and inimitable gaiety, introduces the melody of an old German song, Bei Mannern welche Liebe fuhlen. Smiles and Tears The smile, that on the lip is playing, How oft 'twill hide a heart's deep woe! The tear, that down the cheek is straying, From purest springs of joy may flow. And smiles and tears, so legends say, Make;\ip the sum of Life's brief day. Yet, whilst that smile the brow is wreathing, One word shall change it to a tear, And one soft sigh's impassion'd breathing Shall bid the tear-drop disappear, When each alike misleads in turn. Oh, who the heart's deep lore shall learn! Fair seems false! and false seems fair! Still, what bliss, what joy are there! After many adventures Tamino and Pamina meet, and by means of the magic flute they are about to escape, but are interrupted by Sarastro, who agrees to unite the lovers if they will remain and be purified by the sacred rites ; and as the priest separates them and covers their heads with veils, the curtain falls. ACT II The first scene shows a noble forest showing the Temple of Wisdom. The priests assemble, and Sarastro orders the lovers brought before him. He then sings this superb Invocation, one of the most impressive numbers in the opera. Invocation (Great Isis) By Pol Plancon, Bass (Piano ace.) (In Italian) 85O42 12-inch, $3.0O In the Invocation, Sarastro calls on the gods Isis and Osiris to give Tamino and Papageno strength to bear the trial now at hand. Great Isis, great Osiris! Strengthen with wisdom's strength this tyro pair; Ye who guide steps where deserts lengthen. Brace theirs with nerve, your proof to bear! Grant them probation's fruit all living; Yet, should they find a grave while striving, Think on their virtues, gracious gods, Take them elect to your abodes! In the noble role of Sarastro Plancon is especially effective, and his dignified impersona- tion of the benignant High Priest, who smooths out all the fantastic tangles in the situations which occur in Mozart's opera, is always singularly impressive. The lovers are admitted to the Temple and begin their probation. In the next scene Pamina is discovered asleep in a bower of roses. The Queen suddenly rises from the earth and gives Pamina a dagger, telling her to kill Sarastro or Tamino can never be hers. Pamina hesitates, and her mother, in a terrifying and dramatic song, threatens vengeance on all concerned. 4f 191 VICTOR BOOK OF THE OPERA THE MAGIC FLUTE Aria della Regina (The Queen's Air) By Bessie Abott, Soprano (In Italian) 88051 12-inch, $3.OO By Maria Galvany, Soprano (In Italian) 87O59 lO-inch, 2.0O The Queen of Night, Astriflammante, is one of the most striking characters in Mozart's opera, and the few numbers allotted to her are difficult and florid ones. This great aria is one -which the most experienced of sopranos always approaches with misgiving, because of its excessive demands on the vocal powers. Miss Abott and Mme. Galvany completely meet these demands, both singing the air gracefully and -with superb execution. ASTRI FLAM M ANTE : The pangs of hell are raging in my bosom, I spurn thee and renounce thec. Death and destruction wildly flame around! If thou dar'st to brave my wrath: Go forth and bear my vengeance to Sarastro, Through thee Sarastro is to perish! Or as my daughter thou shalt be disown'd! Hear, gods of vengeance! I cast thee off forever, Hear a mother's vow'. (Slie disappears.) Sarastro enters and soothes Pamina, saying that he will take a righteous revenge on the Queen by obtaining the happiness of her daughter. He then sings the noble Cavatina, con- sidered one of the greatest of bass arias. Qui sdegno non s'accende (Within These Sacred \*/alls) By Pol Plancon, Bass (Piano ace.) (In Italian) 85O77 12-inch, $3.0O In this number the singer is at his best, and the noble strains are delivered in the broad sonorous style which the music requires. SARASTRO: Within this hallowed dwelling Revenge and sorrow cease; Here troubled doubt dispelling, The weary heart hath peace. If thou hast stray'd, a brother's hand Shall guide thee t'ward the better land. This hallow'd fane protects thee From falsehood, guile and fear; A brother's love directs thee, To him thy woes are dear. The probationary trials of the lovers continue through many strange scenes, in one of which Pamina meets Tamino; and not knowing that he has been forbidden to speak to any woman, cries out that he no longer loves her. She then sings this pathetic little air, which Mme. Gadski has interpreted here so beautifully. Ah lo so (All Has Vanished) By Johanna Gadski, Soprano (In Italian) 88254 12-inch, $3.00 Mme. Gadski has long been recognized as one of the foremost exponents of Mozart in this country. The music of this master demands singers of great understanding and feel- ing, who must possess not only voice but intelligence and taste. That Gadski possesses these qualifications in ample measure is fully apparent to all who listen to her superb .. l^L TAMINO AND PAMINA Mozart reproductions. PAMINA: Wretch that I am, too well I know Oh, Tamino, if for thee. Nought is left me but to mourn, My sighs and bitter tears are vain, Condemn'd to drain the cup of woe, Come, kind death, in pity free Joy to me will ne'er return. My weary bosom from its pain! The trials being finally completed, the lovers are united in the sacred Temple. The Queen and her accomplices attempt to prevent the ceremony, but the scene suddenly changes to the Temple of the Sun, where Sarastro is seen on his throne with Tamino and Pamina beside him, while the baffled Queen and her train sink into the earth. DOUBLE-FACED MAGIC FLUTE RECORDS /erture By Pryor's Band \ 351 3 Itz By Victor Dance Orchestra I f Magic Flute Overture La Scala Orchestra 1 c.atn-r 1 1 <.?.. DJJ rc-i/~> >o82O7 12- I Meislersmger Prelude La ocala Orchestra j f Magic Flute Overture By Pryor s Band ) o ftl o ft > -, :!, \ tS f\ it/ i, n jf. M r- /"> L i ,35135 12-incn, My Queen Waltz By Victor Dance Orchestra ' 192 (French) MANON (Man-on) OPERA IN FOUR ACTS Words by Meilhac and Gille, after the novel of Abbe Prevost. Music by Jules Massenet. First production at the Ope'ra-Comique, Paris, January 19, 1884. First London production May 7, 1885; in English by the Carl Rosa Company, at Liverpool, January 17, 1885. In French at Covent Garden, May 19, 1891. First American production at New York, Decem- ber 23, 1885, with Minnie Hauk, Giannini and Del Puente. Some notable revivals -were in 1895 with Sybil Sanderson and Jean de Reszke ; in 1899 with Saville, Van Dyk, Dufriche and Plancon; and at the recent production (in 1909) at the Metropolitan, with Caruso, Scotti, Farrar and Note. Cast CHEVALIER DES GRIEUX (sAee^/W deh GrV; . .Tenor COUNT DES GRIEUX, his father Bass LESCAUT (Les-koh') Manon's cousin, one of the Royal Guard Baritone GUILLOT MORFONTEIN. a roue, Minister of France Bass DE BRETIGNY (Bray-tee-ynec') a nobleman Baritone MANON, a school girl Soprano People, Actresses, and Students Time and place : 1721; Amiens, Paris, Havre. The story of Manon is, of course, taken by Massenet's librettists from the famous novel of the Abbe Prevost, but for operatic purposes several changes have been made, notably in the events of the fourth act, which takes place in France instead of America. Although the tale is very well known, a brief sketch will be included here. Manon is a country girl, gay, pretty and thoughtless, who meets a handsome young cavalier, des Grieux, while on her way to a convent to complete her education. He falls in love with her and she with him as far as her nature will allow, and when he tells her of the gaieties and pleasures of Paris, she needs little persuasion to induce her to elope with him to the Capital, to the chagrin of Guillot, whose carriage the lovers appropriate. Soon tiring of love in a cottage, however, the young girl encourages the attentions of a rich nobleman, de Bretigny, and when des Grieux is taken away forcibly by his father, she siezes the opportunity and leaves with her new lover. In Act III she learns that des Grieux, despondent because of her faithlessness, has resolved to enter a monastery. Her fickle affections turn again to him, and she visits him at the Seminary of St. Sulpice. He at first repulses her, saying his love is dead, but is unable to resist her, and they depart together. The next act occurs in a gambling house, where des Grieux is endeavoring to win money to support Manon in the luxury she demands. Guillot, in revenge for the trick played on him in Act I, causes their arrest, des Grieux for cheating and Manon as a dissolute woman. The last scene occurs on the road to Havre, where des Grieux and Lescaut, Manon's brother, plan to rescue Manon as she is being taken to the ship, en route to the prison colony in Louisiana. The soldiers appear, but it is a dying Manon they escort, and the unfortunate girl, after repenting and asking forgiveness of des Grieux, dies in his arms. ACT I SCENE I Courtyard of an Inn at Amiens As the curtain rises the crowd of villagers, including Lescaut, are -waiting the coming of the coach, -which presently arrives and discharges Manon. The young girl regards the animated scene with much interest, and soon espies Lescaut, her cousin, -who was to meet her at this point and escort her to the convent school. He greets her and compliments her on her charming appsarance. She blushes and then artlessly tells him of her impressions during the journey from her country home. The scene from this point has been recorded by the Scale singers. 193 VICTOR BOOK OF THE O P E R A M A S S E N ET' S MAN ON do I see? Young lady! Young lady! Restate qui (Wait a Moment) By Elisa Tromben. Soprano: Federico Federici. Tenor: G. Pini-Corsi, Tenor: Riccardo Tegani, Baritone (In Italian) *55OOO 12-inch, I1.5O Lescaut asks Manon to excuse him for a while as he must go to see after her luggage. LESCAUT (to Manon): Wait a moment. Be prudent; I am going to find your luggage. He goes out, and the townspeople desert the square, leaving Manon alone. The roue, Guillot, appears on the balcony of the hotel, crying : " Miserable landlord ! Are we never to have any wine? "' He sees Manon, and his evil eyes light up at this vision of youth and beauty, GUILLOT: Heavens! What Ahem! Ahem! (Aside) Really, my head is turning round! MANON (aside and laughing) : What a funny man! GUILLOT: Young lady, I am Guillot de Morfontaine. I am rich and would give a good deal to hear a word of love from you. Now, what do you say to that? kLurow: That I should be ashamed, if I were not more disposed to laugh. DE BRETIGNY: Now then, Guillot, what's the game? We are waiting for you. GUILLOT: Oh, go to the Devil. POUSETTE (tO Gllillot) '. Are you not ashamed? DE BRETIGNY: This time I swear the dog has by chance found a prize. Never did sweeter look light up a woman's face! Now then, Guillot, let the girl alone and come in. We are calling you. GUILLOT: Ay, ay, in a moment. (To Manon) : My little one, give me a word. DE BRETIGNY: Guillot, let the girl alone. GUILLOT (softly to Manon): A postillion is coming directly; when you see him, understand that a carriage is at your service. Take it, and afterwards you shall know more. LESCAUT (who has just entered) : What do you say? GUILLOT (confused): Oh, sir! nothing, sir! LESCAUT (boisterously) : Oh, sir! Did you say GUILLOT (returning to the pai'illion) : Nothing, sir, I said. At your age! Guillot is frightened by the gruff soldier, to the amusement of the bystanders, who laugh at the baffled libertine until he flees in confusion. Lescaut now warns Manon to beware of the men she may meet. LESCAUT (to Manon) : He spoke to you, Manon. MAXOS (lightly): Well, can you say 'twas my fault? LESCAUT: That's true; and in my eyes you are so good that I won't trouble myself. (The two guardsmen enter.) FIRST GUARDSMAN (to Lescaut) : How now! Thou comest not! SECOND GUARDSMAN: Both cards and dice are waiting your pleasure below. LESCAUT : I come; but first to this young lady, with your leave, good sirs, I must speak some words of counsel full of wisdom. GUARDSMEN (in mock resignation) : To his wisdom we'll listen. "Mi raccomando (Wait for Me) By Elisa Tromben. Soprano: Federico Federici, Tenor: Chorus (In Italian) *55OOO 12-inch. $1.5O The young girl promises to be prudent and Lescaut leaves with the guardsmen. Should whisper folly in your ear, Behave as though you did not hear. For safety's sake adopt that plan. (To the Guardsmen, aside) Now let us go and see on which of us the goddess of the game will look with loving eyes. (They go out.) is much impressed with her beauty and beginning the lovely duet, Et je sais votre LESCAUT (to Manon): Give good heed to what I say Duty calls me now away. To consult these comrades here Upon a point that's not quite clear. Wait for me, Manon, just a moment, no more. Make no mistake, but prudent be, And if, forsooth, some silly man Des Grieux now enters, and seeing Manon, modest bearing. He addresses her respectfully *Doub!c-FaccJ RecorJ-For title of opposite Je ** DOUBLE-FACED MANON RECORDS, page 201. 195 VICTOR BOOK OF THE OPER A M ASSENET'S MANON Et je sais votre nom (If I Knew But Your Name) By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) * 165 51 lO-inch, $0.75 The young girl answers simply, but feels herself strangely drawn to the young student. The transition from strangers to lovers is a quick one, as will be seen by the translation. DES GRIEUX: (Sadly) If I knew but your name I am now on my way to a convent, MANON (with simplicity) : 1 "hat, sir, is the story of Manon, I am called Manon. (With simplicity) DKS GRIEUX (tvitli emotion): Of Manon Lescaut! Manon! DES GRIEUX (ivitli ardor): MANON (aside) : No, I will not believe that fate can be so How tender are his looks, hard! How delightful his voice to my soul! That one so young and so fair can be destined DES GRIEUX- to dwell in a living tomb. All my fond foolish words, MANON: I pray you forgive! ^' ut tls> a ' as - the sovereign will of Heaven, ,, , . . To whose service I'm devoted, MANON (nairely): And no one from this fate can deliver me. How condemn your words when they charm j) FS GRIEUX (firmly) my heart; pf o no \ j\T Qt f rom vou Manon, shall hope To my ears they are music! and j be torn Would to Heav n such language were mine, MANON (iovfullv) You fit answer to make. Qjj Heaven! DES GRIEUX (in a transport of joy): DES GRIEUX: Lovely enchantress, all-conquering beauty, For on my will and power you can safely Manon, from henceforth thou art mistress of depend. my heart! MANON (with energy) : MANON: Ah! to you I owe far more, far more than life. Oh! what ioy! ^ ES (' R ' E UX (passionately) : I'm' henceforth the mistress of his heart! A . h! Manon, you shall" never leave me now! p. p Since I would gladly roam thro all the world, Ah i Seeking for you, love, an unknown retreat, An, speak tc Anc j carry you there in my arms. MANON: MANON: I am only a simple maiden. To you, my life and my soul ! (Smiling) To you I give my life for evermore! Believe me, I'm not wicked, DES GRIEUX: But I often am told by those at home, Light of my soul! Manon, That I love pleasures too well; The mistress of my heart for evermore! Manon now observes the carriage of Guillot, which had been offered her, and suggests that they take it and fly together. Des Grieux joyfully agrees and they sing their second duet. Nous vivrons a Paris (We 'Will Go to Paris) By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) *45009 10-inch, $1.00 MANON AND DES GRIEUX: Evermore bliss is ours, We to Paris will go. Heart to heart! And with love's sweetest flow'rs And, though fortune may frown, never part! Will we crown the bright hours! Hearing Lescaut 's voice from within the hotel, where he has been gambling, the lovers hastily enter the carriage and drive off, while Guillot swears revenge and Lescaut bewails his double loss of money and cousin. ACT II SCENE Apartment of Des Grieux and Manon in Paris Des Grieux is writing at a desk, -while Manon is playfully looking over his shoulder. J'ecris a mon pere (This Letter's for My Father) By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) *45005 10- inch, $1.00 He tells her he is writing to his father : DES GRIEUX: DES GRIEUX: This letter's for my father, and I tremble lest Yes, Manon, I'm afraid. he should read in anger what I write from MANON : my heart. Ah, well, then we'll read it together. MANON: DES GRIEUX: You are afraid? Yes, that's the way. Together we'll read. * Double-Faced Record For tith of opposite side see DOUBLE-FACED MANON RECORDS, pase 201. 196 VICTOR BOOK OF THE O P E R A M A S S E N ET ' S MAN ON On 1'appelle Manon (She is Called Manon) By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French) *45OO9 10-inch, ll.OO Continuing this charming scene, she takes the letter from him and reads with simplicity: MANON: the spring, so her young soul to life is ever "She is called Manon, and is young and fair. open. Her lips, like flowers, smile and In her all charms unite. She has grace, speak to the zephyrs that kiss them in pass- radiant youth and beauty; music flows in a ing." stream from her lips; in her eyes shines MANON (repeating): the tender light of love." "To the zephyrs that kiss them in passing." DES GRIEUX (ardently) : (Pensively) In her eyes shines the tender light of love. Do you think your father will give his con- MANON: sent? Is this true? Ah, I knew it not. DES GRIEUX: (Tenderly) Yes; he will never in such a matte'r as this Hut I know how much I am loved. oppose me. DES GRIEUX (with passion): MANON: Thou ^art loved! Manon, I adore thee! Dost thou desire it? MANON: DES GRIEUX: Come, come, good sir, there's more to read I desire it, with all my soul! yet. MANON: DES GRIEUX: Then embrace me. Chevalier. (They embrace.) "Like a bird that through all lands follows And now, go; send thy letter. Da Grieux starts to go, but seeing some beautiful flowers on the table asks who sent them. Manon replies evasively, and asks if he does not trust her and if he is jealous. He assures her of his perfect confidence. A noise is heard outside, and Lescaut, accompanied by de Breligny, a French nobleman, enters, the former loudly demanding satisfaction from des Grieux for the abduction of his cousin. Des Grieux at first defies him, but remembering that he is a member of Manon 's family, shows him the letter he had written to his father asking her hand in marriage. Lescaut engages him in conversation, thus giving de Bretigny an opportunity to speak to Manon aside. He tells her that des Grieux is to be carried off by his father that night, and urges her to fly with him. Tempted by the thoughts of wealth and pleasure, the young girl hesitates. Lescaut now loudly expresses satisfaction with the attitude of des Grieux, and departs -with de Bretigny. Des Grieux goes out to post the letter and Manon struggles with the temptation which has come to her ; the pathetic air, Adieu notre petite table, indicating that she is yielding. Adieu notre petite table (Farewell Our Little Table) By Geraldine Farrar. Soprano (In French) 88146 12-inch. $3.00 By Mme. Vallandri, Soprano, and Leon Beyle, Tenor (In French) *45OO8 10-inch, l.OO NOTE. In record 45008 Mme. Vallandri sings a portion of the " Farewell " solo and this is followed by the short duet which precedes the " Dream." She regards the little table at which they had served their simple meals and bids it farewell. MANON: Farewell, our pretty little table! So small and space we lovers filled. A single glass served yet so large for us. Side by side so often both of us, and each, in drinking, sought there we've sat. (With a sad smile.) 1 upon its margin where dear lips had been, smile as now I call to mind what narrow Ah! best of friends, how thou hast loved! Hearing des Grieux approaching, she hastily tries to conceal her tears. He observes them, however, and tries to soothe her by relating a dream he has had. (Italian) (English) (French) II sogno The Dream Le Reve By Enrico Caruso. Tenor (In Italian) 81O31 10-inch. $2.OO By Edmond Clement, Tenor. (In French) 74258 12-inch, 1.5O By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 66OO1 lO-inch, 1.5O By Leon Beyle, Tenor (In French) *45OO8 lO-inch. l.OO By Leo Slezak, Tenor (In German) 61206 10-inch, l.OO *Doublc-Faced Record For till: of opposite side see DOUBLE-FACED MANON RECORDS, page 201. 197 VICTOR BOOK OF THE O P E R A M A S S EN E T'S MANON " Listen, Manon," he cries, " On my way I dreamed a lovely dream." DES GRIEUX: 'Tis paradise! Ah, no, With fancy's eye I saw, Manon, All is sad, so sad and dreary, A sweet and lowly cot, For, O my only love, thou art not there. ItB white walls, deck'd with flowers fair, ., , ... . Gleam'd thro' the wood! M *|!. ON (softly): Beneath whose peaceful shadows Tls a vision, tis but a fancy! Ran clear the babbling brook.; DES GRIEUX: Overhead, 'mid verdant leaves No! for thus we'll pass our life, Sang so sweet and full the joyous birds, If but thou wilt, O Manon! A knock is heard and Manon exclaims, aside, " Oh, Heaven, already they have come for him ! " She tries to prevent him from opening the door, but he insists, and is seized and carried away, while Manon, suddenly repenting, is overcome with grief. ACT III SCENE A Street in Paris on a Fete Day Manon enters, accompanied by de Bretigny and several gallants. She is in a gay mood and extols youth and love in a fine vocal gavotte, charmingly given here by Miss Farrar. Gavotte Obeissons quand leur voix appelle (Hear the Voice of Youth) By Geraldine Farrar, Soprano (In French) 87O23 10-inch, $2.00 MANON: List to the voice of youth when it calleth, It bids ye to love for aye ! And ere the pride of beauty falleth, Love then while you may. Profit then by the time of youth, And do not stay to count the days, Remember well this adage be merry and gay always! The heart, alas, to love is e'er willing, And ever willing to forget, So while its pulse is thrilling, Love, ere its day hath set! Manon, seeing des Grieux's father, timidly approaches him and asks if des Grieux has forgotten her. She learns that the young man has forgiven her, buried his love, and is planning to enter a monastery. When the Count has departed, the capricious girl resolves to go to St. Sulpice and see for herself if she has been so easily forgotten ; and as the cur- tain falls she is calling to Lescaut to conduct her thither. SCENE II Reception Room at St. Sulpice At the beginning of this scene the Count pleads with his son not to retire from the world, but des Grieux says he is resolved, and his father takes a sorrowful leave. Left alone, des Grieux sings his lovely song of renunciation, which the Victor offers in Italian, French and German by five famous tenors, the Caruso record also including the preceding recitative. (French) (Italian) (German) (English) Ah, fuyez, douce image ! Dispar, vision Flieh o flieh ! (Depart, Fair Vision !) NOTE The Caruso record is preceded by the Recitative, "Je suis seul" (Alone at Last !) By Enrico Caruso. Tenor (In French) 88348 12-inch, $3.0O By Gino Giovannelli, Tenor (In Italian) *55OO1 12-inch, 1.5O By Florencio Constantino, Tenor (In Italian) 74174 12-inch. 1.5O By Leo Slezak, Tenor (In German) 64116 lO-inch, l.OO By M. Rocca, Tenor (In French) *16575 lO-inch, .75 * Double-Face a Record For title of opposite fide see DOUBLE-FACED MANON RECORDS, page 201. 198 VICTOR BOOK OF THE O P E R A M A S S EN ET' S MANON He declares he will now seek the peace of mind which only faith in Heaven can give. DES GRIEUX: I'm alone at last! The supreme moment now has come. From earthly ties I'm free, and only seek the rest which faith in heaven can give ! Ah! depart, image fair, Leave me now at rest; Have regard to my prayer, Ease my poor tortured breast. To the dregs I have drain'd Life's most bitter cup, Nor to Heaven once complain'd, Though heart's blood filled it up. Dead to me now are love and all that men call glory. I de- sire to banish from my memory an evil name a name which haunts me! Oh Heaven! with flame all searching, my soul now purge from stain ! Oh ! let thy pure and glo- rious light chase far away the gloom that lays on my heart. He goes slowly out and Manon enters, shuddering at the gloomy -walls and wondering if her lovfer has quite forgotten her. Des Grieux soon returns and is astounded to see Manon, bidding her begone, saying his love is dead. She says she cannot believe it. MASON : These eyes that oft thou hast kissed with ardor, do they shine no more, even through my weeping! Am I not myself? Do not turn away, but look on me. Am I not Manon? Des Grieux is deeply moved, but asks Heaven for strength to resist her. Her plead- ings finally have their effect, and he cries : "Ah I Manon ! No longer will 1 struggle against myself ! " and they depart together. THE GAMBLING SCENE ACT IV ACT IV SCENE A Gambling Room in Paris Des Grieux has been persuaded by Manon to come to this place in the hope of winning money to satisfy her desire for luxury. He plays for high stakes and wins large sums from Guillol, who leaves in a rage. As des Grieux is showing Manon the gold he has won, a loud knock- ing is heard and the police enter with Guillot, who denounces des Grieux as a swindler and Manon as his accomplice. They are arrested and taken to prison, but des Grieux is after- ward released through his father's influence, while Manon is ordered to be deported to America by way of Havre. 199 VICTOR BOOK OF THE O P E R A M A S S EN ET ' S MAN ON Concertato finale O dolor By Aristodemo Giorgini, Tenor ; A. Santoro, So- prano; S. Nicolicchia, Baritone ; and Chorus (In Italian) 87083 10-inch, $2.OO ACT V SCENE On the Road to Havre Des Grieux and Lescaut are on the Havre road, waiting for the soldiers who are es- corting the prisoners to the ship bound for America, des Grieux having conceived the mad idea of rescuing Manon. Beginning the duet he sings ON THE HAVRE ROAi>-ACT v hl > sad a ^ remorseful air, Manon in Chains I Manon, la catena (Manon in Chains !) By Rerno Andreini, Tenor ; Riccardo Tegani, Baritone ; and Chorus (Double-FaceJ, see page 201) (In Italian) 55001 12-inch, $1.5O DES GRIEUX (discovered seated by the wayside) : .Manon, poor Manon ! Must I see thee herded with these wretched beings and be power- less to aid? O Heaven! Merciless Heaven! Must I then despair! (He sees Lescaut approaching.) He comes! (Advancing impetuously to Lescaut.) Thy fellows now make ready; the soldiers will soon reach this place. Thy men are fully armed; they will rescue Manon and give her back to me! What! can it not be done? Are all my fond hopes vain? Oh! why dost thou keep silence? Lescaut hesitates and finally says : LESCAUT: Sir, I have done my best DES GRIEUX (anxiously) : Go on! LESCAUT: And grieve to say that all is lost. DES GRIEUX (piteouslv) : Lost! LESCAUT: Scarce had the sun shone on the arms of the soldiers ere all our men fled! DES GRIEUX (distracted): 'Tis false! 'Tis false! Great Heaven hath taken pity on my suffering, and at last comes the hour expected! In a moment my Manon shall be free! LESCAUT (sadly) : Since I have told the truth DES GRIEUX (about to strike him) : Away! LESCAUT: Strike if you will. 'Tis soldier's fare. He's by the King ill-paid; and then, whate'er his worth, the good folks shake their head and call him "wretched fellow." DES GRIEUX (violently) : Away! The voices of the soldiers are now heard in the distance singing as they ride. Des Grieux and Lescaut listen attentively, and the former, realizing that they are almost at hand, madly tries to rush forward. Lescaut dissuades him, saying he has a better plan, as he is well acquainted with the officer in command. When the escort arrives, Manon is found to be very ill and is left behind by the officer at Lescaut' 's suggestion. During a heart-rending scene Manon asks and receives the forgiveness of des Grieux, repents her sins and dies in his arms. 200 VICTOR BOOK OF THE OPER A M ASSENET'S MANON 55OO1 12-inch, 1.5O lO-inch. l.OO DOUBLE-FACED AND MISCELLANEOUS MANON RECORDS Restate qui (Wait a Moment) By Elisa Tromben, Soprano; Federico Federici, Tenor; G. Pini-Corsi. Tenor; Riccardo Tegani, Baritone (In Italian) \ 55OOO 12-inch, $1.5O Mi raccomando ("Wait for Me) By Elisa Tromben, Soprano: Federico Federici, and Chorus (In Italian)^ I lo son solo (I'm Alone at Last) ~\ By Gino Giovannelli, Tenor (In Italian) \ I Manon. la catena (Manon in Chains!) By Remo Andreini, Tenor ; Riccardo Tegani, Baritone ; Chorus (In Italian)} I Nous vivrons a Paris (We Will Go to Paris) ) By Mile. Korsoff, Soprano ; Leon Beyle, Tenor I . , _ On 1'appelle Manon (She is Called Manon) By Mile. I 4 Korsoff. Soprano ; Leon Beyle, Tenor (In French)) IAdieut notre petite table (Farewell, Our Little Table) 1 By Mme. Vallandri, Soprano ; Leon Beyle, Tenor (InFrench)\ Le reve (The Dream) By Leon Beyle, Tenor (J'ecris a mon pere (This Letter's for My Father) By Mile. Korsoff, Soprano; Leon Beyle La^me Dans la forel, pres de nous By Mme. Vallandri, Soprano; M. Rocca, Tenor IEt je sais votre nom (If I Knew But Your Name) 1 By Mile. Korsoff, Soprano; Leon Beyle (In French) I 1 , ,, 1 Favorita Splendon piu belle in del le stelle By Perello de Segurola, Bass, and Chorus (In Italian)] IAh ! fuyez douce image ! (Depart Fair Vision) By M. Rocca, Tenor (In French) 1 16575 Carmen Selection (Bizet) By Pryor's Band} 45008 (In French) ] (In French) L 5OO5 (In French)] 10-inch, 1.00 lO-inch, l.OO lO-inch, .75 10-inch, .75 ACT III SCENE t 201 SETTING OF ACT (Italian) MANON LESCAUT (Man-on' Les-ko) OPERA IN FOUR ACTS Music by Giacomo Puccini, the libretto (founded on Abbe Prevost's novel) being the work of the composer and a committee of friends. English version by Mowbray Marras. First presented in Milan in 1893. Produced at the Opera-Comique, Paris, January 19, 1884; in English by the Carl Rosa Company, at Liverpool, January 1 7, 1 885 ; at Drury Lane, May 7, 1885. In French at Covent Garden, May 19, 1881. First New York production, January 18, 1907. Characters MANON LESCAUT. , Soprano LESCAUT, sergeant of the King's Guards Baritone CHEVALIER DES GRIEUX (d e h c^eW) Tenor GERONTE DE RAVOIR, Treasurer-General Bass EDMUND, a student Tenor An Innkeeper, a Singer, a Dancing-master, a Sergeant, a Captain. Singers, Old Beaux and Abbes, Girls, Citizens, Villagers, Students, People, Cour- tezans, Archers, Sailors. Scene and Period : Paris and vicinity ; second half of the eighteenth century. THE STORY This early Puccini opera was performed by a struggling opera company in 1898, but the performance was so -wholly bad that -we have made no mention of it in our chronicle at the top of the page. The real New York premiere -was of course the Metropolitan production in 1907, when Puccini himself was present. An English version of the opera was given in Phila- delphia, however, by Gustav Hinrichs during one of his summer seasons, August 29, 1894. 202 VICTOR BOOK OF THE OPER A M ANON LESCAUT FARRAR AS MANON The Abb6 Prevost romance has been treated operatically by several composers, the first being Halevy, -who -wrote a bal- let on the subject in 1830. Other settings followed by Balfe, 1836; Auber in 1856 and Massenet in 1884. Puccini's version consists of four detached scenes selected from the novel, and the hearer should possess some knowl- edge of the story to fully understand the action of the opera. The first act shows the courtyard of an inn at Amiens. Marion's brother, Lescaul, a dissolute soldier, is escorting his pretty little sister to the convent where she is to complete her education. While Lescaut is carousing with some chance companions, Manon meets a handsome gallant, des Grieux, who chances to be dining at the inn, dressed as a student. The prospect of school not appealing strongly to the young girl, she .readily agrees to elope with des Grieux, thereby spoil- ing the plans of the old roue, Geronte, who had planned to abduct the pretty school girl. Manon soon tires of des Grieux and his poverty, and leaves him for the wealthy Geronte; but even this luxury fails to bring her happiness, and when des Grieux appears again she runs away with him. Geronle is furious and denounces Manon to the police as an abandoned woman. She is condemned to be deported to the French possessions in Louisiana. Des Grieux and Lescaut try to rescue her, but the attempt fails, and in desperation the former begs the commandant to permit him to accompany her to America. In the final scene the lovers are shown in a desert near New Orleans. (The Abbe Prevost's knowledge of American geography was evidently limited!) Des Grieux leaves Manon to search for water, and returns just in time to see her die in his arms, after a most affecting scene. ACT I SCENE A Street in front of an Inn at Amiens Des Grieux, dressed as a student, strolling among the crowd, meets Edmund and a party of students, who warmly greet him. He is in a gay mood and addresses some of the girls who are passing, asking them, in this charming air, if there is one among them who will take pity on his lonely condition. Tra voi belle brune (Now Among You) By Franco de Gregorio, Tenor (In Italian) *45O15 lO-inch, $1.OO This gay song is effectively given by one of the Victor's new tenors, of the La Scala forces, and the record is doubled with the Madrigale from Act II. A diligence now arrives, and Manon and her brother and Geronte, a chance traveling companion, alight. Des Grieux is struck with the beauty of the young girl, and when Lescaut and Geronte have gone into the inn to arrange for quarters, he questions her respect- fully. She tells him that she is bound for a convent, but does not wish to go. Lescaut now calls to his sister, and she enters the inn after promising to meet des Grieux later in the evening. The young man gazes after her, and says to himself that never has he seen so lovely a picture of youth and innocence. He expresses his emotion in a fine air, one of the loveliest of the numbers allotted to des Grieux. (On the reverse side is an air from Tosca.) Donna non vidi mai (Never Did I Behold) By Egidio Cunego, Tenor (In Italian) *45O16 lO-inch, $1.OO The students now gather round, bantering des Grieux on his new conquest, but he is in no mood for joking and goes into the inn. Lescaul now joins a crowd of soldiers -who are gambling, and soon becomes absorbed in the game. Geronte, seeing the brother thus engaged, seeks the landlord and plots to abduct Manon. Edmund overhears the scheme and informs des Grieux,. who finds Manon and induces her to elope with him. They take the carriage which Geronle had ordered and make their escape, leaving him furious. How- *Double-FaceJ Record-Far title of opposite side see DOUBLE-FACED MANON LESCA UT RECORDS, page 205. 203 VICTOR BOOK OF THE OPER A M ANON LESCAUT ever, he finds 'Lescaut and suggests that they go to Paris in search of the runaways. Lescaut, who has been drinking, consents, delicately hinting that if Geronte will admit him into the family group, he will use his influence to induce Manon to desert des Grieux for the older but wealthier suitor. ACT II SCENE An Apartment in Geronte's House in Paris Since the events of Act I Manon is supposed to have left des Grieux for the wealthier Geronte. She is seen surrounded by the utmost luxury, attended by her hairdresser, dancing master, etc. Lescaut enters, evidently much at home, and congratulates her on her change of fortune, taking to himself all the credit for having advised her so cleverly. She says she is happy and contented, but asks Lescaut if he has heard any news of des Grieux whether he is grieving or whether he has already forgotten her. Lescaut tells her that the young man is disconsolate, and is gambling in order to get wealth to win her back to him. Manon gazes pensively at the rich hangings, and in a fine air expresses her longing for the humble cottage she has left. In quelle trine morbide (In Those Silken Curtains) By Gina C. Viafora, Soprano (In Italian) 64O94 10-inch, $1.OO They are interrupted by the entrance of a company of Madrigal singers who have been sent by Geronte to amuse Manon. They sing a beautiful Madrigal, given here by Signora Lopez-Nunes and La Scala Chorus. Madrigale Sulla vetta del monte (Speed O'er Summit) By Lopez-Nunes, Soprano, and Chorus (In Italian) *45O15 lO-inch, $1.0O When the singers have departed, the dancing master appears to teach Manon the minuet. She takes her les,son, while Geronte and several friends watch her admiringly. In a gay mood she sings a little song to the air of the minuet. Minuetto di Manon, "L'ora o Tirsi" (Joyful Hours) By Frances Alda, Soprano (In Italian) 87O79 lO-inch, $2.00 Des Grieux now enters and reproaches Manon bitterly. At the sight of him her love returns, and she begs him to take her away from all this luxury. They sing a passionate duet, followed by a lovely solo for des Grieux, who reproaches Manon for her fickleness. MANON IN LUXURY ACT 11 *Doubte-FaceJ Record For titU of opposite side see DOUBLE-FA CED MANON LESCA UT RECORDS, pa 3 e 205. 204 VICTOR BOOK OF THE OPER A M ANON LESCAUT Ah ! Manon, mi tradisce (Manon, Kind and Gentle) By Franco de Gregorio. Tenor (In Italian) *45O27 lO-inch. $1.OO By Giorgio Malesci, Tenor (In Italian) *63421 lO-inch, .75 Ceronte surprises them, but controls his rage, and sarcastically wishing them a pleasant tete-a-tele, goes out. Lescaul shortly afterward rushes in and announces that Geronte has sent for the police. Des Grieux begs Manon to escape at once, but she insists on collecting her jewels first. This delay is fatal, and she is arrested and taken to prison, charged with being an abandoned woman. Intermezzo (Between Acts II and HIj By Arthur Pryor's Band *35O03 12-inch, $1.25 Now comes the exquisite intermezzo, which gives a musical picture of the journey to Havre of Des Grieux to secure the release of Manon, and of his resolution to follow and protect her wherever she may be sent "Even to the end of the world!" cries the unhappy lover. This number exhibits well the genius of this composer in making the orchestra reflect the incidents and passions of the story instead of using it as a mere accdmpaniment. ACT III SCENE The Harbor at Havre Manon has been banished from France, and is now embarking on the ship for the French colony in Louisiana. Des Grieux, unable to secure her release, entreats the officers to permit him to go on board. The captain, touched by the grief of the unhappy lovers, consents, and with a cry of joy Des Grieux embarks just as the ship is sailing. ACT IV SCENE A Desolate Spot in Louisiana This act is merely a long duet in which the sad, but very human, tragedy is ended. The music portrays the failing strength of Manon, the despair of Des Grieux when he is powerless to aid her, the last farewell of the lovers, and the bitter grief of the unhappy young man when Manon dies. As she expires, unable to bear more, he falls senseless on her body. DOUBLE-FACED AND MISCELLANEOUS MANON LESCAUT RECORDS I Intermezzo (Between Acts II and III) By Pryor's Band 35003 12-inch. $1.25 Tosca Selection By Arthur Pryor's Band] J Manon Selection By Arthur Pryor's Band) _,,,,, ._ , . _- \ El Capitan March (Saua) By Sousa's Bam/( 35 52 12 ~ mch - 1 ' 25 Tra voi belle brune (Now Among You) By Franco de Gregorio, Tenor (In Italian) \ . ,._. , , n . , , _ Madrigale Sulla vetta del monte (Speed O'er Summit; By Lopez-Nunes. Soprano, and Chorus (In Italian}} Donna non vidi mai (Never Did I Behold) 1 By Egidio Cunego, Tenor (In Italian* fe lo . inch l QO 1 osca Ga mi slruggea By Ernesto BaJini, Baritone ' In Italian ) J Ah! Manon, mi tradisce (Manon. Kind and Gentle) By Franco de Gregorio, Tenor (In Italian) \ ., M7 ln . , . nn /~. j /-. j \t i tu j r\ ,45027 lo-incn, l.OU (jtoconda Cie/o e Mar I (Heaven and Ucean) By Franco de Gregorio, Tenor (In Italian)} I Ah ! Manon, mi tradisce By Giorgio Malesci, Tenor (In Italian)}, _ , _ , , _ - , _- C* r r i. I . / 1 i t /-ki, ,OJ4>S11 0-incn, .ZD Lrnam Infelice e tu credevi (Unhappy One !) By Aristodemo Sillich, Bass i In Italian)} * Double-FaceJ Record For title of oftposits side see abov- list. 205 E OF FIGARO AND SUSANNA (Italian) (French) NOZZE DI FIGARO MARIAGE DE FIGARO (Not'-zay de Fee' -gar-oh) (Mah-ree-ahzh' deh Fee' -gah-row) THE MARRIAGE OF FIGARO OPERA IN FOUR ACTS Text by Lorenza da Ponte, founded on a comedy by Beaumarchais of the same name. Music by Mozart. First production at the National Theatre, Vienna, May 1, 1786. In Paris as Le Manage de Figaro, in five acts, with Beaumarchais' spoken dialogue, at the Academic, March 20, 1793; at the Theatre Lyrique, as Les Noces de Figaro, by Barbier and Carre, in four acts, May 8, 1858. In London, in Italian, at the King's Theatre, June 18, 1812. First American production April 8, 1835, in English. Some notable revivals were in the 70's, with Hersee, Sequin and Parepa-Rosa; in 1889, with Nordica, Eames, de Reszke, Ancona and Arnoldson ; in 1902, with Sembrich, Eames, Fritzi Scheff, de Reszke and Campanari ; and in 1909, with Sembrich, Eames, Farrar and Scotti. Cast FIGARO, (Fee -gah-roh) the Barber, valet to the Count Bass COUNT ALMAVIVA, (Al-mah-vze'-oah) a Spanish noble Baritone COUNTESS ALMAVIVA, his wife Soprano SUSANNA, maid of the Countess, betrothed to Figaro Soprano CHERUBINO, (Chay-rue-bee -noh) page to the Countess Soprano MARCELLINA, (Mar-chel-lee'-nah) servant to Bartolo Contralto BARTOLO, a rejected lover of Susanna Bass BASILIO, (Bah-zee -lee-oh) a busybody Tenor DON CURZIO Tenor ANTONIO, gardener to the Count Bass Servants, Country People, Guards. Scene and Period : Seville; the seventeenth century. The action is a direct continuation of the Barber of Seville. 206 VICTOR BOOK OF THE OPERA THE MARRIAGE OF FIGARO Mozart's Marriage of Figaro, with its merry plot and music, is one of the most delight- ful of musical comedies, and regret must be expressed for the all too infrequent perform- ance of this ever-young and lovely opera, in -which the complications of the story, the quick changes of mood, and the sparkling humor are all so well reflected in the music. In no single opera, perhaps, is there such a succession of musical gems as in Figaro. Each is per- fect in its way and each seems to enhance the beauty of the others. This comedy by Beaumarchais, on which the plot is founded, has been utilized by many composers, Mozart's version being written in 1785. Those who have read the story of Barber of Seville will find themselves again making the acquaintance of Bartolo, Almaoioa and Figaro, some time after the marriage of the dash- ing Count to Bartolo' s ward. The Count has settled down quietly on his estates, while Figaro, as a reward for his services as a match-maker, has been appointed major-domo of the castle. Figaro is in love with the Countess' maid Susanna, and expects to marry her soon, but unfortunately for his plans, had also promised to wed Marcellina, the ex-house- keeper of Bartolo, on the very same day. Further complica- tions are promised by the fact that the Count, already weary- ing of his wife, is making love to Susanna himself. ACT I SCENE \j4 Room in the Count's Chateau Overture By Arthur Pryor's Band *35109 12-inch. $1.25 The overture is a most delightful one, written in true Mozartian style, and Mr. Pryor has given a brilliant reading of it, bringing out all its beauties. * Double-Faced Record For title of opposite tide see double-faced list on page 211. 207 VICTOR BOOK OF THE OPERA THE MARRIAGE OF FIGARO At the opening of the opera Susanna tells Figaro that the Count is trying to flirt with her, and Figaro plans revenge. Marcellina has confided in Dr. Bartolo, and as the portly doctor still harbors a grudge against Figaro for robbing him of his ward, he consents to help her. The Countess, who seems to be the only one in the castle not engaged in intrigue of some kind, thinks only of her husband, and how to bring him back to her side. ACT II SCENE I Apartment of the Countess At the beginning of Scene II, the Countess sings her lovely appeal to Cupid. Porgi amor (Love, Thou Holy Impulse) By Johanna Gadski, Soprano (In Italian) 88275 12-inch, $3.00 By Teresa Arkel, Soprano (Double- faced, see page 2 1 I) (Italian) 63419 10-inch, .75 The Countess is one of Mme. Gadski's most effective impersonations, and she makes an imposing figure in her royal garb, singing the Mozart music with a richness of voice -which is always a delight to the ear. The Porgi amor, with its melancholy undertone, never seems to be heard at its best at the opera, as it is introduced under rather trying conditions at the very beginning of a scene and without preparatory recitative. Certainly Mme. Gadski has never sung this lovely air better than at this time, it being delivered with much purity of tone and genuine sentiment. The record will be pronounced one of the most satisfactory and appealing interpretations in the artist's entire list. Susanna tells the Countess of her husband's fickleness and they consult Figaro, who plans to make the Count jealous by telling him that the Countess is to meet a lover that evening in the garden. It is planned to send Marcellina in the Countess' place, and Cherubino, dressed as a young girl, to meet the Count in Susanna's place. Figaro departs, and Cherubino enters. Seeing his mistress, he begins to heave deep sighs, but Susanna mocks him and tells the Countess he has written a song about his lady love. The Countess bids him sing it, and he takes his guitar and describes the delights and torments caused by Cupid's arrow. Voi che sapete (What is This Feeling ?) By Nellie Melba, Soprano (In Italian) 88O67 12-inch, $3.OO By Luisa Tetrazzini, Soprano (In Italian) 883OO 12-inch, 3.0O The song is in ballad form, to suit the situation, the voice giving out the clear, lovely melody, while the stringed instruments carry on a simple accompaniment pizzicato, to imitate the guitar; and this delicate outline is shaded and animated by solo wind instruments. It is difficult to say which to admire most the gracefulness of the melodies, the delicacy of disposition of the parts, the charm of the tone- coloring, or the tenderness of expres- sion the whole is of entrancing beauty. GADSKI AND REIGELMAN AS COUNTESS AND CHERUBINO 208 VICTOR BOOK OF THE OPERA THE MARRIAGE OF FIGARO ClIERCBINO: \Yhat is this feeling makes me so sad? What is this feeling makes me so glad? Pain that delights me, How can it be? Pleasure that pains me ! Fetter'd though free! Whence, too, these yearnings, Strange to myself? Tell me their meaning, spirit or elf! Why am I burning? Why do I freeze? Restless forever, never at ease. All is so altered, nothing's at rest, Or are these changes but in my breast? Gentler the breezes, day is more bright; Fairer the moonbeams shine on the night: Greener the forest, greener the hill, Soft, too, the music flows from each rill. The women now dress up the page to represent Su- sanna, and have no sooner fin- ished when the Count knocks, and Cherubino hides in the closet. The Count observes his wife's confusion, and hear- ing noises in the closet, be- comes jealous. He demands that she open the closet door, and when she refuses he goes for a crowbar. The moment he is out Cherubino, aided by Susanna, slips out and escapes through the window, and Su- sanna enters the closet in his place. When the Count returns and opens the door, the maid comes out and the husband is forced to apologize for his suspicions. Marcellina now enters with her lawyer and demands that Figaro shall keep his promise to marry her. The Count promises to look into the matter. ACT III SCENE I j4 Cabinet in the Count's Residence The third act opens with a scene between Susanna and the Count. He plans to force her to accept his attentions by threatening to make Figaro wed the ancient Marcellina, while Susanna endeavors to gain time. This scene is continued in a charming and graceful duet. SCENE ACT THE COUNT IS JEALOUS ACT II 209 VICTOR BOOK OF THE OPERA THE MARRIAGE OF FIGARO Crudel perche finora (Too Long You Have Deceived Me) By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone (In Italian) 89O27 12-inch, $4-OO Susanna pretends to encourage the attentions of the Count, in furtherance of the plot conceived by the Countess; while at the same time she deftly repels his advances. Finally she promises to meet him in the arbor and the Count is in ecstasies. COUNT: COUNT: Too long you have deceived me; Then, by the garden bower? Hope, weary, bids farewell. SUSANNA: SUSANNA: At twilight I will be. What passes in her bosom COUNT: A maiden dreads to tell. You'll not forget the hour? COUNT: SUSANNA: You'll meet me in the grove, then? Oh, no, depend on me. SUSANNA: COUNT: When sunset's on the lea. In the garden? COUNT: SUSANNA: And do not mean it falsely? Yes! SUSANNA: COUNT: Oh, no; rely on me! You'll not forget? COUNT (aside): SUSANNA: What transport now is flying No! No! No! Oh. no, depend on me! Thro' this enraptured breast! COUNT (retiring): SUSANNA (aside): I have won her! Oh, may the scheme I'm trying, SUSANNA (aside) : Bring all to peace and rest! Well, cunning as you are, sir, This time you've met your match! Of the seven duets in which Susanna takes part in the opera, the Crude! perche is the most effective, and Miss Farrar and Mr. Scotti, both accomplished Mozart singers, deliver it delightfully. The accompaniment, so all-important in Mozart's works, is perfectly played under Mr. Rogers' direction. They separate, each satisfied with the interview, the Count believing she has yielded, and Susanna convinced that she has him in a trap. Marcellina, with her lawyer, Bartolo and Figaro now enter, and Figaro is informed that he must wed Marcellina or pay damages; but the discovery of a birthmark proves him to be the long lost son of Marcellina. He embraces his mother just as Susanna comes in, and she, seeing Figaro with his arms around the woman he was lately trying to avoid, decides that he has changed his mind. Matters are explained, however, and preparations for the wedding are begun. Susanna now seeks the Countess and tells her mistress that the Count wishes to meet her (Susanna) in the garden. The Countess then dictates a letter in which Susanna is to appoint a time and place for the meeting. The writing of this letter is portrayed in the delicate Letter Duet. Che soave zeffiretto (Letter Duet Song to the Zephyr) By Marcella Sembrich, Soprano, and Emma Eames, Contralto (In Italian) 95202 12-inch, $5.0O This number is always greatly enjoyed in representations of the opera, being a fine example of the Mozartian style and full of beauties, not only in the vocal parts, but in the masterly orchestration. SCENE II Hall in the Chateau In this scene Figaro and Susanna are married, and in the course of the festivities Susanna contrives to .slip the note to the Count, who is overjoyed. ACT IV SCENE The Qarden of the Chateau The last setting shows the garden where the most delightful of the comedy scenes takes place. Susanna, disguised as the Countess, and the Countess disguised as Susanna, enter. The mistress conceals herself, while Susanna, awaiting the Count, and knowing that Figaro is listening, sings her famous soliloquy. Deh vieni non tardar (Oh, Come, rVty Heart's Delight) By Marcella Sembrich, Soprano (In Italian) 88O2O 12-inch, $3.OO She pours out her whole soul in this address to the imaginary lover, in order to increase the jealousy of Figaro, who is hidden near by. This is one of the most exquisite numbers in the opera, and Mme. Sembrich's singing of it always remains long in the mem- ory of those who hear her in Nozze. 210 VICTOR BOOK OF THE OPERA THE MARRIAGE OF FIGARO THE GARDEN - ACT IV SUSANNA: Ah, why so long delay? speed, speed thee hither! While thou'rt away, all nature seems to wither. Tho' bright the moon, and bright the stars are glowing, Deeper around the wood its shade is throwing. In ev'ry gentle murmur of the river, In the rustling reeds that near it quiver, A voice to Iqve invites, the bosom filling With love alone, all other passions stilling: Come then, my dearest, the hours are quickly flying! Let me with roses bind now thy head! Cherubino, having em appointment with the maid Barbarina, now enters, and seeing the Countess, thinks it is Susanna and kisses her. The Countess struggles, and the little rascal says: CHERUBIXO: Why to me a kiss deny? With the Count you are not shy! Come, come, give o'er, then, And strive no more, then; One kiss to your little friend! The Count arrives just in time to see this, and giving Cherubino a box on the ear, sends him flying. He then makes love to the supposed Susanna, the Countess disguising her voice and encouraging him. Figaro now sees Susanna, whom he of course takes to be the Countess, and tells her that her husband and Susanna are together. Susanna reveals herself and Figaro embraces her. The Count sees this embrace and his jealousy making him forget his new conquest, he seizes Figaro and calls for help. The plot is now revealed, and the Count, confessing he is conquered, begs the Countess' forgiveness and promises to be a model husband. As the curtain falls the three happy couples are entering the house to continue the marriage festivities. DOUBLE-FACED /Overture I Fra Di avolo Overture COPT't OUPOIT DE LUSSAN AS CHERUBINO /Porgi amor MARRIAGE OF FIGARO RECORDS By Arthur Pryor's Band\ 351og 12 _inch. $1.25 By Arthur Pryor's Band I By Teresa Arkel. Soprano ano (In Italian)}, ~ A 1Q . . L i it ji i- (>o3419 lO-incn, rt^el (In Italian)) .75 211 (Italian) MARTA (MaM-tah) (English) MARTHA (Mahr'-thah) OPERA IN FOUR ACTS Libretto by St. George and Friedrich. Music by Friedrich von Flotow. The opera is an elaboration of " Lady Henrietta, or the Servant of Greenwich," a ballet-pantomime, with text by St. George and music by Flotow, Burgmuller and Deldevez, which was suggested by an actual incident and presented in Paris in 1844. Martha was first produced at the Court Opera, Vienna, November 25, 1847. First London production July 1, 1858, at Covent Garden, in Italian. First American production 1852, in German. Characters of the Drama LADY HARRIET DURHAM, Maid-of-honor to Queen Anne Soprano NANCY, her friend Mezzo-Soprano SIR TRISTAN MICKLEFORD, Lady Harriet's cousin Bass PLUNKETT, a wealthy farmer Bass LIONEL, his foster-brother, afterwards Earl of Derby Tenor THE SHERIFF OF RICHMOND Bass THREE SERVANTS OF LADY HARRIET Tenor and Two Basses THREE MAIDSERVANTS Soprano and Mezzo-Soprano Chorus of Ladies, Servants, Farmers, Hunters and Huntresses, Pages, etc. The scene is laid, at first, in the Castle of Lady Harriet, then in Richmond and environs, during the reign of Queen Anne. Flotow's melodious opera has always been a most popular one, with its spirited Fair Scene, its beautiful duets and quartet, the famous third act finale and the beloved " Last Rose of Summer." The composer was of noble birth, a son of Baron von Flotow of Mecklenburg, and was born in 1812. His father destined him for a diplomat, but the boy loved music, and went to Paris to study. His first attempt at opera was Pierre et Catharine, followed by Stradella and others. Many great prima donne have sung the role of Martha Patti, Nilsson, Kellogg, Gerster, Richings, Parepa Rosa ; and in the present day Sembrich, have charmed their audiences with Flotow's beau- tiful strains. The fine overture, which contains many of the best known melodies, is splendidly played here by the band. On the reverse side of the double-faced (35133) is a 'cello solo by Sorlin. Overture By Pryor's Band *35133 12-inch, $1.25 By Pryor's Band 31478 12-inch, l.OO ACT I SCENE I Boudoir of Lady Harriet LIONEL AND *LUNKETT-^CT i Lady Harriet, maid-of-honor to Queen Anne, is weary of the monotony of court life. She is bored by her admirers, and jewels and flowers pall upon her. " Why do you weep ?" says her faithful maid, Nancy. " 1 do not know," exclaims Harriet. Nancy, beginning the duet, ventures to guess. * Double-Face J Record For title of opposite side see DOUBLE-FACED MARTHA RECORDS, page2!7. 212 VICTOR BOOK OF THE O PE R A F LOTOWS MARTHA Mesta ognor (Ah, These Tears) By Louise Homer. Contralto, and Bessie Abott, Soprano (In Italian) 89OO9 12-inch, $4.OO NANCY: Of the knights so brave and charming Who surround our gracious queen, And themselves with wit are arming. Some one has so lucky been Your cold and haughty heart to win ! Is there aught in this alarming? LADY HARRIET: Vain beljef! How can rejoice me Such insipid, idle love? For to please and interest me Flattery is not enough! NANCY: Riches heap on you their treasures, Honor high is offered you. LADY HARRIET: In the midst of gold and pleasures Weariness alone I see. NANCY: This flower fades and blossoms not! Balls and tournaments are giving, And your colors win the prize, Proudly from the banners waving, While the victor vainly sighs For a smile from your fair eyes, Which his armor penetrated! LADY HARRIET: All my glowing ardent wishes Please me not when they're fulfill'd! What of happiness I dreamed Always has disgust instill'd. The homages they offer. Praise and honor they bestow. Leave me joyless, once obtained Make me not with pride to glow. XANCY: Then, from ennui to save you. Nothing is for you remaining But to let your heart be conquer'd. Not a particle retaining! This is really too distressing; Her's is called a brilliant lot! If love does not work a wonder, Tristan, Harriet's cousin, a gay but rather ancient beau, is now announced and proposes a long list of diversions for Harriet's amusement. She declines them all and teases him un- mercifully. The song of the servant maids, on their way to the Richmond Fair, now floats in through the window ; and hearing these strains of the happy peasants, Harriet conceives a madcap desire to accompany them. Nancy and Tristan protest, but she orders them to go with her. Dresses are procured and they start for the fair, the ladies in the disguise of servant girls, and Tristan garbed as a farmer. SCENE II The Fair at Richmond The scene changes to the Richmond Fair, where a motley crowd of men and maidens are looking for positions. Two young farmers, Plunkett and Lionel, now enter, the latter being an orphan and adopted brother of Plunkett. Lionel's father, on his deathbed, had given Plunkett a ring, which was to be presented to the Queen should the son ever be involved in difficulties. In this fine duet,- one of the gems of Flotow's popular romantic opera, the friends speak of Lionel's father and the incident of the ring. 213 VICTOR BOOK OF THE O P E R A FLOTO WS MARTHA Solo, profugo (Lost, Proscribed) By Enrico Caruso and Marcel Journet (In Italian) 89036 12-inch, $4.0O By Van Hoose and de Gogorza (In Italian) 74O05 12-inch, 1.5O By Reinald Werrenrath, Baritone; Harry Macdonough, Tenor (In English) 31769 12-inch, l.OO Lionel tells the story of his adoption by Plunfcett's family in the fine aria beginning your /a Iher't ran This air is universally popular and has been used for many poems, including several hymns. Plunlfett then sings and tells of the great love he has for his adopted brother. The duet, which is a very beautiful one, then follows : PLUNKETT: LIONEL: We have never learnt his station. Never knew your father's rank; All he left to tell the secret Was the jewel on your hand. "If your fate should ever darken," BOTH: Quoth he, "Show it to the Queen; She will save you, she will guard you When no other help is seen." Here in peace and sweet contentment Have I passed my life with you ; Stronger, daily, grew a friendship That forever lasts, when true. Brother, think not wealth and splendor, If perchance they e'er be mine, Can as happy this heart render As the friendship fix'd in thine. The disguised ladies now appear, accompanied by the unwilling and disgusted Tristan, who considers the whole affair a joke in very bad taste. The two young farmers spy the girls, and being much taken with their looks, offer to hire them. The ladies, carrying further their mad prank, accept the money which is offered them, not knowing that they are legally bound thereby to serve their new masters for a year. Tristan loudly protests, but is hooted off the grounds, and the frightened girls are taken away by the farmers. ACT II SCENE A Farmhouse As the curtain rises the farmers enter, dragging with them the unwilling and ter- rified maidens. When the ladies have recovered their breath and begin to realize that they are in no immediate danger, the temptation to plague their employers is irresistible, and when the young men endeavor to instruct the new servants in their duties the fun com- mences. The maidens determine to lead their captors a stren- uous life, and when they are ordered to get supper they promptly refuse. Spinning Wlieel Quartet By Victor Opera Quartet (In English) 7O052 12-inch, $1.25 Astonished at such revolutionary conduct from servants, the young men exclaim : LIONEL AND PLUNKETT: HARRIET AND NANCY: WHEEL QUARTETTE Surpris'd I am and astounded, And I can say no more; Such impudence unbounded Was never seen before! Surpris'd they are and confounded, And sorely puzzled is their brain; This blow has smartly sounded, May be they'll never try again! 214 VICTOR BOOK OF THE O PER A FLOTO WS MARTHA The girls are then requested to show their skill at the spinning wheels. When they confess ignorance of the art the young men offer to teach them : LIONEL AND PLVNKETT (spinning): HARRIET AND NANCY (sitting at the wheels): When the foot the wheel turns lightly What a charming occupation Let the hand the thread entwine; Thus to make the thread entwine; Draw and twist it, neatly, tightly, Gently guided, drawn and twisted, Then 'twill be both strong and fine. It becomes both strong and fine! Nancy leads Plunkelt a merry chase, causing him to lose his temper, while Lionel finds himself falling in love with the beautiful Martha. She laughs at him, but is nevertheless impressed with his good looks and manly bearing; so much so that when he asks her to sing she consents, and taking the rose from her bosom she sings the exquisite " Last Rose of Summer." Last Rose of Summer By Adelina Patti, Soprano (In English) 9503O 12-inch. S3. OO By Luisa Tetrazzini. Soprano (In English) 883O8 12-inch, 3.OO By* Marcella Sembrich, Soprano (In English) 881O2 12-inch, 3.OO By Alice Nielsen. Soprano (In English) 74121 12-inch, 1.5O By Elizabeth Wheeler. Soprano (Double-Faccd) (In English) 16813 lO-inch, .75 By Elizabeth Wheeler, Soprano (In English) 5739 10-inch, .60 As is generally known, this air is not by Flotow, but is an old Irish tune, to which Moore fitted his poem. In fact, Martha undoubtedly owes much of its vogue to this ancient Irish air. The melody is a very old one called " The Groves of Blarney." Moore wrote the words about 1813, and they have become the most popular of all his verses. 'Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rosebud is nigh To reflect back her blushes, Or give sigh for sigh! I'll not leave thee, thou lov'd one, To pine on the stem ; Since the lovely are sleeping, Go sleep thou with them. Thus kindly I scatter Thy leaves o'er the bed Where thy mates of the garden Lie scentless and dead! The farmers, somewhat subdued by the knowledge that they have engaged two most spirited and insubordinate damsels, now bid their new-found servants good night in this beautiful number, one of the gems of Flotow's opera. SEMBRICH AS MARTHA ACT I Good Night Quartet By The Lyric Quartet PLUNKETT AND LIONEL: Midnight sounds! LADY AND NANCY: Midnight sounds! LIONEL (to Martha): Cruel one, may dreams transport thee To a future rich and blest! And tomorrow, gently yielding, Smile upon me! sweetly rest! PLUNKETT (to Nancy): Sleep thee well, and may thy temper Sweeter in my service grow; (In English) 5855 lO-inch, $0.60 Still your sauciness is rather To my liking do you know? MARTHA AND NANCY: Yes, good-night! such night as never We have lived to see before; Were I but away, I'd never Play the peasant any more! ALL: Good-night! (Harriet and Nancy retire to their chamber, and Plunkett and Lionel leave by the large door, locking it after them.) The maidens now peep out from their room and seeing no one, come out, and are ex- citedly discussing their chances of escape, when Tristan's voice is heard outside softly calling to them. Overjoyed, they make their escape through the window, and return to their home in the carriage provided by Tristan. 215 VICTOR BOOK OF THE O P E R A F L OTOW'S MARTHA ACT III SCENE A Hunting Park in Richmond Forest Act HI represents the Forest of Richmond, where the Queen is hunting with her attend- ants. The young farmers, who have sought vainly for their late servants, have come hither to witness the hunting and forget the two maidens -who have wrought such havoc with their affections. The act opens with the spirited apostrophe to porter beer, sung by Plunkett. Canzone del porter (Porter Song) By Pol Plancon, Bass (In Italian) 81O86 10-inch, $2.OO By Marcel Journet, Bass (In Italian) 64014 lO-inch, l.OO By Carlos Francisco (Double-Faced, see page 2 1 7) (In Italian) 16812 lO-inch, .75 This most famous of old English beverages is highly praised by the jovial Plunkett, who gives it credit for much of Britain's vigorous life. PLUNKETT: I want to ask you, can you not tell me, XVhat to our land the British strand Gives life and power? say! It is old porter, brown and stout, We may of it be justly proud, It guides John Bull, where'er he be, Through fogs and mists, through land and sea! And that explaineth where'er it reigneth Is joy and mirth! At ev'ry hearth Resounds a joyous song! Look at its goodly color here! Where else can find you such good beer? So brown and stout and healthy, too! The porter's health I drink to you! Yes, hurrah! the hops, and hurrah! the malt, They are life's flavor and life's salt. Hurrah! Tra, la, la, la, la, la, la, la! Three records of this number are offered the first by Plancon, whose Plunffett was n familiar figure to opera-goers a few years ago ; while Journet has also made a great success in the part, which suits his robust voice and style admirably. His singing of this " Porter Song" is a fine performance spirited and magnetic. A lower-priced rendition, and a most excellent one, is furnished by Carlos Francisco. The farmers disperse, leaving Lionel alone, and he sings his famous "M'appari," the melodious air of the broken-hearted lover, in -which he tells of his hopeless passion for the fair Lady Harriet, whom he knows only as Martha. M'appari (Like a Dream) By Enrico Caruso, Tenor (In Italian) 88OQ1 12-inch, $3.0O By Evan "Williams, Tenor (In English) 74128 12-inch, 1.50 Caruso sings this lovely air with a glorious outpouring of voice, giving it all the pathos and tenderness which it requires; while Mr. Williams' rendition (in English) is also a very fine one. LIONEL: Like a dream bright and fair, Chasing ev'ry thought of care, Those sweet hours pass'd with thee Made the world all joy for me. But, alas! thou art gone, And that dream of bliss is o'er. Ah! I hear now the tone Of thy gentle voice no more; Lionel suddenly encounters Lady Harriet, and although amazed at seeing her in the dress of a lady, warmly pleads his love. Oh! return happy hours fraught with hope so bright; Come again, sunny days, Sunny days of pure delight. Fleeting vision cloth'd in brightness, Wherefore thus, so soon depart; O'er my pathway shed thy lightness Once again, and cheer my heart. LIONEL: Yes, 'tis thee! Once more I do behold thee! Praised be God; it is no dream! HARRIET (aside): My heart! LIONEL: Lookest down so proudly; Yet my heart knew thee at once. HARRIET (with dignity) : Knew me? You're mistaken! LIONEL: I've hoarded thy fair image Deep in my breast No This dress does not deceive me 'Tis thee, thee! Be Heaven blest! HARRIET: Madman, you dream! LIONEL: Ah! If but a dream, This, a creation, of my brain, Then, oh Martha, let me enjoy This delusion while it lasts! (He attempts to seize her hand.) HARRIET: Hold! presumptuous man! No further! thou hast rav'd too long uncheck'd! 216 VICTOR BOOK OF THE O P E R A F LOTOW'S MARTHA Lady Harriet is forced to call the hunters, to whom she declares that Lionel must be mad. He is distracted, while Plunlfett endeavors to console him. The great finale, a part of which closes the Opera Medley (see below), then occurs. It is a magnificent piece of concerted music. ACT IV SCENE lPlunkelt's Farm House Plunkett is discovered alone, musing on the unhappy plight of his foster brother, who, since his rejection by Harriet, is inconsolable. He sings his great air, which is often omitted in American presentations of the opera. II mio Lionel (My Unhappy Lionel) By Mattia Battistini, Baritone (In Italian) 920O5 12-inch, S3.0O It is a fine number, superbly sung by Battistini, whose great CARUSO AS LIONEL success in this role at Covent Garden is well remembered. PLUNKETT: Poor Lionel! he sighs, he laments, If no aid come from on high; He flies from his friend; Fatal the hour, He is beside himself with love When first his heart felt love's pow'r; Accursed be the hour \Veeping, he wanders in grief. When first we saw that girl, Nought to his pain brings relief; When first we brought her beneath our roof! Merciful God, hear my cry, Soon will my Lionel die, Else must my Lionel die! Nancy now enters, and she and Plunkett soon come to an understanding. They decide to present Lionel's ring to the Queen, hoping thus to clear up the mystery of his birth. SCENE II A Representation of the Richmond Fair Lionel's ring has been shown to the Queen, who discovers that the young man is really the son of the banished Earl of Derby. However, he refuses to accept his rightful rank and continues to brood over the insult offered him in the forest. As a last resort a complete reproduction of the Fair Scene of Act II is arranged, with booths and the crowd of servants all represented. Harriet, Nancy and Plunl^ett are dressed in the costumes worn at their first meeting. Lionel is led in by Plunkett, and when he sees Harriet in the dress of a servant, the cloud seems to pass from his mind and he embraces her tenderly. The two couples pledge their troth and all ends happily. DOUBLE-FACED AND MISCELLANEOUS MARTHA RECORDS. 35133 12-inch. $1.25 Overture By Pryor's Band Nocturne in Ei (Opus 9) (Chopin) By Victor Sorlin, 'Cellist {Piano ace. } Last Rose of Summer By Elizabeth "Wheeler, Soprano I ( In English) 16813 1 0-inch, .75 Tannhauser The Evening Star By Victor Sorlin, 'Cellist] Canzone del porter (Porter Song) By Carlos Francisco, Baritone (In Italian] \ . , ai ,, . ~. . -, TrooatoreIl balen del suo sorriso ( The Tempest of the Heart) I 1 12 By Francesco Cigada, Baritone (In Italian)) Gems from Martha Chorus of Servants Quartet, "Swains So Shy" "Last Rose of Sum- mer" "Good Night Quartet "-" May Dreams Transport Thee" Finale, " Ah, May Heaven Forgive Thee." By the Victor Light Opera Company (In English) 31797 12-inch, $1.OO Martha Selection By Victor Orchestra 31O29 12-inch. l.OO 217 (Italian) BALLO IN MASCHERA (Mahss' -kau-rah) (French) f (English) BAL MASQUE MASKED BALL (BaM Mahs-kay') OPERA IN THREE ACTS Text by M. Somma, music by Verdi. First produced in Rome at the Teatro Apollo, February 17, 1859; at Paris, Theatre des Italiens, January 13, 1861. First London production June 15, 1861. First New York production February 11, 1861. Characters RICHARD, Count of Warwick and Governor of Boston Tenor RE1NHART, his secretary Baritone AMELIA, -wife of Reinhart Soprano ULRICA, a negress astrologer Contralto OSCAR, a page Soprano SAMUEL,! r .u /- /Bass TOM, } enemies of the Co""* {Bass Scene and Period : In and near Boston, end of the Seventeenth Century. The opera was composed for the San Carlo, Naples, and first called Gustavo III (after an assassinated Italian monarch), but after the announcement had almost created a riot in Naples, Verdi was forced to change the scene from Stockholm to Boston, and the name to Masked Ball. Finally it -was thought best to abandon the Naples premiere altogether, and the opera was taken to Rome. There are many, of course, who consider this work old- fashioned and so it is, not pretending at all to be a great music drama ; but there are many far more ambitious works with certainly less real music. The familiar Eri tu and Saper Oorreste and the fine concerted numbers in Acts II and III are well worth hearing. The Victor has assembled a very fine collection of the best music in the opera, and presents it with the belief that this revival is the best heard in recent years. Richard, Count of Warwick and Governor of Boston, falls in love with Amelia, the wife of Reinhart, his secretary and intimate friend. This love is returned, but the wife's conscience troubles her, and she consults Ulrica, a black sorceress, hop- ing to secure a drug that will cause her to forget Richard. Ulrica sends her to gather a certain herb which will prove effective. Richard, who had also gone to consult the astrolo- ger, overhears the conversation, and follows Amelia to the magic spot. Amelia 's husband, who has come in search of Richard to warn him of a conspiracy to assassinate him, now appears, and Richard makes his escape, after requesting Reinhart to escort the veiled lady to her home without attempting to learn her identity. On the way, however, they are surrounded by the conspirators and Amelia is revealed. Reinhart swears vengeance on his false friend and joins the plotters. At the Masked Ball, Richard is stabbed by Reinhart, but the dying man declares the innocence of Amelia and forgives his murderer. CARUSO AS RICHARD COPVT DUPOm 218 VICTOR BOOK OF THE OPERA-THE MASKED BALL ACT I SCENE I A Hall in the Governor's House The hall is filled with people officers, deputies, gentlemen, etc. waiting for the appearance of the Governor. He enters, is warmly greeted by those assembled, receives their petitions and inspects a list of the guests invited to the Masked Ball. He sees Amelia 's name, and in an aside sings his rapturous air. La rivedra nell'estasi (I Shall Behold Her) By Nicola Zerola. Tenor (In Italian) 64167 10-inch, $1.OO This, the first of the lovely gems with which the score of Ballo in Maschera is studded, is effectively given by Zerola, whose beautiful voice is shown to great advantage. RICHARD (reading aside) : * Amelia dear, sweet name! Its mere sound fills my heart with joy! Her beauteous, charming image Inspires my soul with love; Here soon shall I behold her In all her tender charms. No matter what the splendor Of night's most brilliant stars, I swear none is so brilliant As my love's dazzling eyes! Reinhart enters and tells the Governor of a plot against his life. Alia vita che t'arride Now Dost Cherish) By Mattia Battistini, Baritone (In Italian) 88232 12-inch, $3. OO In this fine air he enthusiastically praises Richard's noble acts, and tells him his friends and faithful subjects will defeat the plans of the conspirators. A negro woman, Ulrica, is now brought in and accused of being a witch. Richard laughs at the accusation and dismisses the -woman. He calls his courtiers around him, and suggests that for a lark they go disguised to the hut of the sorceress and consult her. The friends agree, and the plotters, headed by Samuel and Tom, see a chance to further their plans. SCENE II The Hut of Ulrica The hut is crowded with people who have come to have their fortunes told. The sorceress stands over her magic cauldron and sings her incantation. Re dell' abisso (King of the Shades) By Carolina Pietracewska. Contralto (In Italian) 76OO5 12-inch, 52.0O She calls on the abyssmal king to appear and aid in her mystic rites. (On the Life Thou ZEROLA AS RICHARD ULRICA (as if inspired) : Hasten, O King of the Abyss! Fly through the ambient air And enter my abode. Three times has been heard screeching, The ominous lapwing. Three times, too, has been hissing The venomous red dragon. And three times have been groaning The spirits from the graves! The Governor now arrives, dressed as a sailor, and accompanied by his companions. They are conversing -with the witch when a knock is heard, and all leave the hut by Ulrica 's orders except Richard, who conceals himself in a corner. Amelia enters and asks the sorceress to give her peace of mind by banishing a love which she cannot control. The witch promises speedy relief if Amelia will gather a certain herb from -which can be brewed a magic liquor. Delia citta all'occaso (Hard by the 'Western Portal) By Ida Giacomelli. Soprano; Lina Mileri, Contralto; Gino Martinez-Patti, Tenor (In Italian) *68143 12-inch, $1.25 * Doable-Face J Record For Kile of opposite iiJe xc DOUBLE-FACED MASKED BALL RECORDS, page 223. 219 VICTOR BOOK OF THE OPERA THE MASKED BALL Amelia asks for directions, and the witch proceeds : ULRICA: Then pause and listen. Go from the city eastward, To where by gloom engirted Fall the pale moonbeams on the field, Accurs'd, abhor'd, deserted, And cull the flowers lowly From those black rocks unholy, Where crimes have dark atonement made With life's departing sigh! The frightened girl consents to go that very night, and takes her departure. Ulrica now admits the people again, and Richard, in the character of the sailor, asks her to tell his for- tune. His inquiry of the prophetess takes the form of a barcarolle the favorite measure of a sea-song and the ballad, vigorous and tuneful, has all the swing of a rollicking song of the sea. Di tu se fidele (The Waves Will Bear Me) By Enrico Caruso, Tenor, and Metropolitan Opera Chorus (In Italian) 87O91 lO-inch, $2.0O By Nicola Zerola, Tenor (In Italian) 64166 10-inch, l.OO This attractive ballad is full of humor, the staccato passages towards the close exhibiting the Governor's impatience to learn the future. In a gay mood he banters the woman, asking her to tell him if he will meet with storms on his next voyage. RICHARD: Declare if the waves will faithfully bear me; If weeping the lov'd one from whom I now tear me, Farewell, to me saying, my love is betraying. With sails rent asunder, with soul in com- motion, I go now to steer thro' the dark waves of ocean, The anger of Heav'n and Hell to defy! Then haste with thy magic, the future exploring. No power have the thunder or angry winds roaring. Or death, or affection my path to deny! This famous Barcarolle has been a favorite -with many great tenors, but no one has ever sung it as Caruso has given it here. Ulrica rebukes him, and examining his palm, tells him he is soon to die by the sword of that friend who shall next shake his hand. The conspirators, Samuel and Tom, are uneasy, thinking GORITZ AS REINHART themselves suspected, but the Governor laughs and asks who will grasp his hand to prove the prophecy false. No one dares to grant his request. Reinhart, who has become anxious about his chief and has come in search of him, now enters, and seeing the Governor, shakes him by the hand, calling him by name, to the astonishment of all those not in the secret. Sir Richard tells the witch she is a false prophet, as this is his most faithful friend. RICHARD: The oracle has lied! That man who grasped my hand Is my most faithful friend! All the people greet the Governor with cheers, and kneeling, sing the hymn : O figlio cTInghilterra (O, Son of Glorious England) By Giuseppina Huguet, Soprano : Ines Salvador, Mezzo-Soprano : Francesco Cigada, Baritone ; Aristodemo Sillich, Bass ; La Scala Chorus (In Italian) *63173 lO-inch, $0.75 This noble concerted number, which closes the first act, is sung in a splendid manner by Huguet, Salvador, Cigada and Sillich of La Scala forces, assisted by the famous chorus of that opera house. ACT II SCENE I A Field near Boston on one side a Gallows Amelia, much frightened by her lonely surroundings, enters in search of the magic herb. She sings her dramatic air, Yonder Plant Enchanted. * Doubk-Faced Record For title ofopt>o,Ue side xe DOUBLE-FACED MASKED BALL RECORDS, page223. 220 VICTOR BOOK OF THE OPERA THE MASKED BALL Ma dall'arido stelo divulsa (Yonder Plant Enchanted) By Celestina Boninsegna. Soprano By Lucia Crestani. Soprano (In Italian) (In Italian) 92OOO *68143 12-inch. $3.OO 12-inch, 1.25 EAMES AS AMELIA Ah ! qual soave brivido Heart) AMELIA: When at last from its stem I shall sever Yonder weed of dread virtue enchanted, From my tempest-torn bosom forever When that image so ethereal shall perish. What remains to thee then, oh, my heart! Ah. tears blind me! The weight of my sorrow Chains my steps on their desolate journey! Heart, have courage; From these rocks their hardness borrow! Come, oh. Death, let thy merciful dart, Still forever my poor throbbing heart! (A distant clock strikes.) Hark! 'tis midnight! Ah. yon vision! Moving, breathing, lo! a figure. All mist-like upward wreathing! Ha! in those orbits baleful anger is seething; Fix'd on me they angrily burn ! Deign, oh. Heaven. Thy strength to impart To this fainting, fear-stricken heart. The vision resolves itself into Richard, -who now approaches. The unhappy girl confesses that she loves him, but begs him to leave her. They sing a fine duet. (Like Dew Thy W^ords Fall on My By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) *68026 12-inch, $1.25 RICHARD: AMELIA: From out the cypress bower. Where I had thought it laid in death, Returns with giant power, the love my heart doth fear! Ah, would by Heaven 'twere granted. To sigh for him my latest breath. Or in death's sleep enchanted rest my weary spirit here! Like dew thy words fall on my heart, Aglow with love's fond passion ! Ah, murmur with compassion those gentle words again ! Bright star that bidst all gloom depart, My hallow'd love enshrining; While thus on me thou'rt shining, Ah, let night forever reign! RICHARD: Amelia! thou lov'st me! AMELIA: I love thee. But thy noble heart will protect me from mine own ! They are interrupted by the appearance of Reinhart, who comes to warn Richard that his enemies are lying in wait to murder him. Richard, unwilling to leave Amelia, is forced to ask Reinhart to escort the veiled lady to the city without seeking to discover her identity. Reinhart swears to obey, and Richard makes his escape. The couple start for Boston, but are surrounded by the conspirators, who take Reinhart to be the Governor. Disappointed in their prey, they tear the veil from the unknown lady and Reinhart is astounded to see that it is his wife. The great finale to Act II now occurs. W se di notte qui con la sposa (Ah ! Here by Moonlight) By Ida Giacomelli, Soprano; Renzo Minolfi, Baritone; Cesare Preve, Bass; Chorus (In Italian) *35179 12-inch. $1.25 Amelia is overcome with shame, but protests her innocence. Reinhart bitterly upbraids her and denounces his false friend Richard, while the conspirators depart, anticipating the sensation which the city will enjoy on the morrow. * Double-FaceJ Record For title ofoDOoiite siJe DOUBLE-FACED MASKED BALL RECORDS, page 223. 221 VICTOR BOOK OF THE OPERA THE MASKED BALL Reinhart, now bent on revenge, decides to cast his lot with the plotters, and the act closes as he says to Amelia with deep meaning : REINHART (alone with Amelia) : I shall fulfill my promise To take thee to the city! AMELIA (aside) : His voice like a death warrant Doth sound in my ear! ACT III SCENE I A Room in Reinhart's House Reinhart is denouncing Amelia for her supposed crime, and finally decides to kill her. She begs to be allowed to embrace her child once more, and her husband consenting, she goes out. Left alone, the unhappy man repents his resolution, and resolves to spare the guilty woman's life. In the greatest of the airs allotted to Reinhart he swears to avenge his wrongs. Eri tu che macchiavi queiranima (Is It Thou ?) By Emilio de Gogorza, Baritone (In Italian) By Mattia Battistini, Baritone (In Italian) By Antonio Scotti, Baritone (In Italian) By Francesco Cigada, Baritone (In Italian) By Giuseppe de Luca, Baritone (In Italian) Samuel and Tom enter and Reinhart tells them he knows of their plots, and will assist them, as he desires the Governor's death. They draw lots, and Reinhart is chosen to be the assassin. Amelia enters in time to realize the state of affairs, and is about to plead for the Governor's life, when Oscar, the page, enters bearing an invitation to the Masked Ball. The page, beginning an effective quartet, tells of the brilliancy of the occasion. Di che fulgor (What Dazzling Light) By Giuseppina Huguet, Soprano ; Francesco Cigada, Baritone : Carlo Ottoboni, Bass ; Maria Grisi, Soprano (In Italian) *62086 lO-inch, $0.75 The varied emotions of the characters are expressed by the librettist as follows : 88324 92O44 85044 *35179 *62086 12-inch, 12-inch, 12-inch, 12-inch, 10-inch, $3.00 3.00 3.00 1.25 .75 SAM MARCO AS REINHART OSCAR: What brilliant lights, what music gay, will fill the joyous dwelling! What crowds of youths and maidens fair their hearts with rapture swelling! AMELIA: And I, myself, ah, hapless me! the fatal scroll so blindly Drew from the vase at his command : Now by his hand the Count must die! REINHART: There 'mid the sounds of music light the coward traitor meetinp, I'll strike the vengeful dagger home and stay his vile heart's beating! SAM AND TOM: Revenge in mask and domino! 'Twill thus be more availing, The conspirators go out after agreeing on the password, " Death ! " SCENE II The Governor's Private Office Richard, alone, resolves to tear the unworthy love from his heart and send Amelia and Reinhart to England. A page brings a note to the Governor from an unknown lady who warns him of the plot, but Richard resolves to brave his enemies and attend the ball. * Double-Faced Record For title of opposite side see DOUBLE-FACED MASKED BALL RECORDS, page 223. 222 Amid the crush of dancers gay there'll be no chance of failing! AMELIA (aside): Can I not prevent this crime Without my husband betraying? OSCAR (to Amelia) : You 'will be queen of the dance. AMELIA (to herself) : Ulrica can perchance assist me. SAM AND TOM (to Reinhart) : What shall be our style of costume? REINHART: A doublet blue, , With crimson scarf Upon the left side fastened! VICTOR BOOK OF THE OPERA THE MASKED BALL SCENE 111 Grand Ballroom in the Governor's House Rcinhart, mingling with the guests, meets the page Oscar, and attemps to learn how the Governor is dressed. The page teases him, singing his gay air, Saper vorresle. Saper vorreste Canzone (You Would be Hearing) By Luisa Tetrazzini, Soprano (In Italian) 88304 12-inch, $3.OO In reply to Reinhart's questions the merry page tauntingly sings: OSCAR: You'd fain be hearing, what dress he's wearing When he has bidden, the fact be hidden? I know right well but may not tell Tra la la la, la la la! Of love my heart feels all the smart, Yet watchful ever, my secret never Rank nor bright eyes shall e'er surprise! Tra la la la, la la la! This gay number is brilliantly sung by Tetrazzini, the high B in the cadenza being taken with ease. The page finally reveals to Reinhart that the Governor is dressed in black, with a red ribbon on his breast. Amelia meets the Governor and warns him against the plotters. He bids her farewell and is about to go, -when Reinhart stabs him. The dying Governor, supported in the arms of his friends, tells Reinhart that his wife is guiltless, and that to remove her from temptation he had planned to send Reinhart to England to fill an honored post. The secretary is overcome with remorse, and Richard dies, after declaring that Reinhart must not be punished. r DOUBLE-FACED MASKED BALL RECORDS f Delia citta all'occaso (Hard by the Western Portal) By Ida Giacomelli, Soprano; Lina Mileri, Contralto; Gino Martinez-Patti, Tenor (In Italian) \68 1 43 12-inch, $1.25 Ma dall'arido stelo divulsa (Yonder Plant Enchanted) By Lucia Crestani, Soprano (In Italian)) e' se di notte qui con la sposa (Ah ! Here By Moon- 1 light) By Ida Giacomelli, Soprano; Renzo Minolfi, Baritone; Cesare Preve, Bass; Chorus fin Italian) [35179 12-inch, 1.25 Eri tu che macchiavi quell* anima (Is it Thou ?) By Francesco Cigada, Baritone (In Italian)) Ah ! qual soave brivido (Like Dew Thy "Words Fall on My Heart) By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) L gO2 6 12-inch 125 Forza del Destine Non imprecare umiliati By Ida Giacomelli, Soprano; Gino Martinez- Palli, Tenor; Cesare Preve, Bass (In Italian) O figlio d'Inghilterra (Oh, Son of Glorious England) By Giuseppina Huguet. Soprano ; Inez Salvador, Mezzo- Soprano ; Francesco Cigada. Baritone ; Aristodemo Sillich, Bass ; La Scala Chorus (In Italian) Emani Ernani intiolami By Maria Grisi, Soprano (In Italian) 63173 lO-inch, .75 IEri tu che macchiavi queiranima (Is it Thou ?) By Giuseppe de Luca, Baritone In Italian) I Di che fulgor (What Dazzling Light) By Giuseppina >62O86 lO-inch, .75 Huguet, Soprano: Francesco Cigada, Baritone; Carlo Ottoboni, Bass; Maria Grisi, Soprano In Italian)) 223 CHI SCENE FROM MEFISTOFELE ACT III (French) MEFISTOFELE (May-feess-toh-feh 1 -lay) (English) MEPHISTOPHELES (Mef-iss-tof -e-leez) OPERA IN FOUR ACTS Text and music by Arrigo Boito ; a paraphrase of both parts of Goethe's " Faust," with additional episodes taken from the treat- ment of the legend by other authorities. The first production at La Scala, Milan, 1 868, -was a failure. Rewritten and given in 1 875 with success. First London pro- duction July 6, 1880. First American production at the Academy of Music, November 24, 1880, -with Campanini, Gary and Novara. Other productions were in 1896, with Calv6, and in 1901 with Mclntyre, Homer and Plancon. Some recent notable revivals: At the Metropolitan, when the opera was brought out for Chaliapine, the cast including Farrar and Martin, and the Boston Opera production of 1910, both noteworthy for their splendid settings. Characters MEFISTOFELE Bass FAUST Tenor MARGARET Soprano MARTHA Contralto WAGNER Tenor HELEN Soprano PANTAUS Contralto NEREUS Tenor Celestial Phalanxes, Mystic Choir, Cherubs, Penitents, Wayfarers, Men- at-arms, Huntsmen, Students, Citi- zens, Populace, Townsmen, Witches, Wizards, Greek Chorus, UDIO ACT i Sirens, Naiads, Dancers, Warriors. 224 VICTOR BOOK OF THE OPERA BOITO'S MEFISTOFELE Arrigo Boito -well deserves a conspicuous place among the great modern composers. His Mefistofele ranks with the masterpieces of modern Italy, and contains scenes of great beauty, notably the Garden Scene, with its lovely music, and the Prison Scene, in which the pathos of the demented Margaret's wanderings, the beautiful duet and the frenzy of the finale are pictured by a master hand. Boito is not only a composer, but a poet of ability and a clever librettist. Notable among his writings are the librettos of Verdi's Otello and Falstaff, which should rather be called dramas set to music, for it is unfair to class them with the old-fashioned Italian librettos. The story of Boito's opera is directly drawn from Goethe's Faust, but the composer has chosen episodes from the whole of Goethe's story, not confining himself to the tale of Gretchen, but including the episode of Helen of Troy. In his Mefistofele Boito has followed the great poet's work more closely than did Gounod's librettist, and the work is a deeper one in many respects. PROLOGUE SCENE The Regions of Space The prologue to Boito's opera is a most impressive scene, which takes place in the indef- inite regions of space. Invisible angels and cherubim, supported by the celestial trumpets, sing in praise of the Ruler of the Universe. Mefistofele is represented hovering between Hell and Earth, denying the power of God. He addresses the Almighty in his Hail, Great Lord! Ave Signer (Hail, Sovereign Lord) By Marcel Journet, Bass (In Italian) 64126 lO-inch, $1.OO The Devil contends that man is but a weakling, easily cheated of his salvation. Standing on a cloud Mefistofele mockingly addresses the Creator : Hail, Sovereign Lord, Forgive me if my bawling Somewhat behind is falling Those sublime anthems sung In heavenly places! Forgive me if my face is Now wanting the radiance That, as with a garland, The cherub legion graces! Forgive me if in speaking, Some risk I'm taking of irrev'rent out- breaking! The puny king of puny earth's dominions, Erreth through wrong opinions And like a cricket, with a long leap rushing, 'Mid stars his nose is pushing, Then with superb fatuity tenacious, Trills with pride contumacious! Vain, glorious atom! Proud 'mid confusion! Phantom of man's delusion! Ah! in such deep degradation Is fallen the master, Lord of the whole creation, No more have I the will, \Yhile in that Station, From the Oitson VMIIion Him to tempt to ill! Copv't 18*0, Oliver Ditsou Co. JOUR.VET AS MEFISTOFELE Then, discussing Faust with the Mystic Chorus, Mefistofele wagers that he can entice the philosopher from the path of virtue. The challenge is accepted, and Mefistofele disappears to begin his plots against the soul of Faust. Journet sings this great number splendidly, and it will be pronounced one of the most striking features of his Victor list. ACT I SCENE I A Square in Frankfort Easier Sunday The aged philosopher, Faust, and his pupil Wagner, while mingling with the crowd, observe a grey Friar who seems to be shadowing their movements. Faust is alarmed and says to Wagner: FAUST: Observe him closely. Tell me, who is he? WAGNER: Some lowly Friar, who begs alms from those he passes. 225 VICTOR BOOK OF THE OPERA BOITO'S MEFISTOFELE FAUST: Look more closely. He moves slowly on in lessening circles; and with each spiral, comes ever nearer and nearer. Oh! as I gaze, I see his footprints marked in fire! WAGNER: No, master, 'tis some idle fancy that thy brain deceives thee; I only see there a poor grey friar. Timidly he ventures to approach us, and we are to him but two passing strangers. FAUST: Now he seems as though he wove nets about our path. His circles grow smaller! He draweth close! Ah! WAGNER (carelessly) : Look calmly. "Tis a grey friar, and not a specter. Muttering his prayers, he tells his beads as he journeys. Come hence, good master. As they leave the square, followed by the Friar, the scene changes to Faust's laboratory. SCENE II The Studio of Faust. It is Night Faust enters, not observing that the Friar slips in behind him, and conceab himself in an alcove. The aged philosopher delivers his soliloquy, Dai campi. Dai campi, dai prati (From the Green Fields) By Alberto Amadi, Tenor (In Italian) *63313 10-inch, $O.75 He speaks of his deep contentment, his love for God and his fellow man. FAUST: From the meadows, from the valleys, which Its love for its God ! lie bathed in moonlight, Ah! From the meadows, from the valleys, And where paths silent sleep, I come return- I come to read the blest Evangels; ing; my soul filled Who delight me, and fill me with holy fire! With calmness, mysterious and deep, (Opens a Bible placed upon a high reading The passions, the heart rudely trying, desk. As he begins to meditate he is In quiet oblivion are lying; startled by a cry from the Friar in the My spirit knows only its love for its fellows; alcove.) The Friar appears, and throwing off his disguise, reveals himself as the Devil, singing a splendid aria, / Am the Spirit. Ballata del fischio, " Son lo spirito" (I Am the Spirit) By Marcel Journet, Bass (In Italian) 74210 12-inch, $1.5O Mefistofele says that he is that great force which forever thinketh ill but doeth well, and then continues : MEFISTOFELE: I'm the spirit that denieth all things, always; On I go, whistling! whistling! Eh! Stars or flowers that by sneers and strife Part am I of that condition, supplieth Of the whole obscurity, Cause to vex the Heavenly powers. Child of darkness and ambition, I'm for Naught and for Creation, Shadows hiding, wait for me. Ruin universal, death! If the light usurps, contending, And my very life and breath, On my rebel scepter's right, Is what here they call transgression, sin and Not prolong'd will be the fight, Death! Over sun and earth is pending, Shouting and laughing out this word I throw: Endless night! "No!" Sland'ring, wasting, howling, hissing, Shouting and laughing, etc. This is sometimes called Ballata del fischio, or Whistling Ballad, because of the peculiar whistles Boito has introduced in the number. Journet delivers this splendid number with admirable declamatory power, bringing out the strange symbolism of the climax in a thrill- ing manner. Mefistofele offers to be Faust's servant if he will accompany him. "What is the price?" asks the philosopher. "Up here I will obey thee," says Mefistofele, "but below our places will be reversed." Faust says he cares nothing for the future, and if Mefistofele can give him but one hour of happiness, for that one hour he would sell his soul. The bargain is made and they set forth. This departure from the laboratory of Faust is strikingly pictured in the great painting of Kreling, a reproduction of which is given on page 224. ACT II SCENE The Garden of Margaret Faust (now a handsome young man known as Henry) is strolling in the garden with Margaret, while Mefistofele, as in Gounod's version, makes sarcastic love to Martha, whom Boito has pictured as Margaret's mother. Faust pleads for a meeting alone with the maiden, but she dares not consent because her mother sleeps lightly. He gives her a sleeping draught, assuring her that it will not harm her mother, but merely cause her to sleep soundly. The four then sing a fine quartet, and the scene suddenly changes to the Brocken. ^Doulle-FaceJ Record For title of opposite siJe see DOUBLE-FACED MEFISTOFELE RECORDS, page 229. NOTE Mefistofele quotations are from the Dilson libretto, by permission. (Copy't 1880, Oliver Ditson Company) 226 VICTOR BOOK OF THE OP E RA B Ol'TO'S MEFISTOFELE FARRAR AND MARTIN IN ACT II SCENE II The Summit of the Bracken The Night of the Witches Sabbath This scene shows a wild spot in the Brocken moun- tains by moonlight. The wind is -whistling in weird gusts. Mefistofele is helping Faust to climb the jagged rocks, from which flames now and then dart forth. Will-o-the-wisps flutter to and fro, and Faust welcomes them, grateful for the light they give. Folletto, folletto (Sprites of Hades) By Gennaro de Tura, Tenor, andGaudio Mansueto, Bass (In Italian) 87O67 10-inch. $2.OO Mefistofele echoes him, ever urging him to climb higher. MEFISTOFELE: * Come up higher, and higher, and higher, Farther yet 'tis more dreary the road That will lead us to Satan's abode, Dark the sky is, the ascent grows steeper; Come up higher, and higher, and higher! FAUST: Ah! wild-fire, pallid light. Now so dim, now so bright, Flash o'er us thy ray To illumine our way, Come nigher, come nigher For dark is the ascent As higher and higher. We're upward advancing, Come flame wildly dancing, Come nigher, and nigher! Arriving at the summit, Mefistofele summons the infernal host demons, witches, wizards, goblins, imps and presides over the satanic orgies as King. All pay him homage and dance in wild- est joy as he breaks into fragments a glass globe, typifying the earth, crying: " On its surface vile races dwell, de- graded, toilsome, quarreling among themselves. They laugh at me, but I can laugh also!" Faust now sees a vision of Margaret, on her way to prison for the murder of her mother and her babe. A red stain on her neck horrifies him, but Mefistofele laughs and says, "Turn away your eyes." The act closes in a riotous orgy, the demons whirling and dancing in a mad revelry. This wild scene is graphically pictured in the painting by Kreling. ACT HI SCENE The Prison of Margaret The demented girl is lying on a straw bed. She rouses herself and sings her sad ballad, L'altra nolle. L'altra notte (Last Night in the Deep Sea) By Geraldine Farrar, Soprano (Italian) 88114 12-inch, $3.0O THE VISION OF MARGARET 227 VICTOR BOOK OF THE OPERA BOITO'S MEFISTOFELE MELBA AS HELEN She raves of the cruel jailors, whom she says threw her babe into the ocean and now accuse her of the crime. MARGARET: To the sea, O night of sadness! They my babe took and in it threw him! Now to drive me on to madness, They declare 'twas I that slew him! Cold the air is, the dark cell narrow, And my spirit broken to-day, Like the timid woodland sparrow, Longs to fly ; ah, to fly off, far, far away, Father, pity me! In a deathly slumber falling, Died my mother, no aid could save her; And to crown the woe appalling, They declare I poison gave her! Mefistofele now enters, followed by Faust, who begs the demon to save Margaret. The fiend reminds Faust that it is his own fault, but promises to try. MEFISTOFELE: To this condition, who has bro't her? I or you? I will do what I can. Here is the cell key. Sleeping are all the jailers, And the coursers infernal for speedy flifht are ready! However, he promises to try, and goes out. Faust goes to Margaret, who does not know him and is frightened, thinking her jailers have come for her. He urges her to fly with him, and they sing a tender duet, Far Away. Lontano, lontano (Away From All Strife) By Giuseppina Huguet, Soprano, and Gennaro de Tura, Tenor (In Italian) 87056 10-inch, $2.OO MARGARET AND FAUST: Away, far from strife and commotion, O'er waves of a wide-spreading ocean, 'Mid perfumes exhaled by the sea, 'Mid palm trees and flow'rs in profusion, The portal of peace and seclusion, The blue isle seems waiting for me. There, skies in their beauty transcendent, Seem girt with a rainbow resplendent, Reflecting the sun's loving smile. The flight of all hearts that are loving, And hopeful and moving and roving, Is turned towards that life-giving island. Away to that island far distant! The return of Mefistofele drives Margaret into a frenzy, and she refuses to leave the prison, finally falling into Faust's arms in her death agony. Her senses returning for a brief period, she forgives him and dies, while a chorus of celestial beings announce that her soul is saved. Faust and Mefistofele dis- appear just as the headsman and jailers come to conduct Margaret to execution. ACT IV The Night of the Classical Sabbath A Moonlit View in the Vale of Tempe We are now transported to distant Greece, where Mefistofele has resurrected MARGARET GOING TO EXECUTION 228 VICTOR BOOK OF THE OP E RA BOITO ' S MEFISTOFELE 0> the beautiful Helen of Troy for the further temptation of Faust. The scene shows an en- chanting spot on the banks of the Peneus, with the moon shedding a golden light upon Helen, Pantalis and groups of Sirens. Helen begins her enchanting ode to the moon, fol- lowed by the trio. Scena della Grecia La luna immobile (Moon Immovable !) By N. Ardoni, Soprano ; Lavin de Casas, Mezzo-Soprano ; Gaetano Pini-Corsi, Tenor (In Italian) 87068 10-inch, $2.OO Faust and Mefistofele enter and the former soon forgets all else in the love of the fair Grecian. Mefistofele, however, feels out of place in this classic neighborhood, and leaving Faust in the arms of Helen, returns to the Brocken, where he amuses himself with his satanic crew. EPILOGUE SCENE Faust's Studio Faust has returned to his studio, again old and feeble and full of remorse for his past life. He has tasted all the pleasures of the earth and found them empty. He sings his famous epilogue : Giunto sul passo (Nearing the End of Life) By Florencio Constantino, Tenor (In Italian) 74084 12-inch, $1.5O By Alberto Amadi (Double-faced See below) (In Italian) 63313 lO-inch, .75 FAUST : Nearing the utmost limit of life's extremest goal, In a vision delightful did wander forth my soul. King of some placid region, unknown to care and striving, I found a faithful people and fain would aid their living. Ah! would then that this fair vision could but be my last dream ! Look you the crowds now come within my observation ! Lo, the crowds turn t'wards cities, Heav'n- ward turn the nation! Holy songs now I hear. Now I bathe in the radiant splendor of Heaven's glorious morning! Ideal bliss upon my soul is already dawning! Mefistofele enters for his final triumph, but Faust turns to the Bible and seeks salvation. Mefistofele, in desperation, summons the Sirens to his aid, but Faust, leaning on the sacred book, prays for forgiveness, and the defeated Mefistofele sinks into the ground. A shower of roses, a token of Faust's salvation, falls on the dying man as the curtain descends. DOUBLE-FACED AND MISCELLANEOUS MEFISTOFELE RECORDS Selection By Pryor's Band 31458 12-inch, $1.0O I Dai cam pi, dai prati (From the Green Fields) By Alberto Amadi. Tenor (In Italian) I , __ _ . ft . , -- Giunto sol passo (Nearing the End of Life) By Alberto Amadi, Tenor (In Italian)} 229 (German) DIE MEISTERSINGER THE MASTERSINGERS (Dee My'-ster-singer) OPERA IN THREE ACTS Both text and music of Die Meistersinger von Niirnberg are by Wagner. The idea of the opera was suggested to the composer in boyhood, as -was Tannhauser, by the reading of one of Hoffmann's novels, and was planned as a kind of burlesque of the Minnesinger con- test in Tannhauser. First production in Munich, June 21, 1868. The first performance in England took place under Richter, at Drury Lane, May 30, 1882; an Italian version was given at Covent Garden, July 13, 1889, and an English produc- tion by the Carl Rosa Company at Manchester, April 16, 1896. In 1 888 it was given for the first time at Bayreuth ; and the first American production took place in New York, January 4, 1 886. won tliknbcrt). . wj.jj.SL'iji^j J2L5y- u ^' . Master-Singers. FIRST PROGRAM OF MEISTER- SINGER, MUNICH, 1868 Characters HANS SACHS, cobbler, ] POGNER, goldsmith, VOGELGESANG, furrier, NACHTIGAL, buckle maker, BECKMESSER, town clerk, KOTHNER, baker, ZORN, pewterer, EISSLJNGER, grocer, MOSER, tailor, ORTEL, soap boiler, SCHWARZ, stocking weaver, FOLZ, coppersmith, SIR WALTER VON STOLZING, a young Fran- conian knight DAVID, apprentice to Hans Sachs. EVA, Pogner's daughter MAGDALENA, Eva's nurse A NIGHT WATCHMAN . . Bass Bass Tenor Bass Bass Tenor Tenor Tenor Bass . Tenor . Tenor . Soprano .Soprano .Bass Burghers of all Guilds, Journeymen, Apprentices, Girls and People. Scene : Nuremberg in the middle of the sixteenth century. To the opera-going public in general Meistersinger is the most entertaining of all the Wagner operas. Its gaiety and tunefulness are charming, and its story easily understood by an audience, which cannot be said of most of the works by the master. The humor is essentially German, an intermingling of play- fulness, satire, practical jokes, and underneath all something of seriousness and even sadness, while the romantic element, provided by the lovers, Eoa and Walter, is not lacking. The opera is a satire on the musical methods of the days of the Reformation, the mediaeval burgher's life in Nuremberg being pictured with a master hand. The loves of Walter and Eoa; the noble philosophy of Sachs, the cobbler-poet; the envy of the ridicu- lous Beckmesser ; and the youthful frolics of David all are surrounded by some of the most glorious music imaginable. The first act opens in St. Catherine's Church at Nuremberg, where Eoa, daughter of the wealthy goldsmith Pogner, and Walter, a 230 OTTO GORITZ AS HANS SACHS VICTOR BOOK OF THE OPERA THE M AS T E R S I N G E RS young knight, meet and fall in love. When Walter learns that Eva's hand has been promised by her father to the winner of the song contest, he resolves to compete, and remains for the examination before the meeting of Master- singers. Bectynesser, who also wishes to marry Eoa, is chosen marker, and under the rigid rules of the order gives Walter so many bad marks that he is rejected in spite of the influ- ence of Hans Sachs in his favor. Act II shows a street, with the houses of Hans Sachs and Pogner on opposite sides. The apprentices, who are putting up the shutters, plague David on his affection for Magdalena, Eva's nurse. Sachs drives them away and sends David to bed, then sits down in his door-way and soliloquizes. Was duftet doch der Flieder (The Scent of Elder Flowers) By Herbert Witherspoon, Bass (In German) 74145 12-inch. $1.5O He cannot forget the song which Walter delivered before the Mastersingers, its beauty haunts him. SACHS: The elder's scent is waxing So mild, so full and strong! Its charm my limbs relaxing: Words unto my lips would throng. What boot such thoughts as I can span I'm but a poor, plain-minded man! When work's despised altogether, Thou, my friend, settest me free; But I'd better stick to my leather And let all this poetry be! (He tries again to work. Leaves off and reflects. ) And yet it haunts me still. I feel, but comprehend ill; Cannot forget it, and yet cannot grasp it; I measure it not, e'en when 1 clasp it. It seemed so old, yet new in its chime, Like songs of birds in sweet May-time: Spring's command And gentle hand His soul with this' did entrust: lie sang because he must! His power rose as needed; That virtue well I heeded. The bird who sang to-day Has got a throat that rightly waxes; Masters may feel dismay, But well content with him Hans Sachs is! Eva learns of Walter s rejection, and is so indignant that she promises to elope with him. The lovers are interrupted and forced to hide by Beckmesser, who comes beneath Eva's window for the double purpose of serenading her and rehearsing the song he is to sing for the prize on the morrow. Hans Sachs, hearing the tinkling of the lute, peeps out, and just as Beckmesser begins to sing Sachs breaks out into a jolly folk song. DAVID AND HANS SACHS SACHS: . Tooral looral! Tiddy fol de rol ! Oho! Tralala! Oho!. When mother Eve from Paradise Was by the Almighty driven. Her naked feet so small and nice, By stones were sorely riven ! 231 VICTOR BOOK OF THE OPERA THE M A STE R S I N G E RS BECKMESSER S SERENADE Beckmesser is greatly annoyed and says Sachs must be drunk. After a long altercation with the cobbler, Becfcmesser finally starts his song, but as Sachs continues to hammer on his shoe at each mistake or wrong accent, Beckmesser gets badly mixed, and delivers himself of this doggerel : BECKMESSER: I see the dawning daylight, With great pleasure I do; For now my heart takes a right Courage both fresh and new. I do not think of dying, Rather of trying A young maiden to win. Oh, wherefore doth the weather Then to-day so excel ? I to all say together 'Tis because a damsel By her loved father, At Ins wish rather, To be wed doth go in. The bold man who Would come and view, May see the maiden there so true, On whom my hopes I firmjy glue, Therefore is the sky so bright blue, As I said to begin. The neighbors now begin to put their heads out the windows and inquire who is bawling there so late. Magdalena opens Eva's window and signals to Beckmesser to go away ; but David, thinking she is waving her hand at the marker, becomes jealous and attacks Beckmesser. The noise brings everyone into the street, and the curtain falls on something resembling a riot. Act III opens in Sachs' workshop. Waller, who had spent the night with Sachs, comes in and tells the cobbler of a wonderful melody which had come to him in a dream. They write it down and leave it on the table. Walter goes out and Beckmesser enters, sees the song, and questions Sachs about it. Sachs makes him believe it is his own and offers to give it to him, having conceived a plan to force the Mastersingers to consent to the appearance of Walter. Beckmesser is overjoyed and runs out to learn the song. Eva enters to get a shoe fitted, and then occurs the great scene in which the famous quintet, one of the finest numbers in the opera, is sung. Quintette Selig wie die Sonne (Brightly as the Sun) By Johanna Gadski, Soprano; Marie Mattfeld, Soprano; Ellison Van House, Tenor; Marcel Journet, Bass; Albert Reiss, Baritone (In German) 952O1 12-inch, $5.OO The young girl, who has just had fully revealed to her the noble character of Hans Sachs, turns to the good shoe- maker, and with a grateful heart sings EVA: Through thee life's treasure I control, Through thee I measure First my soul. And were my choice but free, 'Tis you would please my eyes; My husband you should be, None else should win the prize! Sachs then alludes to the fate of King Mark in Tristan, who married Isolde only to find too late that she loved another, and says : SACHS: To find the man before too late I sought, or else that had been my fate! 232 RENAUD AS BECKMESSER VICTOR BOOK OF THE OPERA THE M ASTE RS I N G E RS He calls in Magdalena and David, who are dressed for the festival, and tells them he wishes them for -witnesses for a christening. All look amazed, and Sachs explains that he wishes to christen Sir Waller's Master Song. As no apprentice can be a witness, Sachs sur- prises Daoid by creating him a journeyman. Eoa then commences the Quintette of Baptism with a short solo, beginning: die llu lacht. brtakt. up - on my for lu In the rapture of her new-found love she sings of the Prize Song: EVA: In this sweet and holy strain Lies a secret hidden ; Stilling all the welcome pain That fills my heart unbidden; MAGDALENA AND DAVID (bewildered): Am I awake or dreaming still? WALTER (tenderly to Eva): Is it still the morning dream? Dare I try to rede its theme? Rut this strain, tho' whispered here, Will greet thine ear loud and clear, 'Mid the Master's guild shall rise, There to win the highest prize! HANS SACHS (with deep emotion): To the maid I fain would sing Of my secret hidden ; But to tell my heart's sweet pain, Now it is forbidden! Mme. Gadski's Eoa is quite familiar to opera- goers and is one of the most delightful of her impersonations. COPYT DUP0 " 1 GADSKI AS EVA Mr. Van Hoose's delivery of Sir Walter's music is a most artistic one, while the part of Sachs is splendidly sung by Journet. Miss Mattfeld, who always makes a pretty, coquettish Magdalena, and Herr Reiss, whose clever and amusing Daoid is perhaps the best of his impersonations, sing the music of these characters most effectively. During the Quintette, the beautiful theme of the Preislied frequently appears. 1SCHER AS SACHS IN FIRST AMERI- CAN PRODUCTION, 1886 SCENE \l-j4 Field on the Shores of the River Pegnitz The scene suddenly changes to an open meadow on the banks of the Pegnitz, -where the contest is to be held. The spectacle is a brilliant one, with gaily decor- ated boats discharging the vari- ous Guilds, -with the wives and families of the members. It is in this scene that the famous March of the Guilds is played. A fine rendition of this number has been given by Sousa's Band. March of the Guilds By Sousa's Band 35O44 12-inch. $1.25 The Mastersingers now arrange their procession and march to take their places on the platform. 233 COPvr DUPOHI HOMER AS MAGDALENA VICTOR BOOK OF THE OPERA THE M AST E R S I N G E RS GORITZ AS BECKMESSER When all are assembled, Sachs rises, and in a noble address states the terms of the contest. SACHS: A Master, noble, rich and wise, Will prove you this with pleasure: His only child, the highest prize With all his wealth and treasure, He offers as inducement strong To him who in the art of song Before the people here As victor shall appear. Ye Masters who compete to-day, To you before all here I say: Bethink you what a prize this is! Let each if he would win it, Be sure a guileless heart is his; Pure love and music in it. This crown's of worth infinite, And ne'er in recent days or olden, By any hand so highly holden, As by this maiden tender: Good fortune may it lend her! Thus Nuremberg gives honor due To Art and all her Masters too. (Great stir among all present. Sachs goes up to Pogner, who presses his hand, deeply moved.) Beckmesser, -who is in an awful state with his efforts to commit Walter's song to memory, wipes his heated brow and begins. He confuses his old melody with the new one, loses his place, mixes his lines, and is forced by the laughter of the people to stop. In a towering rage he accuses Sachs of plotting his defeat, then flings down the song and rushes off. Sachs calmly picks up the scroll and remarks that the song is a very fine one, but that it must be rendered properly. The Mastersingers accuse him of joking, but he declares: SACHS: I tell you, sirs, the work is fine; But it is easy to divine That Beckmesser has sung it wrong. I swear, though you will like the song When someone rehearses The rightful tune and verses. And he who does will thus make known That he composed them, clearly; A Master's name, too, he should own Were he but judged sincerely. I am accused and must defend: A witness let me bid attend! Is there one here who knows I'm right, Let him appear before our sight. (Walter advances amid a general stir.) THE MASTERS: Ah. Sachs! You're very sly indeed! But you may for this once proceed. SACHS: It shows our rules are of excellence rare If now and then exceptions they'll bear. PEOPLE: A noble witness, proud and bold! Methinks he should some good unfold. SACHS: Masters and people all agree To give my witness liberty. Sir Walter von Stplzing, sing the song! You, Masters, see if he goes wrong. The Mastersingers agree that Walter may attempt the air, and he mounts the platform and sings the noble Prize Song. FROM 1* UIO Preislied (Prize Song) By Evan Williams By Mischa Elman, Violinist By Sousa's Band By Victor Sorlin, 'Cellist HANS SACHS AND EVA (In English) 74115 12-inch, $1.50 74186 12-inch. 1.50 *35044 12-inch, 1.25 *35111 12-inch, 1.25 * Double-Faced Record For title of opposite tide xe DOUBLE-FACED MASTERSINGER RECORDS, page 235. 234 VICTOR BOOK OF THE OPERA THE M ASTE RS I N G E RS WALTER (u'ho has ascended to the platform with firm and proud steps) : Morning was gleaming with roseate light, The air was filled With scent distilled Where, beauty-beaming, Past all dreaming, A garden did invite. (The Masters here, absorbed, let fall the scroll they are watching to prove that Walter knows the song; he notices it with- out seeming to do so, and now proceeds in a freer style.) Wherein, beneath a wondrous tree With fruit superbly laden. In blissful love-dream I could see The rare and tender maiden, Whose charms beyond all price, Entranced my heart Eva, in Paradise! THE PEOPLE (softly to one another): That is quite different! Who would surmise That so much in performance lies? WALTER: Evening fell and night closed around; By rugged way My feet did stray Towards a mountain, WINKLEMANN AS WALTER Where a fountain Enslaved me with its sound; And there beneath a laurel tree, With starlight glinting under, In waking vision greeted me A sweet and solemn wonder; She dropped on me the fountain's dews, That woman fair Parnassus's glorious Muse. (With great exaltation): Thrice happy day, To which my poet's trance gave place! That Paradise of which I dreamed, In radiance before my face Glorified lay. To point the path the brooklet streamed: She stood beside me, Who shall my bride be. The fairest sight earth ever gave, My Muse, to whom I bow. So angel sweet and grave. I woo her boldly now, Before the world remaining, By might of music gaining Parnassus and Paradise. PEOPLE (accompanying the close, very softly) : I feej as in a lovely dream, Hearing but grasping not the theme! Give him the prize! MASTERS: Yes, glorious singer! Victor, rise! Your song has won the Master-prize! Several vocal and instrumental renditions of this lovely song are given. Mr. Williams sings it beautifully in the purest of English, -while the instrumental performances by Sousa and Sorlin are most pleasing. Elman gives the arrangement by Wilhelmj of the Preislied, which has often been played in America in fact, as one critic has said, " it has been sawed and scratched almost to annihilation." But Elman recreates it, and plays it with a mar- velous softness and purity of tone which will delight every listener. Eva, who has listened with rapt attention, now advances to the edge of the platform and places on the head of Waller, who kneels on the steps, a wreath of myrtle an,d laurel, then leads him to her father, before whom they both kneel. Pogner extends his hands in benediction over them. Walter and Eva lean against Sachs, one on each side, while Pogner sinks on his knee before him as if in homage. The Mastersingers point to Sachs, with outstretched hands, as to their chief, while the 'prentices clap hands and shout and the people wave hats and kerchiefs in enthusiasm. ALL: Hail Sachs! Hans Sachs! Hail Nuremberg's darling Sachs! (The curtain falls) DOUBLE-FACED AND MISCELLANEOUS MEISTERSINGER RECORDS /Prize Song (Meistersinger March By Sousa's Band) ~* n AA By Sousa's Band/ 35 ' 12-inch, $1.25 /Prize Song Ernani Selection By Victor Sorlin, Cellistl , . . . ,~ , -,- D D D j>35111 12-inch, 1.25 By Pryor 3 Band) 235 (French) (English) MIGNON MIGNON (Me-nyon) (Min'-yon) OPERA IN THREE ACTS Text by Barbier and Carre, based upon Goethe's Wilhelm Meister. Music by Ambroise Thomas. First production at the Opera Comique, Paris, in 1866. In London at Drury Lane, 1870. First New York production November 22, 1872, with Nilsson, Duval and Capoul. Characters of the Drama MlGNON, a young girl stolen by gypsies Mezzo-Soprano FlLJNA, (Fil-ee -nah) an actress Soprano FREDERICK, a young nobleman Contralto WILHELM MEISTER, a student Tenor LAERTES, (Lay-eer -teez) an actor Tenor LOTHARIO, (Low-thah' '-ree-oh) an Italian nobleman Basso Cantante GlARNO, (Gee-ahr -no) a gypsy ' Bass Townsfolk, Peasants, Gypsies, Actors and Actresses. The scene of Acts I and II is laid in Germany ; of Act III in Italy. Overture Part I and Part II By La Scala Orchestra *68O25 12-inch, 11.25 By Pryor's Band 31336 12-inch, 1.00 The overture is full of the grace and delicacy for r-^nw-B^K^^K^~=Km^^^^K^___ which Thomas' music is celebrated, and contains the principal themes, notably Filina's dashing "Polonaise." The Pryor record is a fine example of the perfection at- tained in the playing of this organization. Every detail of the wonderful instrumentation which Thomas has written, and especially the passages for the wood-wind, is clearly brought out. A fine orchestral rendition by the La Scala players, in two parts, is also offered. ACT I SCENE Courtyard of a German Inn Mignon, a daughter of noble parents, was stolen when a child by gypsies, and as the act opens is a girl of seventeen, forced to dance in the public streets by the brutal Giarno, chief of the gypsy band. The first scene shows the courtyard of a German inn, where townspeople and travelers are drinking. After the vigorous opening chorus, sung here by the La Scala forces, Lothario, a wandering minstrel, enters and sings, accompanying himself on his harp. Opening Chorus and Solo, ** Fuggitivo e tremante" (A Lonely 'Wanderer) By Perello de Segurola, Bass, FARRAR AS MIGNON and La Scala Chorus (In Italian) *55O04 12-inch, $1.50 Fuggitivo e tremante (A Lonely Wanderer) By Cesare Preve, Bass (In Italian) *6265O lO-inch, $O.75 The minstrel is in reality Mignon 's father, whose mind was affected by his daughter's abduction, and he wanders about seeking her. LOTHARIO: A lonely wanderer am I! I stray from door to door, As fate doth guide, or as the storm doth hurry me. Far, far I'll roam in search of her! COPV'T DUPONT * Double-Face J Record For title of opposite side see DOUBLE-FACED MIGNON RECORDS, page 241. 236 VICTOR BOOK OF THE OPER A T HOMAS' MIGNON (In French) 88211 (In German) 91O83 (In Italian) *35178 (In French) 64OO5 12-inch, 12-inch, 12-inch, lO-inch, 12-inch, lO-inch, I3.OO 3.OO 3.OO 2.OO 1.25 l.OO Con - nais tu Know - eit thotf. le pa - ys der land oft fleu where the rit Vo ran ger? . . . anfe grows ! The gypsy band appears and Mignon is ordered to dance by Giamo, who threatens her with his stick when she wearily refuses. Wilhelm, a young student, protects her from the gypsy and questions her about her parents. She remembers but little, but tells him of her impression of home in this lovely Connais-tu le pays, full of tender beauty. (French) (English) Connais-tu le pays ? (Knowest Thou the Land?) (German) (Italian) Kennst du das Land ? T>Jon conosci il bel suol ? By Marcella Sembrich, Soprano (In French) 88O98 By Ernestine Schumann-Heink, Contralto (In German) 88O9O By Geraldine Farrar, Soprano By Emmy Destinn, Soprano By Giuseppina Huguet, Soprano By Zelie de Lussan, Soprano (Piano ace.) Six records of this beautiful air, in French, German and Italian, by six famous singers, ranging in price from $1.00 to $3.00, are listed here for a choice. This air is one of the happiest inspirations of the composer. It is said that much of its charm comes from Thomas' intimate study of Scheffer's painting, " Mignon." At any rate he has caught the inner . - sense of Goethe's Andantmo ( J* = ) ji - dolee. poem and has expressed it in exquisite tones. The opening passage : gives us an idea of the melody, one of the most beautiful in the entire range of opera. The pas- sionate longing of the orphan . MIGNON. , , / child for her childhood home is effectively ex- pressed in this superb climax: in which Mignon seems to pour forth her whole heart in a flood of emotion. The words are most beautiful ones. Knowest Thou the Land ? MIC.NON: Knowest thou yonder land where the orange grows, Where the fruit is of gold, and so fair the rose? Where the breeze gently wafts the song of birds, Where the season round is mild as lover's words? Where so calm and so soft, like Heaven's blessing true, Spring eternally reigns, with the skies ever blue? Alas, why afar am I straying, why ever linger here? 'Tis with thee I would fly! 'Tis there! 'Tis there! my heart's love obeying, 'Twere bliss to live and die! 'Tis there my heart's love obeying, I'd live, I would die! ' Wilhelm, full of pity for the helpless girl, offers Giamo a sum of money to release her, and goes into the inn to complete the bargain. Lothario comes to Mignon to bid her farewell, saying he must go south, following the swallows. Then occurs the beautiful "Swallow Duet," one of the gems of the opera. Les hirondelles (Song of the Swallows) By Geraldine Farrar, Soprano; Marcel Journet, (In French) 89O38 12-inch, $4.OO Bass * Double-Faced Record For title of opposite side : ABOTT AS FILINA DOUBLE-FACED MIGNON FIECORDS, page 241 237 VICTOR BOOK OF THE O P E.R A T H O M A S ' MIGNON BY HHS PRIIZ MIGNON AND LOTHAR1 with an appreciative eye. accompany him disguised MIGNON: (accompanying herself on the liarp) : Oh swallows gay and blithe, Ye joy of every land. Unfold your gentle wings, Speed quickly on your way! LOTHARIO: The harp, touched by her gentle hand A melancholy sound mysteriously gives forth. MIGNON: Ye blithe and gentle swallows, Unfold your nimble wings; Quick, hasten to the land Where winter never reigns. Thrice happy bird, thrice happy bird, Who first the wished-for good Right joyously shall reach. The effectiveness of Thomas' exquisite score de- pends very much on the perfection of its rendering; and this is especially true of the first act music the Connais-tu, Lothario's song, and this serene and beauti- ful duet, given so charmingly here. Very little need be said about Miss Farrar's familiar impersonation of Mignon. It is always de- lightful, both to eye and ear. Journet sings the music of Lothario with dignity and beauty of voice; while Farrar's every note is exquisite in its loveliness. Wilhelm is now invited to go to the Castle of Prince Tieffenbach with the troupe of players, headed by the lovely Filina, who has observed the handsome student He hesitates, thinking of Mignon, but she begs to be allowed to as a servant. MIGNON: Stranger! thou didst purchase me Dispose of me, henceforth, e'en as thou wilt. WILHELM: In this very town, to which Fate hath brought thee, There lives an aged relative of mine, Who, to her home, will gladly welcome thee. MIGNON: Must I then part from thee? WILHELM: My child, thou can'st not dwell with me; 111 could I the part perform, Of father! MIGNON: Could I not disguise myself, And as thy servant, travel with thee? WILHELM (taking her hands) : And what couldst thou do then? MIGNON : With love and gratitude, My heart is filled. To follow thee, O master mine, Indeed were happiness to me! WILHELM: Would'st thou anew thy liberty renounce, And be a slave once more? MIGNON (sadly) : Well since my prayers thou wilt not hear, (pointing to Lothario, who approaches) I'll e'en depart with him! LOTHARIO (rushing to Mignon, and encircling her with his arms): Come! my footsteps follow; Through by-paths lone and wild! (Attempts to draw Mignon with him.) Wilhelm finally yields a reluctant consent, not knowing what else to do, and the act ends with the departure of the players. MIGVON ACT II 238 VICTOR BOOK OF THE OPER A T HOMAS* MIGNON ACT II SCENE I A Boudoir in Tieffenbach Castle Act II represents a room in the Prince's castle. Filina is seated in front of her toilet table, musing on the handsome Wilhelm, -who has made a deep impression on her some- what volatile affections. Wilhelm enters -with Mignon, who meets with a cool reception from the gay actress. Wilhelm makes love to Filina while Mignon watches them with a sad heart, as she has learned to love her new master. When left alone, she tries by the aid of Filina's rouge to make her complexion as beautiful as that of the actress who has dazzled her master, and, noting the effect in the glass, sings a gay song with an odd refrain, called by the composer " Styrienne." Styrienne, " Je connais " (I Know a Poor Maiden) By Geraldine Farrar, Soprano (In French) 88152 12-inch, I3.OO Miss Farrar has given us a charming rendition of this Mignon air, -which (next to the the well-known Connais-lu) is the favorite one in the opera. MIGNON:* Well I know a poor young child, I fain would turn away, A sad young child of Bohemia, Hut so improved am seeming, On whose pale sunken cheeks joy ne'er rested, Am I the same, or dreaming? Ah! ah! ah! ah! what a dull story! Ah! Ah! la la I cannot leave the glass, Am I still Mignon? So much improved I'm seeming, No! no! 'tis I no longer! Am I the same, or dreaming? But then! 'tis not she either! Ah: la la. Some other secrets she must have her charms (Looking in the glass) : to heighten. Am I still Mignon? (Opens the door of the dressing room): Can it be Mignon that I see? Is it not there she keeps her gayest dresses? One fine day, the child in play, Yes! alas! were I Filina, would he love me A stratagem boldly trying, as well? To the master's good pleasure applying, What idle folly! (From the Diton score. Ah! ah! ah! what a foolish story! 'Tis a demon now tempts me! Copr'tisso.) Miss Farrar sings this quaint and fascinating " Styrienne" with the child-like gaiety and charm -which belong to it ; and her voice is as pure and true as a flute when she reaches the high D at the end of the air. Mignon now goes into the closet, and after Wilhelm has returned makes her appearance in one of Filina's dresses. He tells her in a beautiful air that he must leave her. Addio, "Mignon (Farewell, Mignon) By M. Regis. Tenor (In French) *45O23 lO-inch, $1.OO By Emilio Perea, Tenor (Piano ace.) (In Italian) *6342O lO-inch, .75 Mignon utters a cry of grief and begins to weep, while Wilhelm tenderly says : WILHELM: Farewell, Mignon, take heart! Thy tears restrain! In the bright years of youth no grief doth linger long. Weep not, Mignon! O'er thee just Heaven will watch with fost*- ring care. Oh, may'st thou thy dear native land 'once more regain! May fortune on thy fate henceforth benignly smile! It pains me much to leave thee: my stricken heart With thy lone destiny will ever sympathize! Farewell, Mignon, take heart ! Then dry thy tears. Mignon refuses money which he offers her, and is about to bid him farewell when Filina enters, and seeing Mignon in one of her own dresses, eyes her -with sarcastic amuse- ment, which puts Mignon into a jealous rage and she rushes into the cabinet, tears off the borrowed finery and puts on her gypsy garments. SCENE 11 The Gardens of the Castle The scene changes to the park of the castle. Mignon, in despair, attempts to throw herself into the lake, but is prevented by Lothario, who consoles her. In a fit of jealousy she * Double-Faced Record For title of opposite ,iJe xe DOUBLE-FACED MIGNON RECORDS. txtge24l. 239 VICTOR BOOK OF THE OPER A T HOMAS' MIGNON wishes that fire would consume the castle in -which Filina had won her master's affections. Lothario is puzzled by this and goes off muttering to himself. The actors and guests now issue from the castle proclaiming the beauty and talent of Filina. In the flush of her triumph she sings the brilliant Polonese or polacca (French Polonaise), one of the most difficult and showy of all soprano airs. Polonese, " lo son Titania" (I'm Fair Titania !) By Luisa Tetrazzini, Soprano (In Italian) 88296 12-inch, $3.OO By Giuseppina Huguet, Soprano (In Italian) *35178 12-inch, 1.25 By Mile. Korsoff, Soprano (In French) *45OO6 lO-inch, l.OO The Victor is able to offer three fine renditions of this popular number, headed by the superb Tetrazzini record, one of the most perfect in her list. Mile. Korsoff, of the Opera Comique, sings the air in French with much brilliancy, while an Italian record is furnished by that gifted Spanish prima donna, Mme. Huguet. lo son Titania (Behold Titania!) CHORUS: She is truly divine, Filina! At her feet we lay our hearts and our flowers! What charms, what beauties are hers! Ah! what success! Bravo! Honor to Titania! FILINA: Yes; for to-night I am queen of the fairies! Observe ye here, my sceptre bright, (Raising the U'and which she holds in her hand.) And behold my num'rous trophies! (Pointing to the wreath which has been pre- sented to her.) I'm fair Titania, glad and gay. Thro' the world unfetter'd I blithely stray. With jocund heart and happy mien, I cheerily dance the hours away, Like the bird that freely wings its flight. Fairies dance around me, Elfin sprites on nimble toe around me gaily dance. For I'm fair Titania! Both night and day. My attendants ever sing, The achievements of the god of Love! On the wave's white foam, 'Mid the twilight grey, 'mid hedges, "mid flowers, I blithely do dance! Behold Titania, glad and gay! Wilhelm now sees Mignon and is about to speak to her when Filina interposes and asks her to go to the castle on some errand. The young girl, glad to escape meeting Wilhelm, obeys, but has no sooner gone than the castle is discovered to be in flames, the half-witted Lothario having set fire to it after having heard Mignon' s jealous wish. Wilhelm rushes into the burning castle and soon reappears with the unconscious form of Mignon, while the curtain falls on a magnificent tableau. ACT III SCENE Count Lothario's Castle in Italy This act takes place in the castle of Lothario, to which the old man has instinctively re- turned with Mignon, followed by Wilhelm, who now realizes that he loves his youthful ward. The young girl is recovering from a dangerous illness, and as Lothario watches outside her sick room, he sings a beautiful lullaby or berceuse, Berceuse (Lullaby) (Ninna nanna) By Pol Plancon, Bass (In Italian) 85126 12-inch, $3.OO By Gaudio Mansueto, Bass (In Italian) *550O4 12-inch, 1.5O By Cesare Preve, Bass (In Italian) *6265O lO-inch, .75 LOTHARIO: I've soothed the throbbing of her aching he. By day and night some heav'nly spirit And to her lips the smile I have restored. The maiden doth protect; Her weary eyes at last have closed On wings celestial, it doth hover round In gentle slumber; Protecting her from harm! * Double-FaceJ Record For tith of opposite siJe see DOUBLE-FACED MIGNON RECORDS, page 241. 240 VICTOR BOOK OF THE OPER A T HOMAS' MIGNON Wilhelm takes Lothario's place as watcher, and tells of his new-found affection in this beautiful air, given here by M. Regis, of the Paris Optra Comique. Elle ne croyait pas (Pure as a Flower) By M. Regis, Tenor (In French) *45023 10-inch, 11.00 WILHELM: In soothing yon poor, hapless maiden And thus pervert the peaceful current At last I have discovered her secret; Of her peaceful life. From her sweet lips my name escaped! Oh balmy April, Ah! little thought the maid, Who to the wither'd flowers restoreth their In innocence arrayed, colors, What she in her breast had nurtured, Kiss her fair cheek, Would ardent love become, And a grateful sigh of love cause to escape ! Mignon now comes with feeble step on the balcony, and seeing Wilhelm, is much agi- tated. He endeavors to soothe her, but she insists that only Lothario loves her. Lothario now enters, and announces that he is the Count Lothario, having been restored to his right mind by the familiar scenes of his ancestral home. He shows them the jewels and prayer book of his lost daughter, and tells them her name was Sperata. Mignon starts at the name and murmurs : Ah, that sweet name to my ear is familiar, A memory of my childhood It may be, that's gone forever! She then begins to read from the book a little prayer, but soon drops the book and continues from memory, her hands clasped and her eyes raised to Heaven. Lothario is much agitated and when she has finished, recognizes her as his lost daughter. Father and daughter are reunited, while a blessing is bestowed on the young people by the happy Lothario. DOUBLE-FACED AND MISCELLANEOUS MIGNON RECORDS 55004 12-inch, $1.50 Opening Chorus and Solo, " Fuggitivo e tremante " By Andrea Perello de Segurola. Bass, and La Scala Chorus Ninna nanna By Gaudio Mansueto, Bass Preludio, Parte 2a (Overture, Parte 2) 1 By La Scala Orchestra !,,- . _ . , , _, r -> i i n i //-\ n |boO25 12-incn, 1.25 Preludio, Parte la (Overture, Parte 1) By La Scala Orchestra] Polonese lo Son Titania ! (I'm Fair Titania!) 1 By Giuseppina Huguet, Soprano (In Italian) 1 3 5 178 12-inch 125 Non conosci il bel suol ? (Dost Thou Know That Fair Land?) By Giuseppina Huguet, Soprano (In Italian)} Polonaise lo Son Titania ! 1 By Mile Korsoff, Soprano (/ Frenc/,) 45OO6 io-inch, l.OO Lalfme r'ourquoi dans les grands hois By Alice Verlet, Soprano (In French)) Adieu, Mignon, Courage (Farewell, Mignon) By M. Regis, Tenor (In French)[ A , M ~ , n * inn en .^ /T> nt 45O23 lO-inch, l.OO tile ne croyait pas (Pure as a Flower) By M. Regis. Tenor (In French)] JFuggitivo e tremante By Cesare Preve, Bas S | 6265o \Ninna nanna By Cesare Preve, Bassj /Gavotte By Victor String Quartet\ .,_ in . , _- < mr C | .. , D . .v D D > D j(-lo323 lO-inch, .75 I l\orma Selection (Dellini) tfy rryor s tfand) f Addio, Mignon (Farewell. Mignon) By Emilio Perea, Tenor (In Italian) ^63420 lO-inch, .75 { Stelle d'Oro Romanza By Siloano Isalberti, Tenor (In Italian)} 241 NORMA (No/-mah) OPERA IN TWO ACTS Book by Felice Romani, founded on an old French story. Score by Vincenzo Bellini. First production December 26, 1831, at Milan. First London production at King's Theatre, in Italian, June 20, 1833. In English at Drury Lane, June 24, 1837. First Paris production December 8, 1835. First New York production February 25, 1841. Characters NORMA, High Priestess of the Temple of Esus Soprano ADALGISA, a Virgin of the Temple Soprano CLOTILDE, attendant on Norma Soprano POLLJONE, a Roman proconsul commanding the legions of Gaul Tenor FLAVIO, his lieutenant Tenor OROVESO, the Arch-Druid, father of Norma Bass Ministering and Attendant Priests and Officers of the Temple, Gallic Warriors, Priestesses and Virgins of the Temple, two children of Norma and Pollione Scene and Period : The scene is laid in Gaul, shortly after the Roman conquest Norma, although an opera of the old school and seldom performed nowadays, contains some of the loveliest of the writings of Bellini. Its beauties are of the old-fashioned kind which our forefathers delighted in, and which are an occasional welcome relief from the abundance of "music dramas" with which we are surrounded of late. Especially charm- ing is the spirited overture, always a favorite on band programs. Overture By Arthur Pryor's Band *35166 12-inch, $1.25 By Victor Band * 35029 12-inch, 1.25 The briskness and sparkle of this fine overture and its inspiring climax are well pre- served in Mr. Pryor's vigorous rendering, and in the splendidly played Victor Band record, made under Mr. Rogers' direction. The scene is laid among the Druids at the time of the Roman invasion. Norma, the High Priestess, though sworn to bring about the expulsion of Rome, is secretly married to a Roman proconsul, Pollione, by whom she has two children. She rebukes the Druids for wishing to declare war, and after the ceremony of cutting the mistletoe, she invokes peace from the moon in the exquisite prayer, Casta Diva. Casta Diva (Queen of Heaven) By Marcella Sembrich, Soprano (In Italian) 88104 12-inch, $3.OO By Celestina Boninsegna, Soprano (In Italian) 92O25 12-inch, 3.00 By Giuseppina Huguet, Soprano (In Italian) * 16539 10-inch, .75 This lovely air still holds a high place in popular favor, its beauty and tenderness mak- ing it \vell worthy of a place among modern airs. As evidence of the great popularity of this number, three famous prima donnas have selected it for their Victor lists. NORMA: Queen of Heaven, while thou art reigning Queen of Heaven, hallow'd by thy presence, Love upon us is still remaining. Let its holier, sweeter essence, Clad in pureness, alone disdaining Quelling ev'ry lawless license, Grosser earth's nocturnal veil. As above, so here prevail! In the next scene Norma discovers that her husband loves Adalgisa, and in her rage she contemplates killing her children; but her mother's heart conquers, and she resolves to * Doubk-Faced Record For title of opposite side see next page. 242 VICTOR BOOK OF THE O P E R A B E LLIN I 'S NORMA yield her husband and children to Adalgisa and expiate her offences on the funeral pyre. Adalgisa pleads with her, urging her to abandon her purpose, and offers to send Pollione back to her. This scene is expressed in the exquisite Hear Me, Norma, familiar to every music-lover. Mir a o Norma (Hear Me, Norma) By Ida Giacomelli, Soprano, and Lina Mileri. Contralto (In Italian) *621O1 lO-inch, $0.75 By Arthur Pryor's Band * 16323 lO-inch. .75 The lovely strains of this melodious number have delighted countless hearers in the eighty years since it was written. ADALGISA: Dearest Norma, before thee kneeling, View these darlings, thy precious treasures; Let that sunbeam, a mother's feeling. Break the night around thy soul. NORMA : Wouldst win that soul, by this entreating Back to earth's delusive pleasures, From the phantoms, far more fleeting, Which in death's deep ocean shoal? Pollione refuses to return to Norma and attempts to seize AJalgisa against her will. Norma foils this attempt and reasons with him, telling him he must give up his guilty love or die. This is expressed in a dramatic duet. mia mano (In My Grasp) By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) * 683O9 12-incn, $1.25 Pollione still refuses, and Nornia strikes the sacred shield to summon the Druids. She declares war on Rome and denounces Pollione, but offers to save his life if he will leave the country. He refuses, and she is about to put him to death, when love overcomes justice and the Priestess denounces herself to save Pollione. Norma's noble sacrifice causes his love to return and they ascend the funeral pyre together. As the flames mount about them they are declared purified of all sin. CRISI AS NORMA In DOUBLE-FACED AND MISCELLANEOUS NORMA RECORDS 12-inch, $1.25 12-inch, /Overture By Arthur Pryor's Band! ^ Oberon Overture (Weber) By Arthur Pryor's Band) {Overture By Victor Bai Huguenots Selection By Victor Band In mia mano alfin tu sei (In My Grasp) By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) Faoorita Fia oero lasciarti (Shall I Leave Thee ?) By Clotilde Esposito, Soprano, and Gino Martinez-Patti, Tenor (In Italian) JNorma Selection (Hear Me, Norma!) By Pryor's Band\ lfe323 in-'nch I Mignon Gavotte By Victor String Quartetf ICasta Diva (Queen of Heaven) By Giuseppina Huguet, Soprano (In Italian) | 16539 lo-inch, Lucia Regnava nel silenzio (Silence O'er All) By Giuseppina Huguet, Soprano (In Italian)) iMira o Norma (Hear Me, Norma) By Ida Giacomelli, Soprano, and Lina Mileri, Contralto (In Italian) [-621O1 lO-inch, I Carmen Preludio, 'Act IV By La Scala Orchestra) * Double-Faced Record For title of opposite tide see above liil. 243 1.25 75 .75 ELYSIUM ACT II (Italian) ORFEO ED EURIDICE (Or'-fee-oh ay U -ree-dee' -chee) ORPHEUS AND EURYDICE (Or 1 -fee-us and U-ri -dee' -chee) OPERA IN FOUR ACTS Book by Ramieri De Calzabigi ; music by Christoph Willibald von Gluck. First pro- duction in Vienna, October 5, 1 762. First Paris production, 1 764. First London production at Covent Garden, June 26, 1860. Other revivals were during the Winter Garden season of 1863; in 1885 (in German), by the Metropolitan Opera under Walter Damrosch ; the English production in 1886 by the National Opera Company, and the Abbey revival in Italian in 1 892 ; and the Metropolitan production of 1910, with Homer, Gadski and Gluck. Cast ORPHEUS Contralto EURIDICE Soprano LOVE Soprano A HAPPY SHADE Soprano Shepherds and Shepherdesses, Furies and Demons, Heroes and Heroines in Hades. This opera, which has been called " Gluck* s incomparable masterpiece," and of which the great Fetis wrote, "it is one of the most beautiful productions of genius," may be properly termed a purely classical music drama. The music is exquisite in its delicacy and 244 VICTOR BOOK OF THE OPERA ORPHEUS AND EURYDICE HOMER AND GADSKI AS ORPHEUS AND EURYDICE grace, while the story is an interesting and affect- ing one. Orpheus may be called the grandfather of grand opera, it being the oldest work of its kind to hold its place on the stage, the first repre- sentation occurring one hundred and fifty years ago. The opera has had only one adequate Ameri- can production previous to the Metropolitan revival, and that was during the American Opera Company season of 1886 the Abbey revival of 1892 meeting with but indifferent success. Such has been the interest aroused by the recent per- formances, that it is likely to be heard quite frequently in the future. The story concerns the Greek poet Orpheus, who grieves deeply over the death of his wife Euridice, and finally declares he will enter the realms of Pluto and search for her among the spirits of the departed.. The goddess Love appears and promises to aid him, on condition that when he has found Euridice he will return to earth without once looking back. Orpheus journeys to the Gates of Erebus, and so softens the hearts of the Demon guards by his grief and his exquisite playing of his lyre, that he is permitted to enter. He finds Euridice, and without looking at her, takes her by the hand and bids her follow him. She obeys, but failing to understand his averted gaze, upbraids him for his apparent coldness and asks that he shall look at her. Su e con me vieni cara (On My Faith Relying) By Johanna Gadski, Soprano; Louise Homer, Contralto (In Italian) 89O41 12-inch, $4.0O Orpheus, knowing that to cast a single look at his loved one means death to her, keeps his face averted. The dialogue portrays the emotions of the characters, while Gluck's music suggests the present perplexity and the tragedy which is to follow. Unable to endure longer the reproaches of his wife, he clasps her in his arms, only to see her sink down lifeless. Ach, Ich habe sie verloren (I Have Lost My Eurydice) By Ernestine Sehumann-Heink, Contralto (In German) 88091 12-inch. $3.0O JTai perdu mon Euridice (I Have Lost My Eurydice) By Jeanne Gerville-Reache. Contralto (In French) 88198 12-inch, 3.0O Che faro senza Euridice (I Have Lost My Eurydice) By Louise Homer, Contralto (In Italian) 88285 12-inch, 3.00 HOMER AS ORPHEUS "Malheureux! qu'ai-je fait? Et Jans quel precipice m'a plongi? mon funesle amour!" ("Wretched one, what have I done! Into what gulf has my fatal love cast me?") cries the hapless youth, and 'breaks into his pathetic lamentation, the beauty and pathos of which have never been questioned. 245 COPr'T DUPOMt VICTOR BOOK OF THE OPERA ORPHEUS AND EURYDICE THE GATES OF HELL ACT IV 'I have lost my Eurydice It is your faithful husband. My misfortune is without its like. Hear my voice, which calls you. Cruel fate! I shall die of my sorrow. Silence of death! vain hope! Eurydice, Eurydice, answer me! What suffering, what torment, wrings my heart!" Of the many beautiful numbers in Gluck's drama this lovely aria of mourning, (best known by the Italian title Che faro senza Euridice) is the most familiar. No fewer than three renditions, in German, French and Italian, by three famous exponents of the part of Orpheus, are offered for the choice of opera lovers. The grief -stricken poet is about to take his own life when the goddess again appears and arrests his arm. LOVE: Hold, Orpheus! Eurydice! revive! ORPHEUS (despairingly): To embrace the fond youth What would you with me? Who dared so much for thee! LOVE: ORPHEUS: Thine anguish well doth prove My Eurydice! Thy constancy and truth. EURYDICE (reviving) : 'Tis time that the trial be ended! My Orpheus! (They embrace.) (Curtain) EURYDICK RESTORED TO ORPHEUS ACT 111 246 OTELLO AND DESDEMONA i Italian) (English) OTELLO OTHELLO (Oh-tef-lota) (Oth-thef-loui) OPERA IN FOUR ACTS Text by Arrigo Boito after the drama of Shakespeare. Music by Giuseppe Verdi. First production February 5, 1887, at La Scala, Milan. First London production May 18, 1889. First American production April 16, 1888, with Campanini as Otello. Some notable revivals occurred in 1894, -with Tamagno and Maurel; in 1902, with Eames, Alvarez and Scotti; and in 1908 at the Manhattan, with Melba, Zenatello and Sammarco. Characters OTELLO, a Moor, general in the Venetian army Tenor lAGO, (Ee-ah'-go) his ensign Baritone CASSIO, (Cau'-ee-oh) his lieutenant Tenor RODERIGO, (Roh-Jer-fe -go) a Venetian gentleman Tenor LODOVICO, ambassador of the Venetian Republic Bass MONTANO, predecessor of Othello in the government of Cyprus Bass A HERALD Bass DESDEMONA. wife of Othello Soprano EMILIA, (Ay-mee -lee-ah) wife of lago Mezzo-Soprano Soldiers and Sailors of the Republic ; Venetian Ladies and Gentlemen ; Cypriot Men, Women and Children ; Greek, Dalmatian and Albanian Soldiers; an Innkeeper. Scene and Period : End of the fifteenth century ; a seaport in Cyprus. VICTOR BOOK OF THE O P E R A V E R D I ' S OTELLO VERDI AND MAUREL AT FIRST PERFORMANCE OF OTELLO After having given the' world his splendid Aida, Verdi rested on his laurels and was silent for sixteen years ; then, at the age of seventy-four, he suddenly astonished the world with his magnificent Otello, a masterly music- drama which alone would suffice to make him famous. The change from the Verdi of 1853 and II Trovatore, to the Verdi of 1887 and Otello, is amazing. Each opera produced by him shows a steady advance, until something approximating perfection is reached in Otello, the writing of \vhich was an astonishing feat for a man of nearly eighty years of age. The text, by that accomplished scholar and master librettist, Boito, follows closely the tragedy of Shakespeare. ACT I SCENE Otello 's Castle in Cyprus. A Storm is Raging and the Jlngry Sea is visible in the Background Venetians, soldiers, including logo, Roderigo and Cassio, are awaiting the return of Otello. His vessel arrives safely, and amid much rejoicing the Moor announces that the -war is over, the enemy's ships having all been sunk. He goes into the castle, and logo and Roderigo plan the conspiracy against Cassio and Otello, by which Roderigo hopes to secure Desdemona for himself and logo to be revenged on Otello. They join the soldiers and try to induce Cassio to drink. He refuses, but when logo toasts Desdemona, he is compelled to join. logo sings the rousing Brindisi : Brindisi Inaffia 1'ugola (Drinking Song Let Me the Cannajdn Clink) By Pasquale Amato, Baritone, and Chorus (In Italian) 88338 12-inch, $3.00 By Antonio Scotti, Baritone (In Italian) 88082 12-inch, 3.00 By Antonio Scotti, Baritone (Piano ace.) (In Italian) 8704O 10-inch, 2.00 during which he continues to fill Cassia's glass. When the latter is quite drunk they pick a quarrel with him, and he draws his sword, wounding Montana, while logo and Cassio rouse a cry of "riot," which brings Otello from the castle. He disgraces Cassio and orders all to disperse, remaining alone with Desdemona for a long love scene. Part of this scene has been recorded here by Mme. Lotti and M. Conti, of Milan. The cur- tain falls as husband and wife go slowly into the castle. Quando narravi (When Thou Speakest) By F. Lotti, Soprano ; F. Conti, Tenor (In Italian) *55O23 12-inch, $1.5O SLEZAK AS OTELLO ACT II SCENE A Room in the Castle The crafty logo is advising Cassio how to regain the favor of Otello, telling him that he must induce Desdemona to intercede for him. Cassio eagerly goes in search of Desdemona, while logo gazes after him, satisfied with the progress of his schemes, and then sings the superb Credo. t * Double-Face J Record For title of opposite side see DOUBLE-FACED OTELLO RECORDS, page 251. 248 * VICTOR BOOK OF THE O P E R A - V E RD I ' S OTELLO Credo (Otello' s Creed) By Antonio Scotti. Baritone (In Italian) 88O3O 12-inch, $3. OO By Pasquale Amato, Baritone (In Italian) 88328 12-inch, 3.00 By Ernesto Badini, Baritone (In Italian) *55O23 12-inch, 1.5O This is a free adaptation of logo's last speech with Cassia in Shakespeare, Act 11. In his setting Verdi has expressed fully the character of the perfidious logo: cynical, vain, weak and subtle. He declares that he was fashioned by a cruel God who intended him for evil, and that he cares naught for the consequences, as after death there is nothing. Scotti's singing of this number is a most impressive one; while the wonderful rendition by Amato will be pronounced one of the most striking in his list. logo sees Desdemona approach and Cassia greet her, and as soon as the young officer is earnestly pleading with her to intercede for him, logo runs in search of Otello, and sows the first seeds of jealousy in the heart of the Moor, bidding him watch his wife well. Otello, much troubled, seeks DesJemona and questions her. She begins to intercede for Cassia, but the Moor repulses her, and -when she would wipe his perspiring brow, roughly throws down the handker- chief, which is picked up by logo. Left alone with logo, Otello gives way to despair, and expresses his feelings in the bitter Ora e per sempre. Ora e per sempre addio (And Now, Forever Farewell) By Francesco Tamagno, Tenor (In Italian) 95OO3 lO-inch, $5.OO By Enrico Caruso 87071 lO-inch, 2.OO By Nicola Zerola 64168 lO-inch, l.OO Now finally convinced that Desdemona is deceiving him, he bids farewell to peace of mind, ambition and the glory of conquest. Caruso delivers the number magnificently, being especially effective in the closing passage. Other renditions are the famous one by Tamagno, and a popular-priced record by Zerola. logo further says that he has seen Desdemona' 's handkerchief in Cassia 's room, at which news Otello is beside himself with rage. The act closes with the great scene in which logo offers to help Otello secure his revenge, and they swear an awful oath never to pause until the guilty shall be punished. ACT III SCENE The Great Hall of the Castle Otello now seeks Desdemona and contrives an excuse to borrow her handkerchief. She offers it, but he says it is not the one, and asks for the one he had given her, with a peculiar pattern. She says it is in her room and offers to bring it, but he at once de- nounces her, and sends her away astonished and grieved at the sudden jealousy which she cannot understand. He re- mains looking after her in the deepest dejection, then sings his sorrowful soliloquy, Dio mi polevi. Dio mi potevi scagliare (Had it Pleased Heaven) By Antonio Paoli, Tenor (In Italian) 8824O 12-inch, $3.0O By Carlo Barrera, Tenor ALDA AS DESDEMONA (In Italian) *55OO9 12-inch, 1.50 AMATO AS IAGO *Doulle.Faced Record For title of opposite side xe DOUBLE-FACED OTELLO RECORDS, page 25 1 . 249 VICTOR BOOK OF THE O P E R A V E R D I 'S OTELLO " Had Heaven seen fit to send me sorrow, shame, poverty," he says, " I could have endured it -with patience, but this blow is too much to bear." logo now tells Otello how he had slept in Cassia's room lately and had heard Cassio talking in his sleep, bemoaning the fate which had robbed him of Desdemona and given her to the Moor. This dream is related in a highly dramatic air : Era la notte (Cassio's Dream) By Mario Ancona, Baritone (In Italian) 87015 10-inch, $2.00 Cassio enters, and logo, bidding Otello watch behind a pillar, goes to the young officer, and with fiendish ingenuity induces him to talk of his sweetheart Bianco. Otello, listening, thinks that it is of Desdemona that Cassio speaks. Cassio produces the fatal handkerchief, telling logo he had found it in his room, and wondering to whom it can belong. Otello, seeing the handkerchief and not hearing the conversation, has no further doubt of Desdemona 's guilt, and when Cassio departs he asks logo how best can he murder them both. The villain suggests that Desdemona be strangled in her bed, and says he will himself kill Cassio. In a highly dramatic duet, given here by Barrera and Badini, they swear a solemn oath of vengeance. Ah! mille vite (A Thousand Lives!) By Carlo Barrera, Tenor ; E. Badini, Baritone (Inltalian) *55009 12-inch $1.50 Messengers now arrive from the Senate bearing orders for Otello, who has been re- called to Venice, and Cassio appointed Governor of Cyprus in his stead. He announces his departure on the morrow, and then unable to control his rage and jealousy he publicly insults Desdemona and flings her to the ground. As she is being led away by her maids he falls in a fit. The people, considering the sum- mons to Venice an additional honor for the Moor, rush in, shouting "Hail to Otello," when logo, pointing with fiendish triumph to the pros- trate body, .cries, "Behold SCOTTI, WICKHAM, ALDA AND SLEZAK IN OTELLO yOUT LlOtt of VCniCC ! ACT IV SCENE Desdemona 's Bedroom The heartbroken Desdemona is preparing to retire, assisted by her maid, Emilia. She tells Emilia that an old song of her childhood keeps coming into her mind. Then she sings the sad and beautiful Willow Song. Salce, salce fWillow Song) By "Nellie Melba. Soprano (Inltalian) 88148 12-inch, $3.OO By Frances Alda, Soprano (Inltalian) 88214 12-inch, 3.OO This plaintive song seems like the lamentation of a broken heart, its last words being prophetic of the coming tragedy. The faithful Emilia leaves her, and she kneels before the image of the Madonna and sings the noble Aoe, one of the most inspired portions of the wonderful fourth act, in which Verdi has risen to his greatest height. Ave Maria (Hail, Mary) By Nellie Melba, Soprano (Inltalian) 88149 12-inch, $3.OO By Frances Alda. Soprano (Inltalian) 88213 12-inch, 3.OO *Doulk-Faced Record For title of opposite side see DOUBLE-FACED OTELLO RECORDS, page 25 1 250 VICTOR BOOK OF THE O P E R A V E R D I 'S OTELLO This prayer occurs in the last act of the opera, and is sung by Desdemona as she retires to the couch from -which she is fated never to rise. The "Ave Maria" is introduced by a characteristic monotone for the voice, accompanied by some organ-like harmonies -which steal in -with exquisite effect from the strings of the orchestra. The portrayal of the mingled apprehension and resignation of Desdemona in this scene through the medium of the voice is -worthy to rank with Melba's most celebrated operatic creations her Marguerita her Juliet her Mimi. The purity and youthfulness of the feeling imparted, apart from the freshness and delicate perfection of the tones themselves, is amaz- ing, filling the mind -with -wonder at the perpetual miracle of Melba's perfect art. Mme. Alda, -whose Desdemona has been one of the finest of her impersonations at the Metropoli- tan, sings the number beautifully. At the close of the air Desdemona remains kneeling and prays in broken accents, her voice being almost inaudible. And now -we come to the most dramatic scene of the opera, one in -which the nerves of the spectators are strained to the breaking point. Oiello enters and rushes toward the bed, but stops and gazes at his sleeping wife a long time, then approaches and kisses her. She -wakes and speaks his name. He accuses her again of an in- trigue with Cassio, but she swears that it is false and that the handkerchief was not given by her to Cassio. He disregards her cries for mercy and ' strangles her. Emilia knocks at the door and is admitted by Otello, who is in a kind of daze, not realiz- ing -what he has done. Seeing Desdemona lifeless, she accuses him of the crime and calls loudly for help. All rush in and Emilia, seeing logo, denounces him as the "" THE MURDER OF DESDEMONA (ALDA AND SLEZAK) ^ty* ?* the plot, and tells Otello that Desdemona was innocent. The Moor is torn with remorse, and tenderly gazing on his dead wife, sings the passage with which his last air begins. Morte d'Otello (Death of Otello) By Francesco Tamagno. Tenor (In Italian) 95OO2 lO-inch. $5.OO By Nicola Zerola, Tenor (In Italian) 74217 12-inch. 1.5O He then draws a dagger and stabs himself, and -with a final effort to embrace the Desdemona he has so cruelly -wronged, he dies. DOUBLE-FACED AND MISCELLANEOUS OTELLO RECORDS Dio mi potevi scagliare (Had It Pleased Heaven) By Carlo Barrera, Tenor (In Italian) 55009 12-inch. $1.5O Giuramento Ah ! mille vite (A Thousand Lives) By Carlo Barrera, Tenor ; Ernesto Badini, Baritone (In Italian) Quando narravi ("When Thou Speak est ] By F. Lotti. Soprano: F. Conti. Tenor (Inltalian) I55O23 12-inch. 1.5O Credo (Otello's Creed) By Ernesto Badini. Baritone (In Italian)] 251 (Italian) (English) I PAGLIACCI (Ee Pahl-yat '-chee) THE PLAYERS Drama in Two Acts. Words and Music by R. Leoncavallo The English version quoted from is by Henry Grafton Chapman Quotations from text and music (except the Prologue) by kind permission of G. Schirmer. (Copy't 1906) Ruggiero Leoncavallo was born at Naples, .^^^^^ March 8, 1858, and was the son of a magistrate, the Chevalier Vincont, president of the tribunal of Potenza. His mother was a daughter of the celebrated artist, Raffaele d'Auria, famous for his decorations in the royal palace at Naples. He took up the pianoforte at an early age with Simonetti, a well-known teacher of Naples, and entered the Neapolitan Conservatoire, where he studied under Cesi, Ruta and Rossi. At sixteen he made a concert tour as a pianist with some success. Leaving the Conservatoire at eighteen he promptly showed his leaning toward operatic composition by beginning to write an opera, the libretto based on de Vigny's well-known drama, Chatterton. Finding an impressario, the produc- tion of this opera was promised, but at the last moment he was deserted by his manager and the young composer was reduced to poverty. He did not despair, however, and abandoning for a time his operatic pretensions, set to work at anything which would give him a living. He gave lessons and played accompaniments at cafe concerts, finally becoming a concert pianist, the latter occupation taking him to many countries England, France, Holland, Germany and Egypt. Returning to Italy after several years of these wanderings, he proved that he had not been idle by submitting to the house of Ricordi the first part of a tremen- dous trilogy based on the subject of the Renaissance in Italy. This monumental work he entitled Crepusculum (Twilight), and the three parts were called : I Medici ; II Girolamo Savonarola ; III Cezare Borgia. This Ricordi accepted, agreeing to produce the first part, and Leoncavallo spent a year in its completion. Three years passed by and the production was not made. In despair he went to the rival firm of Sonzogno, which encouraged him to write the opera which was to make him famous. The young composer went to work and in the space of five months completed his opera, basing the plot on an actual occurrence in the court where his father was presiding as judge. The production of Pagliacci was made on May 21, 1892, at the Teatro dal Verme, Milan. Its success was overwhelming, and the name of Leoncavallo was heard throughout the world. His fame led to the production, in 1893, of the first section of the great trilogy, Medici; but it was not well received. Other operas by Leoncavallo which have been pro- duced with more or less success are : Chatterton (produced 1 8%) ; Boheme ( 1 897) ; Zaza (1900); and finally Roland, written at the request of the German Emperor (1904). He has written also a symphonic poem, Serafita; a ballet (La Vila d'una Marionetta) and several comic operas. But it is Pagliacci which will keep the name of Leoncavallo remembered. Its master- fully constructed libretto ; its compelling and moving story ; the orchestration, written with extraordinary skill ; and finally, its moving and intensely dramatic plot, which always holds an audience in rapt attention. It is indeed a matter for congratulation that the Victor is able to offer such a fine pro- duction of this master work. LEONCAVALLO 252 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI ANNOUNCEMENT The Victor Company takes pleasure in announcing Leoncavallo's famous two-act musical drama, recorded especially for the Victor under the personal direction of the composer. The records in the series were made in the presence of Signor Leoncavallo, and the music conducted by him, a feature which should make this collection ever valuable and unique. Any question arising in future concerning the composer's intentions in regard to the opera may be decided by reference to this performance as he himself conducted it. This advan- tage would have been priceless with regard to many well-known operas of the past, as it would have settled many controversies. But now, by means of the Victor, the composer's ideas may be imperishably recorded. The artists selected by Signor Leoncavallo to interpret his great work are well known and most competent ones. Mme. Huguet, one of Italy's most beloved prima donne, has a voice of ample range and power, and sings the music of Nedda most beautifully. Cigada's Tonio is a remarkable performance, the richness and beauty of his voice being especially noticeable in the Prologue and the duet with Nedda. As Canio a choice of tenors is offered, the more "delicate voice of Barbaini being contrasted with the splendid fire and intensity of Paoli's singing. Badini as Silvio is fully adequate, while the smaller parts are well filled. Nothing need be said about the orchestra and chorus of La Scala, as their reputation is world wide. Leoncavallo's beautiful opera is admirably suited for reproduction on the Victor, and while listening to the singing of the artists who have rendered these dramatic scenes, no great imagination is required to picture the various situations. In addition to the La Scala series, which was made under the composer's direction, many other PagKacci records are listed in their proper places. THE ARGUMENT During the orchestral introduction Tonio, in his clown costume, suddenly appears in front of the curtain and begs permission to revive the ancient Greek prologue. He then comes forward as Prologue and explains that the subject of the play is taken from real life; reminds the audience that actors are but men, with passions like their own, and that the author has endeavored to express the real feelings and sentiments of the characters he will introduce. He then orders up the curtain. The first act shows the entrance to an Italian village. Canio and his troupe of strolling players, or pagliacci, having paraded through the village, return to their traveling theatre, followed by a noisy crowd of villagers. Canio announces a performance for that evening at seven, then goes with Peppe into the tavern. Tonio, the clown, remains behind ostensibly to care for the donkey, but takes advantage of his master's absence to make love to Nedda, Canio' s wife. She repulses him scornfully, striking him with her whip, and he swears to be revenged. Silvio, a rich young villager, in love with Nedda, now joins her and begs her to fly with him. She refuses, but admits that she loves him, her confession being overheard by Tonio, who hurries in search of his master. Canio returns too late to see Silvio, but hears Nedda 's parting words, " Forever I am thine ! " Mad with jealousy, he demands the lover's name, and when Nedda refuses, tries to kill her, but is restrained by the others. Nedda goes to dress and Canio is in despair at the thought of being obliged to play while his heart is breaking. Act II : The curtain rises on the same scene and the play is about to begin. This proves to be the usual farce in which the Clown makes love to Columbine during the absence of her husband, Punchinello, but is laughed at and resigns his pretensions, finally con- senting to act as a lookout while Columbine and her accepted lover, Harlequin, dine together. Strangely enough, this conventional farce is very like the situation in the real lives of the players, and when Punchinello (Canio) arrives and surprises the lovers, as the play demands, he loses his head when he hears Columbine repeat in the farce the very words he overheard her say to her real lover earlier in the day. Mad with rage, he again demands her lovers name. Nedda tries to save the situation by continuing the play, while the audience is delighted by such realistic acting until the intensity of Canto's passion begins to terrify them. The other players endeavor to silence him, but in vain. Finally, stung by his taunts, Nedda defies him and is stabbed, Canio hoping that in her death agony she will reveal the name of her lover. She falls, calling upon Silvio, who rushes from the crowd only to receive in turn the dagger of the outraged husband. As Canio is disarmed by the peasants he cries as if in a dream, "La commedia e finita" (The comedy is ended). 253 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI ARRIVAL OF THE PLAYERS - ACT I (Italian) (English) I PAGLIACCI THE PLAYERS (Ee Pahl-yaf -chee) (German) (French) DIE BAJAZZI PAILLASSE (Dee Bah-yof-si) (Pah-yahss) DRAMATIC OPERA IN TWO ACTS Libretto and music by Ruggiero Leoncavallo. First performed at the Teatro dal Verme, Milan, on May 21, 1892 ; in London, May 19, 1893. First New York production June 15, 1894, with Kronold, Montegriffo and Campanari. Some famous casts of recent years at the Metro- politan and Manhattan opera: Caruso, Farrar, Stracciari Alvarez, Scheff, Scotti Farrar, Bars, Scotti Cavalieri, Rousseliere, Scotti Deveyne, Martin, Campanari Donalda, Bassi, Sammarco, etc. Characters in the Drama NEDDA (Ned'-Jah) (in the play "Columbine"), a strolling player, wife of CANIO .......................................... Soprano CANIO (Kah'-nee-oh) (in the play "Pagliaccio " [Punchinello]), master of the troupe ...................................... Tenor TONIO ( Toh'.nee-^h) (in the play "Taddeo"), the clown .............. Baritone PEPPE (Pep' -pay) (in the play "Harlequin") ......................... Tenor SILVIO, (Sif-oee-oh) a villager ................................... Baritone , Villagers and Peasants The scene is laid in Calabria, near Monlallo, on the Feast of the Assumption. Period, between 1865 and 1870. 254 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI THE PROLOGUE Leoncavallo chose a novel way to introduce his characters, and wrote this number in the midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient Greek tragedy, and explains that the subject of the play is taken from real life, and that the composer has devoted himself to expressing the sentiment, good or bad, but always human, of the characters he introduces. Prologo (Prologue) By Pasquale Amato, Baritone (In Italian) 88326 12-inch, $3.OO By Antonio Scotti, Baritone (In Italian) 88O29 12-inch. 3.OO By Antonio Scotti. Baritone (In Italian) 81O21 lO-inch, 2.OO By Emilio de Gogorza, Baritone (In Italian) 88176 12-inch. 3.OO By Alan Turner. Baritone (In English) *16157 lO-inch. .75 By Alan Turner. Baritone (In English) *35OO2 12-inch, 1.25 By.Pryor's Band 31352 12-inch. l.OO By Pryor's Band *35158 12-inch, 1.25 PrologO (Prologue) (Complete in two parts) (a) Part I Si puo ? (A Word) 1 By Francesco Cigada, Baritone (In Italian) (b) Part II Un nido di memorie (A Song of Tender }*35 171 12-inch. $1.25 Memories) By Francesco Cigada, Baritone (In Italian)) The first part of the Prologue is in itself a miniature overture, containing the three repre- sentative themes associated with the main events of the drama to be unfolded. The first is the motive which always accompanies the appearance of the players or pagliacci : The second theme represents Canto's jealousy and is a sombre strain suggestive of revenge : The third repre- t*aM- --* ~~< u= ; ssnts the guilty love . <* r ~>5- .ifl. '. .' lk ft- t A-tt of Nedda and Silvio: ^5~;j*r^^l [Tf f ' % ^^ * I "{jj-^ f 1 and appears fre- f>~" =* ^^S_ quently throughout the opera, not only in the love duet, but in the last act, when Nedda refuses to betray her lover even with death awaiting her. The presentation of these themes is followed by the appearance of Tonio, the clown, who peeps through the curtain and says: Ladies and gentlemen! Pardon me if alone I appear. I am the Prologue! He then comes in front of the curtain and explains the author's purpose, which is to present a drama from real life, showing that the actors have genuine tragedies as well as mimic ones. Our author loves the custom of a prologue to his story, And as he would revive for you the ancient glory, He sends me to speak before ye! But not to prate, as once of old. That the tears of the actor are false, unreal, He then goes on to speak of the author's inspiration, and says : That his sighs and the pain that is told, He has no heart to feel! No! our author to-night a chapter will borrow From life with its laughter and sorrow! Is not the actor a man with a heart like you? So 'tis for men that our author has written, And the story he tells you is true! A song of tender mem'ries Deep in his list'ning heart one day was ringing; Ann then with a trembling hand he wrote it, And he marked the time with sighs and tears. Come, then ; Here on the stage you shall behold us in human fashion, And see the sad fruits of love and passion. . Hearts that weep and languish, cries of rage and anguish. And bitter laughter ! * Doubk-FaceJ Record For Htle o/oppoj/fe tide tec DOUBLE-FACED PAGLIACCI RECORDS, page 265. 255 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI The beautiful andante which follows is the most admired portion of the aria, and is indeed a noble strain. Ah, think then, sweet people, when ye look on us, Clad in our motlej ant' tinsel, For ours are human hearts, beating with passion, We are but men like you, for gladness or sorrow, 'Tis the same broad Heaven above us, The same wide, lonely world before us! Will ye hear, then, the story, As it unfolds itself surely and certain ! Come, then! Ring up the curtain! The curtain now rises, as the pagliacti motive reappears in the orchestra. 10-inch, $O.75 Opening Chorus "Son qua!" (They're Here!) By La Scala Chorus (Double-faced See page 265) (In Italian) 16814 The first scene, representing the edge of a small village in Calabria, is now revealed to the audience. The people are engaged in celebrating the Feast of the Assumption, and among the attractions of- fered to the crowds who have flocked to the village is the troupe of strolling players head- ed by Canio. These wandering mountebanks are common in the rural districts of Italy and are known as pagliacci. They take with them a small tent (usually carried in a cart drawn by a donkey), which they set up in the market places of the small villages, or anywhere that they see a prospect for the earning of a modest living. A number of the towns- people have assembled in front of the little theatre and are awaiting the return of the clowns, -who have been parad- ing through the village to announce their arrival, as is the custom. As the curtain rises, the sound of a drum and trumpet is heard from a distance, and the villagers are full of joy at the prospect of a comedy performance. They express their excitement in a vigorous opening chorus. This is a clever bit of writing, but so difficult that it is seldom well given. The famous chorus of La Scala, however, under leadership of Maestro Sabaino, have given this stirring ** number in splendid style. This oft-recurring phrase : io g in. shi >< !*>. which is presented with many odd modulations, produces a peculiar and novel effect. SAMMARCO AS TONIO BOYS: Hi! They're here! They're coming back! Pagliaccio's there The grown-up folks and boys All follow after! Their jokes and laughter They all applaud. WOMEN: See, there's the wagon! My, what a fiendish din! The Lord have mercy on us! ALL: Welcome Pagliaccio; Long life to him. The prince of all pagliaccios. You drive our cares away With fun and laughter! The little troupe has now come into view and the noise is redoubled. Canio appears at the head of his company, his wife, Nedda, riding in the cart drawn by a donkey, while Tonio and Peppe make hideous noises on the bass drum and cracked trumpet, which con- stitute the orchestra of the players. Canio is dressed in the traditional garb of the clown, his face smeared with flour and his cheeks adorned with patches of red. He tries to 256 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI address the crowd, but the noise is tremendous. Tonio beats the drum furiously to silence the voices, but it is not until Canio has raised his hand to command attention that he is allowed to speak. Un grande spettacolo! (A WoncTrous Performance !) By Antonio Paoli, Tenor; Fran- cesco Cigada, Baritone : Gaetano Pini-Corsi, Tenor; and Sig. Rosci. Baritone (In Italian) 920O9 12-inch, $3.00 He begins to address the peasants in this fashion : CANIO: A wondrous performance I say will be given, By your humble servants This evening at seven. The wrath of Pagliaccio Will there be presented What vengeance he took, And the trap he invented! ARRIVAL OF THE PLAYERS The crowd boisterously express their joy at the prospect of an evening's entertainment. Canio now turns to assist Nedda to alight from the cart, but finds Tonio, the Fool, there before him. Giving him a cuff on the ear, he bids him be off, and Tonio slinks away muttering. The boys in the crowd jeer him, saying: Does that suit you, Mr. Lover? Tonio threatens the boys, who run away. He goes grumbling into the theatre, saying, aside : He'll pay for this ere it's over! One of the peasants invites the players to the wine shop for a friendly glass. They accept, and Canio calls to Tonio to join them, but he replies from within : " I'm rubbing down the donkey," which causes a villager to remark, jestingly: A PEASANT: Careful, Pagliaccio! He only stays behind there For making love to Nedda! Canio smiles, but knits his brow and is evidently impressed by the thought. CANIO: Eh! What? You think so? (He becomes serious, and signing to the peasants to come round him, he begins to address them.) HARLEQUIN Un tal gioco (Such a Game !) By Antonio Paoli and La Scala Chorus By Nicola Zerola, Tenor (In Italian) (In Italian) 9201O 64206 12-inch, $3.00 10-inch, 1.00 The first trace of Canto's jealous nature is now shown, as he takes with apparent seriousness the idle joke of the peasant, and begins to warn the spectators as follows : 257 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI CANIO: Such a game, I'd have you know, 'Twere better not to play, my neighbors! To Tonio, aye, to you all I say it! For the stage there and life, they are different altogether! If up there, (pointing to the theatre) Paghaccio his lady should discover With some fine fellow in her room, He'd give the two a rating And take a jolly beating! ( Wilh a sudden change of tone) or resign himself, But if Nedda I really should surprise so, What came after were a far different story! Nedda, who is listening, is surprised and says aside : " What does he mean ?" The villagers, rather puzzled at his earnestness, ask him if he is serious. With an effort he rouses himself from his gloomy mood- and says lightly : Not I I love my wife most dearly! (He approaches Nedda and kisses her on the forehead. ) The sound of bagpipes (oboe) is heard in the distance, telling of the merrymaking in the village, and the church bells begin to toll the call to vespers. The people commence to disperse, and Canio again repeats his melodious strain of invitation : C COPV'T OUPONT FARRAR AS NEDDA (He goes with several peasants into the inn.) Coro della campane (Chorus of the Bells) By La Scala Chorus (In Italian) *35172 12-inch, $1.25 This is the famous Bell Chorus, or " Ding Dong " Chorus, one of the most remarkable numbers in the opera. It is sung with spirit, and the chiming bells are introduced in a most effective manner. The people go off singing and the measures die away in the distance. Ballatella, " Che volo d'angelli !" (Ye Birds "Without Number!) By Alma Gluck. Soprano (In Italian) 74238 12-inch, $1.50 By Giuseppina Huguet, Soprano (In Italian) *35172 12-inch, 1.25 Nedda, left alone, is troubled by her remembrance of Canio's manner and wonders if he suspects her. She speaks of the fierce look he had given her, and says: I dropt my eyes, fearful lest he should have read there What I was secretly thinking. But shaking off her depression, she becomes once more alive to the brightness of the day, which fills her with a strange delight. A gay tremolo in the strings announces the theme of the birds, and Nedda speaks of her mother, whom she said could understand their language. NEDDA: Ah, ye birds without number! What countless voices! What ask ye? Who knows? My mother, she that was skillful at telling one's fortune, Understood what they're singinp. And in my childhood, thus would she sing me. Then follows the brilliant Balatella or Bird Song, beginning : ti - be - m- men - to la free dom flj iog. 258 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI It is a most beautiful number with an exquisite accompaniment, mainly of strings. Mme. Gluck gives it here in delightful fashion, singing with dazzling brilliancy, while a very fine rendition by Mme. Huguet is offered as part of a double-faced record. So ben che deforme (T Know That You Hate Me) By Giuseppina Huguet, Soprano, and Fran- cesco Cigada, Baritone (In Italian) *35173 12-inch, $1.25 At the close of her song Nedda finds that the hideous Tonio has been listening, and now seeing the handsome Columbine alone, begins to make love to her; but she scornfully orders him away. He persists, but his protesta- tions are greeted with mocking laughter, and Nedda says insolently: NEDDA: There's time, if you like, Once more to tell me this evening When you will be acting the fool! GLUCK AS NEDDA TONIO: You mock me? Wretched creature! By the cross of the Savior You shall pay for this, and dearly! Just now, it is painful. In a furious rage, Tonio swears she muct listen to him and cries: NEDDA: A threat, eh? Come, or I'll be calling Canio! TONIO: But not until I've kissed you! (Rushing toward her.) Nulla scordai ! (Naught I Forget !) By Giuseppina Huguet, Francesco Cigada, and Ernesto Badini (Doubled with above duet) (In Italian) *35173 12-inch, $1.25 Tonio, driven almost to madness by Nedda's scorn and ridicule, seizes and tries to kiss her. She strikes him across the face with her whip, crying: Oh, you would, you cur! TONIO (screaming) : P.y the Blessed Virgin of Assumption, Nedda, I swear it, You shall pay me for it! (Rushes off.) NEDDA (watching him) : Scorpion ! at last you've shown your nature ! Tonio, the clown, The heart of you is just as crooked as your body! The young villager, Silvio, whom Nedda has secretly met on previous visits to the town, now jumps over the wall. Nedda, alarmed, cries : SILVIO NEDDA: Silvio! In the daytime? What folly! SILVIO (smiling): I fancy it's no great risk I'm taking! Canio I spied from afar with Peppe yonder. Ay! at the tavern I saw them! She tells him of Tonio's behavior and bids him beware, as the clown is to be feared. Her lover cheers her and laughs at her fears, and they sing the beautiful love duet, in which Siloio urges her to fly with him ; but she is afraid and begs him not to tempt her. He persists, and reproaches her for her coldness, until finally in a passion of abandon- ment she yields, singing the beautiful passage which begins the record : Then together they sing the lovely duet : Nnoi (Onranu uxi j K.1 - h nr . d KufM I for ..;,. BOTH: All. all forgot! NEDDA: Look into my eyes, love, All is forgotten ! Then kiss me. dear! SILVIO: Thou'lt come? NEDDA (passionately): Aye! kiss me once more! BOTH: I love thee! 259 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI The lovers, -who have cast aside all prudence and see only each other, fail to observe Canto, -who has been warned by Tonio and has hurried from the tavern. TONIO (holding Canio back) : Now just step softly, And you will catch them now! SILVIO (disappearing over the wall) : To-night at midnight, I'll be there below! NEDDA: 'Till to-night then, And forever I'll be thine! (She sees Canio and gives a cry of fear. ) Ah ! Aitalo Signer ! (May Heaven Protect Him !) By Antonio Paoli Tenor; Giuseppina Huguet, Soprano; Francesco Cigada, Baritone; Gaetano Pini-Corsi, Tenor (In Italian) 92011 12-inch, $3.00 Canio, who has not seen Silvio, but has heard Nedda's part- ing words, now rushes toward the -wall. Nedda bars his way. The record begins with the melodramic music written by Leonca- vallo for this exciting struggle, during which Canio pushes her aside and runs in pursuit of Silvio. NEDDA (listening anxiously) : CANIO (from behind) : TONIO (laughing cynically): NEDDA (turning to Tonio with loathing) : TONIO (with fiendish satisfaction) : SILVIO AND NEDDA May Heaven protect him now! Scoundrel! Where hidest thou? Ha ! Ha ! Ha ! Bravo! Well done, Tonio! All that I C9uld do! But I hope in the future to do better! Canio re-enters, out of breath and com- pletely exhausted. As he turns to Nedda with fl L ZZl J ~ H} suppressed rage we hear again in the accom- ^^==^j\3^^^^3=^^ ^^M= paniment that dismal theme of revenge : which throughout the opera always accompanies the scenes of Canio 's jealousy and passion. CANTO: No one! That shows how well he knows that path. But no matter! (Furiously) : Because right now you'll tell me his name! NEDDA (indifferently) : Me? CANIO (in frenzy) : You ! By God in Heaven ! And if up to this moment I have not cut your throat, 'Tis because I'd have you name him ! Speak now! Nedda proudly refuses. Filled with joy because of Silvio's escape, she cares not what may be her own fate. Canio, beside himself, rushes on her with the knife, but Peppe holds him back and takes away his weapon. Tonio comes to Peppe '5 assistance, saying : Restrain yourself, good master, 'Tis best to sham awhile. The fellow will come back, You take my word for it! They finally persuade him to restrain himself, and beg him to make ready for the play, as the audience is already assembling. Nedda goes into the theatre and Canio remains alone, his head bowed with shame and baffled revenge in his soul. CARUSO SINGING "VESTI LA GIUBBA*' Vesti la giubba (On With the Play) By Enrico Caruso, Tenor By Carlo Albani, Tenor By Nicola Zerola, Tenor 88O61 74097 64169 12-inch, $3.0O 12-inch, 1.5O lO-inch. 1.00 260 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI Yet I must force myself! I am not a man, I'm but a Pagliaccio! We now come to the most famous of the numbers in Leoncavallo's opera, the great Lament of Pagliaccio. Its heart- breaking pathos never fails to touch the listener, -when sung by such artists as the Victor offers. The unhappy Canio, left alone after the exciting scene with Nedda, wrings his hands and cries : CANIO: To play! When my head's whirl- ing with madness, Not knowing what I'm saying or what I'm doing! The great aria now follows, in which the unfortunate Pagliaccio describes how he must paint his face and make merry for the public while his heart is torn with jealousy. CANIO: The people pay you, and they must have their fun! * If Harlequin your Columbine takes from you. Laugh loud. Pagliaccio! And all will shout, well done! Laugh, Pagliaccio, for the love that is ended! (Sobbing): CANI Laugh for the pain that is gnawing your heart ! (He mooes slowly toward the theatre, weeping ; he stops at the entrance and hesitates. Seized by a new fit of sobbing, he buries his face in his hands ; then as the curtain slowly falls, rushes into the tent.) Caruso's Canio is still the great feature of Pagliacci, and his magnificent singing of this famous lament cannot be described it must be heard. In all that this artist has done there is no piece of dramatic singing to equal in emotional force his delivery of the reproaches of the clown, which he pours out not only on his fajthless wife, but on himself and the occupation that bids him be merry when his heart is breaking. Sometimes Caruso's voice merely delights the ear here he searches the heart ; and is not merely the greatest of tenors, but is the clown himself, full of the most tragic emotion. ACT II SCENE Same as Act I La Com media (The Play) Part I, Serenata d'Ar- lecchino (Harlequin's Serenade) By Giuseppina Huguet and Gaetano Pini-Corsi, (Double-faced See page 265) (In Italian) 35174 12-inch, $1.25 Passing over the preparations for the play and the quarreling chorus of the peasants as they fight for the best seats, which is not interesting without the action, we come to the commencement of the comedy. The curtain is drawn aside, disclosing a small room with \ two side doors and a window at the back. Nedda as Columbine is discovered walking about anxiously. The tripping minuet movement which runs throughout the .^ action of the comedy now |^> _} ; begins. Columbine rises and looks out of the window, saying : Papliaccio, my husband, till late this evening Will not be at home. The sound of a guitar, cleverly imitated by the violins, pizzicato, causes Columbine to utter a cry of joy, and the voice of Harlequin is heard out- HLI (n, w^d .) side in the f i p- I > f r r I - ~ J . /. ? I f =] Serenade.be- ^ NEDDA AS COLUMBINE ginning: o in which he extravagantly rhapsodizes his sweetheart. 261 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI La Commedia (The Play) Part II, E dessa ! (Behold Her !) By Giuseppina Huguet, Soprano: Francesco Cigada, Baritone; and Gaetano Pini-Corsi, Tenor (In Italian) *35174 12-inch, $1.25 Tonio as Taddeo, with his basket, now peeps through the and SayS ^Xodmta nOmU (lifting to bmda mO lh bskrt upward.) exaggeratedly, rffr _ . p| ^ with a comical V^-^^r^f IJ -l l~r i cadenza : The audience laughs in delight as Tonio tries to express his love by a long exaggerated sigh. Columbine tries to suppress him by inquiring about the chicken he had been sent for, but Tonio kneels, and holding up the fowl says : See, we are both before thee kneeling! His pretensions are cut short by Harlequin, who enters and leads him out by the ear. As he goes he gives the lovers a mock benediction, singing: Then I my claim surrender. Bless -you, my children! This scene is most cleverly done and the three records depicting the little farce are among the most enjoyable of the series. Versa il filtro nella tazza sua! (Pour the Potion in His "Wine, Love !) By Antonio Paoli, Tenor: Giuseppina Huguet, Soprano; AMATO AS TONIO Francesco Cigada, Baritone ; and Gaetano Pini- Corsi, Tenor (In Italian) 91O73 lO-inch, $2.0O By Augusto Barbaini, Tenor; Giuseppina Huguet, Soprano; Francesco Cigada, Baritone: and Gaetano Pini-Corsi, Tenor (Double-faced See page 265) (In Italian) 35175 12-inch, 1.25 The lovers now partake of their feast and make merry together. Harlequin takes from his pocket a little vial, which he gives to Columbine, saying : HARLEQUIN: Take this little sleeping draught, 'Tis for Pagliaccio! Give it him at bedtime, And then away we'll fly. COLUMBINE (eagerly): Yes, give me! Upon the scene suddenly bursts Tonio, in mock alarm crying : TONIO (bawling loudly): Be careful! Pagliaccio is here! Trembling all over, he seeks for weapons! He has caught you, and I shall fly to cover! The lovers simulate the greatest alarm, at which the excited audience is highly pleased, and applaud lustily. Harlequin leaps from the window, and Nedda continues the scene by repeating Columbine's next lines, which by a strange chance are the very words she had spoken to Silvio earlier in |/ .!_ j t? the day : Till to * night, then! Ar: 1 for f - er Can.'o, dressed as Punchinello, now enters from the door on the right. PAGLIACCIO (restraining himself with difficulty"): Ah, if thou wast alone here Why these places for two? COLUMBINE: Taddeo was supping with me. _ He's there you scared him into hiding! TADDEO (from within): Believe her, sir! She is faithful! (Sneering) : Ah, they could never lie, those lips so truthful! 262 CANIO (u'ith suppressed rage) : Hell and damnation! And the very same words, too! (Recovering himself) : But, courage! (Taking up his part) : You had a man with you! COLUMBINE (lightly): What nonsense! You are tipsy! VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI The audience laughs loudly, -which enrages the unhappy man, and forgetting his part he turns to Nedda and fiercely demands the name of her lover : CANIO: Woman, 'tis thy lover's name I want, The wretched scoundrel from whose arms thou comest! Oh, shameless woman ! NEDDA (faintly, much alarmed): Pagliaccio! Pagliaccio! No, Pagliaccio non son ! (No, Punchinello No More ! ) By Enrico Caruso, Tenor (Italian) 88279 12-inch, $3.0O By Antonio Paoli, Tenor (Italian) 92O12 12-inch, 3.0O By Nicola Zerola. Tenor (Italian) 74247 12-inch, 1.5O By Augusto Barbaini, Tenor (Italian) *35175 12-inch, 1.25 Throwing off entirely the mask of the player, Canio becomes again the jealous husband, and sings this great aria, which is second only to the Vesti la giubba in dramatic power. CANIO: No, Pagliaccio, I'm not! If my face be white, 'Tis shame that pales it And vengeance twists my fea- tures! I am that foolish man Who in poverty found and tried to save thee! He gave a name to thee, A burning love that was mad- ness! (Falls in a chair, over- whelmed.) The people, while a little puz- zled by such intensity, loudly ap- plaud what they think, is a piece of ' superb acting. COLUMBINE AND HARLEpLMN AT SUPPER CANIO (recovering himself) : All my life to thee I sacrificed with gladness! Full of hope and believing far less in God than thee! Go! Thou'rt not worth my grief, O thou abandoned creature! And now, with my contempt, I'll crush thee under heel ! Caruso's rendering of this great scene is a magnificent one. The opening passage is delivered with tremendous power, as Canio pleads his defense, saying that he is no longer a player, but a man, and protests as a man against the wrong inflicted upon him. His passion gives place to a softer strain as he speaks of his love for Nedda, his faith- fulness and his sacrifices for her. At the close is the intense climax, with its splen- did high B flat. Other fine renditions of the air are by Paoli, Zerola and Barbaini. Finale By Antonio Paoli, Tenor: Giuseppina Huguet, Soprano; Francesco Cigada, Baritone: Gaetano Pini-Corsi. Tenor: Ernesto Badini, Tenor: and Chorus (In Italian) 92013 12-inch. $3.OO 263 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI THE PLAY ACT II The close of Canio 's great air, " No, Pagliaccio No More ! " is greeted -with loud cries of " bravo" from the excited au- dience. Nedda is now thoroughly alarmed, but courageously faces her husband with out- ward calm. NEDDA {coldly but seriously) : 'Tis well! If thou think'st me vile, Send me off, then, Before this moment's over! CANIO (laughing loudly) : Ha! Ha! Oh, nothing better would'st thou ask, Than to be let run to meet thy lover ! No! by Heaven, for here thou stayest, Until thy paramour's vile name thou sayest! Nedda, in desperation, tries to continue the play, and as the little gavotte movement is resumed in the accompani- ment, she sings: NEDDA: Oh dear, I never knew that you Were such a fearful man, sir! There's nothing tragic for you here. Come now, Taddeo, answer! The crowd begins to laugh, but is checked by Canio' s appearance, which is alarming. CANIO (.violently): Ah, you defy me! You'll name him, or else I'll kill you! (Shouting) : Who was it? NEDDA (tlirozving off her mask defiantly) : No, by my mother, I'm faithless, or whatever you choose to call me; (Proudly): But cowardly, no, never! I will not speak! , No, not even if you kill me. As she sings we hear triumphantly appearing above her voice the love motive: telling of her passion for Siloio, which is to endure even unto death. Canio now rushes toward her, but is restrained by Tonio and Peppe. Nedda tries to escape, but Canio breaks away and stabs her, crying : CANIO: Take that! Perhaps in death's last agony, You will speak! Nedda falls, and with a last faint effort calls: "Oh, help me, Silvio." Silvio, -who has drawn his dagger, rushes to her, when Canio cries: Ah, 'twas you! 'Tis well! (Stabs him.) CANIO (as if stupefied, letting fall his knife): The comedy is ended! Then once more is heard the tragic motive of jealousy and death, now thundered out by the orchestra as if rejoicing at its final triumph. Curtain. 264 VICTOR BOOK OF THE OPERA LEONCAVALLO'S PAGLIACCI DOUBLE-FACED AND MISCELLANEOUS PAGLIACCI RECORDS Prologue. Part I Si puo By Francesco Cigada. Baritone (In Italian ) _ . , . Prologue, Part Il-Un nido di memorie 35171 "-inch, $1.25 By Francesco Cigada. Baritone (In Italian)} Prologue By Alan Turner, Baritone (In English) I Come into the Garden, Maud By Harold Janis, Tenor( /Prologue By Pryor's Band I,,, ,,_ \ Flying Dutchman Fantasia By Pryor's Band) Coro della campane By La Scala Chorus In Italian) I Che volo d'angelli [35172 By Giuseppina Huguet. Soprano (In Italian)} So ben che deforme By Giuseppina Huguet, Soprano, and Francesco Cigada, Baritone In Italian) Nulla scordai! By Giuseppina Huguet. Soprano; Francesco Cigada. Baritone: Ernesto Badini, Tenor (In Italian) La Commedia Part I By Giuseppina Huguet. Soprano, and Gaetano Pini-Corsi, Tenor (In Italian) La Commedia Part II By Giuseppina Huguet, Soprano; Francesco Cigada. Baritone; Gaetano Pini-Corsi, Tenor (In Italian) Versa it filtro nella tazza sua! By Augusto Barbaini, Tenor: Giuseppina Huguet. Soprano; Francesco Cigada, Baritone ; Gaetano Pini-Corsi, Tenor (In Italian) No, Pagliaccio non son! By Augusto Barbaini. Tenor (In Italian) Pagliacci Selection By Pryor's Band 31799 /Prologue By Alan Turner, Baritone (In English)} . , . - _ \ Brown Eyes By Alan Turner, Baritone (In English)) Opening Chorus, " Son qua " By La Scala Chorus (In Italian)} Trooalore Per me ora fatale By Ernesto Caronna, Baritone, and Chorus (In Italian )J 12-inch. 1.25 12-inch. 1.25 12-inch. 1.25 35173 12-inch. 1.25 35174 12-inch, 1.25 35175 12-inch, 1.25 12-inch. l.OO lO-inch, .75 lO-inch. .75 It TNcltlC THE COMEDY IS ENDED 1 . 265 PESCATORI DI PERLE PEARL-FISHERS (Pes-kah-loh' -ree dee Pair-laay) OPERA IN THREE ACTS Text by Carre and Cormon. Music by Georges Bizet. First production at the Theatre Lyrique, Paris, September 29, 1863. First London production, entitled "Leila," at Covent Garden, April 22, 1887; and as Pescatori di Perle, May 18, 1889. First New York production January II, 1896. Characters LEILA, a priestess Soprano NADIR, a pearl fisher Tenor ZURGA, a chief Baritone NOURABAD, high priest Bass Priests, Priestesses, Pearl Fishers, Women, etc. Scene and Period : Ceylon ; barbaric period. Les Pecheurs de Perles, one of Bizet's earlier operas and the first one to achieve success, is a work dealing with an Oriental subject, and contains much music of charm and original- ity, showing traces of that dramatic force which reached its full development in Carmen. The character of the music, less passionate and highly colored than Carmen, is yet equally original and of even more striking beauty. The story tells of the love of two Cingalese pearl fishers for the priestess Leila, and of the generosity of the unsuccessful rival, who helps the lovers to escape at the cost of his own life. THE PRELUDE The prelude is a most beautiful number, and considered one of the finest of Bizet's instrumental writings. Preludio (Prelude) By La Scala Orchestra *621OO lO-inch, $O.75 ACT I SCENE The Coast of Ceylon The rise of the curtain discloses a company of Cingalese pearl fishers, who, after choosing one of their number, Zurga, to be their chief, are enjoying themselves with games and dances. Nadir appears and Zurga recognizes him as a friend of his youth. They greet each other and speak of the days when they were rivals for the hand of a beautiful woman. Nadir, beginning the duet, recalls the moment when the friends first beheld the lovely Leila. Del tetnpio al limitar (In the Depths of the Temple) By Enrico Caruso, Tenor, and Mario Ancona, Baritone (In Italian) 89O07 12-inch, $4.0O By Giorgini and Federici (In Italian) 88319 12-inch, 3.0O By John McCormack and G. Mario Sammarco (Italian) 87O82 lO-inch, 2.OO By Giuseppe Acerbi and Renzo Minolfi (In Italian) *68O63 12-inch, 1.25 In an impressive strain he describes the scene within the Temple of Brahma : NADIR: Lifts her veil, revealing In the depths of the temple A face that haunts me still A lovely form we beheld, With its beauty ethereal! That form I still can see! NADIR- Zu GA: But now her veil she drops iwas a vision of beauty. Andi pass j ng through the wandering crowd ISA J?' R: , .. ,. ... She disappears. The kneeling worshipers astonished Now a strange emotion overpowers me, Zu^cT- murmur ' The ^oddess comes! l fear to touch thy hand- She descends from the altar ZUPGA: And, moving near to us A fatal love both our souls possess. *Double-FaceJ Record For V.tle o/oppoa/fe siJe see DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 266 VICTOR BOOK OF THE OPE R A BI ZET'S PEARL FISHERS They speak of their sudden realization of the fact that they had both fallen in love at sight with the priestess, and fearing their friendship was in danger, they swore never to see her again. The comrades, now pronouncing themselves entirely cured of their infatuation, pledge anew their friendship and swear to be brothers to the end. A fisherman now enters and announces the arrival of the mysterious veiled lady -who comes once a year to pray for the success of the fisheries, and whom the Ceylonese have adopted as their guardian saint. She enters and begins her prayer. Nadir recognizes her voice and realizes that it is the priestess Leila. The pearl fishers sing a chorus of appeal to Brahma for a blessing, in which Leila joins. Brahma gran Dio (Divine Brahma !) By Linda Brambilla, Soprano, and La Scala Chorus (In Italian) *68O62 12-inch, $1.25 This is a most impressive record, the lovely voice of Mme. Brambilla showing to great advantage 1 above the choral background. Leila goes into the temple and the people disperse. Nadir, left alone, is agitated by his discovery, realizing that he still loves the maiden. He recalls the memories of his first sight of her in a lovely song. Mi par d'udir ancora (I Hear as in a Dream) By Florencio Constantino, Tenor (In Italian) 74O67 12-inch, $1.50 Leila reappears and the act closes with her prayer to Brahma for the good fortune of the fishermen. Just as the curtain falls she recognizes Nadir, and contrives to let him know that she loves him. ACT II SCENE A Ruined Temple As the curtain rises Leila and Nourabad, the high priest, are seen, they having sought shelter in the ruins of an ancient temple. The high priest, in a fine air, reminds Leila of her oath to renounce love and marriage and devote herself to the -welfare of the people. She says that she will keep her promise and tells him of a vow she made when a child to a fugitive who implored her to save his life. Although his pursuers held a dagger to her breast she refused to betray him and he escaped to safety. Siccome un di caduto (A Fugitive, One Day) By Giuseppina Piccoletti, Soprano (In Italian) *683O7 12-inch, $1.25 The high priest sternly recites the punishment which will overtake her should she prove false to her vow. "Shame and death be thy portion!" cries the stern priest. Left alone, the miserable woman broods over her unhappy plight. Bound by an oath which she now regrets, and conscious of her love for Nadir, which may mean death for them both, she sinks down in an agony of despair. Nadir enters and asks her to fly with him, defying Brahma and the priests. She at first repulses him, but love is finally triumphant and the lovers rapturously embrace, while a fearful storm rages, unheeded, without the ruins. This scene is expressed by a splendid duet, two records of which are given here for a choice. Non hai compreso un cor fedel (You Have Not Understood) By Giuseppina Huguet. Soprano, and Fernando de Lucia. Tenor (In Italian) 92054 12-inch, $3.0O By Giuseppina Piccoletti, Soprano, and Ivo Zaccari, Tenor (In Italian) *68O62 12-inch. 1.25 The lovers are surprised by Nourabad, and Nadir flees, closely pursued by the priests. He is captured and brought back, while Zurga is summoned to pronounce sentence on the guilty lovers. His friendship for Nadir moves him to mercy, and he spares their lives and bids them fly the country. As they go, however, the high priest tears the veil from Leila, and when Zurga realizes that it is the woman Nadir has sworn never to see, he is enraged and sentences them both to death. *Double-FaceJ Record For title of opposite siJe tee DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 267 VICTOR BOOK OF THE OPERA B IZET'S PEARL FISHERS ACT HI SCENE I The Camp of Zurga Zurga is discovered alone, brooding over the impending death of his friend and the woman he loves. His mood of despair is interrupted by Leila, who appears at the entrance to his tent and asks him to dismiss the guards and speak with her alone. She asks mercy for Nadir in a dramatic aria. Temer non so per me (I Fear "Not) By Emilia Corsi, Soprano (In Italian) *63394 lO-inch, $O.75 She proudly refuses to plead for her own life, but begs that he spare the friend whom he loves. Zurga refuses and summons the guards to conduct her to execution. SCENE II The Place of Execution The scene shows the wild spot where the funeral pile has been erected. Leila and Nadir are led in, and are about to mount the pyre when a red glow is seen in the sky, and Zurga enters crying that the camp is on fire, and bids the people fly to save their children and effects. All run out except Leila, Nadir and Zurga, and the high priest, who, suspecting a plot, hides to hear what Zurga will say. The latter confesses that he kindled the fire in order to save the lovers. Unfastening their chains, he bids them escape, while Nourabad runs to warn the Indians, and Leila and Nadir, beginning the great trio, voice their gratitude. Terzetto finale Fascino etereo By Linda Brambilla, Soprano: Giuseppe Acerbi.Tenor; Francesco Cigada, Baritone (In Italian) *68063 12-inch, $1.25 The lovers praise the generosity and greatness of Zurga, who for the sake of friendship has committed an act which may cost him his own life. He bids them fly at once, and they go as the voices of the enraged Indians are heard returning for vengeance. Nourabad denounces Zurga for the escape of the victims and for the destruction of the camp, and he is forced to mount the funeral pyre. As the flames mount about him he cries : ZURGA: Farewell, my friend! Farewell, my Leila! For thee I give my life! As Zurga dies a fiery glow reveals that the forest is ablaze, and all prostrate themselves, fearing the displeasure of Brahma. The curtain falls as the flames envelop the stage. DOUBLE-FACED AND MISCELLANEOUS PEARL FISHERS SELECTIONS Del tempio al limitar (In the Depths of the Temple) By Giuseppe Acerbi and Renzo Minolfi (In Italian) Terzetto finale Fascino etereo 68O63 12-inch, $1.25 By Linda Brambilla, Soprano ; Giuseppe Acerbi, Tenor ; Francesco Cigada, Baritone (In Italian) fNon hai compreso un cor fedel (You Have Not Under- stood) By Giuseppina Piccoletti, Soprano, and Ivo Zaccari, Tenor (In Italian) }68O62 12-inch, 1.25 Brahma gran Dio (Divine Brahma !) By Lina Brambilla, Soprano, and La Scala Chorus (In Italian)} [Siccome un di (A Fugitive, One Day) 1 By Giuseppina Piccoletti, Soprano (In Italian) 168307 12-inch, 1.25 [ Hermes S'io i'amo By Metis and Taccani (In Italian)} {Pearl Fishers Selection Sousa's Band\ ..,. i< :~~t. i on c M/-L i /c ji \ n D j>35O33 12-inch, 1.25 Spinning Wheel (bpindler) rryor s Band) IPreludio (Prelude) By La Scala Orchestral Ebrea Rachele allor che Iddio 1&21OO lO-inch, .75 By Gino Martinez- Patti, Tenor (In Italian)) ( Temer non so per me (I Fear Not) By Emilia Corsi, Soprano (In Italian) ^63394 lO-inch, .75 Jana Si dannato mono By Taccani (In Italian) ) * Trouble-Faced Records For title of opposite side see above list. 268 (Italian) IL PROFETA (EclPro-fau'-tah) (French) LE PROPHETE (Leh Proh-fayf ) (English) THE PROPHET OPERA IN FIVE ACTS Text by Scribe. Music by Giacomo Meyerbeer. First presented in Paris, April 16, 1849. First London production July 24, 1849. First New York production November 25, 1854. Revived at the Manhattan Opera in 1909 with d' Alvarez, Lucas and Walter- Villa. Characters JOHN OF LEYDEN, (Ly -den) the Prophet, chosen leader of the Anabaptists . . Tenor BERTHA, his sweetheart Soprano FIDES, (Fee'-Jayz) mother of John of Leyden Mezzo-Soprano COUNT OBERTHAL, ruler of the domain about Dordrecht Bass ZACHARIAH, | I Bass JONAS, Uhree Anabaptist preachers < Tenor MATHISEN, J [Bass Nobles, Citizens, Peasants, Soldiers, Prisoners. 5cene and Period : Holland and Germany; in 1 543, at the time of the Anabaptist uprising. Meyerbeer's great work is certainly entitled to be called a grand opera, for it is grand to the utmost in theme, character and scenes ; and with its brilliant and impressive music, at the time of its production sixty years ago was a model of its kind, as opera-goers demanded melodramatic action, tuneful music and opportunity for ballet; and all these requirements are fully met with in Le Prophete. The plot is based on the Anabaptist fanaticism of the sixteenth century, which agitated a large part of Germany and Holland, and the leader of which was one Bockelson, commonly called John of Leyden. ACT I SCENE A Suburb of Dordrecht, Holland The story furnished by the librettists describes John as the son of the widow Fides, an innkeeper of Leyden. At the opening of the opera he is about to wed Bertha, an orphan. She, being a vassal of the Count Oberthal, is obliged to ask his permission before marrying, and goes with Fides, John's mother to beg the Count's consent. The Count, struck with the young girl's beauty, covets her for himself, refuses his consent and orders Fides and Bertha into the castle. ACT II SCENE The Inn of John in the Suburbs of Leyden Three Anabaptists enter and being struck with the resemblance of John to the portrait of the guardian saint, David, at Munster, they try to induce him to become their leader. He refuses, but tells them of a strange dream he has had. JOHN: Under the vast dome of a splendid temple I stood the people at my feet were prostrate The royal coronal adorn'd my brow! The Anabaptists declare that Heaven has spoken in the dream, and promise that he shall yet be a ruler; but John's thoughts turn to his beloved Bertha, and in this beautiful Pastorale he tells them that another and sweeter life calls to him. COPY'T Dufont ALVAREZ AS THE PROPHET 269 VICTOR BOOK OF THE O P E R A MEYERBEER'S PROPHET Pastorale (There's a Sweeter Empire) By Leo Slezak, Tenor (In German) 64112 lO-inch ll.OO Slezak, whose John is one of his greatest roles, sings this lovely romanza with beautiful expression. JOHN: Less than this thatch'd roof Oh, there's a sweeter empire, far, My hopes would bless, Which long has been my guiding star; Sweet home of calm felicity. Oh, thou my joy, my greatest gain, Where I would gladly live and die, If in thy faithful heart I reign! Where Bertha will forever prove For me, the proudest kingdom, Alike my bosom's queen and love! Bertha, who has escaped from the castle, now runs in, asking John to save her. She is concealed by him as the Count's soldiers enter and threaten to kill Fides unless John delivers up the maiden. To save his mother's life he is forced to yield, and sees his bride carried off to become the Count's mistress. Fides, in her gratitude, sings this most dramatic and intense of Meyerbeer's airs, -which has attained a world-wide popularity. Ah, mon fils ! (Ah, My Son !) By Louise Homer, Contralto (In French) 88284 12-inch, $3.OO By Ernestine Schumann-Heink, Contralto (In French) 88187 12-inch, 3.OO FIDES: Ah, my son! Blessed be thou! Thy loving mother to thee was dearer Than was Bertha, who claim'd thy heart! Ah, my son! For thou, alas, Thou dost give for thy mother more than life, For thou giv'st all the joy of thy soul ! Ah, my son ! now to heav'n my pray'r ascends for thee; From Operatic Anthology, hy permission of My son, blessed be forever more! Ci.Scuirnn.-r. (Copj tis9.> The part of Fides, the most interesting in the opera, is one of Mme. Schumann-Heink's great successes, and the Ah, mon fils, a dramatic aria full of real passion, she sings with exquisite tenderness. This role being originally written for a soprano, requires a voice of wide compass and great power. Mme. Homer's voice not only possesses these qualities, but is brilliant in the higher register and full and musical in the lower, and she sings this wonderful music just as Meyerbeer wrote it, delivering the beautiful words with real pathos. John, left by his mother to bitter thoughts, hears the Anabaptists in the distance, and resolves to join them as a means of vengeance on the Count. The compact is soon made and they depart, leaving some blood-stained garments to lead Fides to believe John has been slain by the Count's assassins. ACT III SCENE- -Camp cf Anabaptists in (he Westphalia Forest The city of Munster is about to be besieged by the rebels, and before proceeding to the charge, John, now the Prophet, and in command of the rebels, makes them kneel and pray for victory. They chant the Miserere, and John sings this noble Inno or hymn. Re del cielo e del beati (Triumphal Hymn, tl King of Heaven") By Francesco Tamagno, Tenor (Piano ace.) (In Italian) 95OO5 lO-inch. $5.OO By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91O8O lO-inch, 2.OO By Luigi Colazza, Tenor (Double-faced-Set p. 273) (Italian) 16578 lO-inch, .75 JOHN : Let's unfurl the sacred flag, King of Heaven and of the angels, He whom we serve is Lord I will praise Thee, Of Heaven and earth. Like David, Thy servant. Let's sing and march away. A voice I heard "Array thyself, The eye of Heaven will watch over us, And safely on I will guide thee." A supreme power will guide us! Praise to the Omnipotent! With songs of joy with shouts of glory Yes, victory is on our side, On en to Munster! Three renditions of this inspiring number are presented. Tamagno, who was perhaps the most famous of all Prophets, sings the air gloriously, while other fine records are furnished by Colazza and Paoli, the latter being assisted by La Scala Chorus. 271 VICTOR BOOK OF THE O P E R A MEYERBEER'S PROPHET ACT IV SCENE I A Public Square in Munsler The insurgents have captured the city. The Prophet is received with mixed feelings, some denouncing him as an impostor. Fides, reduce to beggary, meets Bertha, who had escaped from the Count and come to Munster to seek John. Fides tells her John is dead, and Bertha, thinking the Prophet is respon- sible, swears to have vengeance. SCENE II The Munster Cathedral This magnificent cathedral scene is one of Meyerbeer's most brilliant com- positions. It forms a striking contrast to the rest of the opera, so gloomy with religious and political fanaticism, and as a piece of glittering pageantry with gorgeous decoration, pealing bells, solemn chants, and the stately Corona- tion March, has seldom been equaled. Coronation March By Arthur Pryor's Band 315O3 12-inch, $1.0O By Garde Republicaine Band 4115 10-inch, .60 Tlie great symphonic march which occurs in this scene is by far the most striking instrumental number in Meyer- beer's opera. It is brilliant and power- ful, with superb instrumentation, and even without the dramatic setting in which it is played in Prophete, always produces a marked effect on the listener. Of the performance of this noble and stately march by Pryor's Band, we can only say that it is superb in every respect, and the record has a volume of tone which makes one marvel that it all could come from the minute disc vibrations. As John passes into the church, Fides sees him, and in a transport of joy greets him as her son. He declares she is mad, knowing it is death to both if he acknowledges her. She finally realizes the situation, confesses that she is mistaken, and is led away to prison. ACT V SCENE I The Crypt of the Palace at Munster The first scene takes place in the prison vaults beneath the palace, where Fides, feeling certain that John will contrive to see her, patiently awaits his coming. She at first denounces him as an ungrateful son, then, repenting, prays that Heaven may soften his heart and lead him to repent. Prison Scene, Part I By Ernestine Schumann-Heink, Contralto (In French) 88094 12-inch, $3.OO JOHN DENYING HIS MOTHER ACT IV Whither have you led (Her wrath subsides.) Though thou hast abandoned me, But my heart is disarmed, Thy mother pardons thee. Yes, I am still a mother. I have given my cares that thou may'st be happy, Now I would give my life. And my soul exalted, will wait for thee in heaven! An officer enters and announces the arrival of the Prophet. Prison Scene, Part II By Ernestine Schumann-Heink, Contralto (In French) 88095 12-inch, $3.00 272 FIDES (alone) : O! my cruel destiny! me? What, the wails of a prison! they arrest my footsteps. I am no longer free. Bertha swore my son's death, he denied his mother; On his head let the wrath of Heaven fall ! VICTOR BOOK OF THE O P E R A MEYERBEER'S PROPHET Fides then begins the second part of her great scene. FIDES (joyfully) : He comes! I shall see him, delightful hope! Oh, truth! daughter of heaven, May thy flame, like lightning, Strike the soul of an ungrateful son. Celestial flame restore to him calmness! Restore, bless'd Heaven, his guardian angel! Immortal grace, Oh! conq'ring come; With thy pure love his heart reprove; Tho' he be guilty, save him now From that dark abyss which threatens to engulf him; Let thy light pierce this ingrate son, Conscience riv n, his soul soften, Like brass in furnace fierce, That he may ascend and reign in Heav'n ! When John enters, Fides denounces the bloody deeds of the Anabaptists and calls on her son to repent and renounce his false robes. FIDES: But thou, whom the world detests. Yes, thou, braving Heaven's behests; Thou, whose fell hand is reeking with blood; Go thou, my son no longer now! Far from my heart, far from my eyes Blood-stain'd, go! John confesses his sins and pleads for forgiveness, JOHN THE PROPHET finally kneeling and receiving her blessing, just as a faithful officer enters and informs John that the Ana- baptists are plotting to deliver him to the Emperor's forces, which are marching on the city. Bertha enters through a secret passage, revealed to her by her grandfather, -who -was once keeper of the palace. She has resolved to blow up the palace and the false Prophet, and is horrified to learn that John is the Prophet. She denounces him for his crimes, and declaring she has no longer reason to live, stabs herself. John, in despair, resolves to die with his enemies, and sending away his mother, plans to have the palace set on fire, and goes to the banquet hall. ou cur. PAHS SCENE II The Great Hall of the Palace After the Emperor's forces have entered, crying, " Death to the Prophet," John orders the gates closed. An explosion occurs and the palace falls, carrying down to death John and all his enemies. OBERTHAL: You are my prisoner! JOHN: Nay, ye are all my captives! flames spread on every side.) JOHN (to done and Oberthal): Thou, traitor! and thou, tyrant! shalt perish with me; Justice has sealed our doom; am the instrument. We, all guilty, are all punished! (A woman with dishevelled hair rushes through the ruins into John's arms. He recognizes his mother.) JOHN: (An explosion takes place, the walls fall and FlD > ^. mOther! Yes, receive my pardon; I will die with thee! FIDES AND JOHN : Welcome, sacred flame! To yon celestial sphere may our souls take flight! Adieu! (As the flames mount about them the curtain falls.) /Fantasic \ Barber of Seville Selection /Re del cielo (King of Heaven) \ William Tell Ballet Music Part III DOUBLE-FACED LE PROPHETE RECORDS By Pryor's Band i\ By Pryor's Bandl By Luigi Colazza, Tenor) By Pryor's 273 35125 12-inch, $1.25 10-inch, .75 (Italian) (English) I PURITANI THE PURITANS (Ee Poo-ree-tah' -nee) OPERA IN THREE ACTS Book by Count Pepoli ; music by Vincenzo Bellini. First presented at the Theatre Italien, Paris, January 25, 1835, with a famous cast Grisi, Rubini, Tamburini and Lablache. First London producton, King's Theatre, May 21, 1835, under the title of Puritani ed i Caoalieri. First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera, with Pinkert, Bonci and Arimondi. Characters LORD GAUTIER WALTON, Puritan Bass SIR GEORGE, Puritan Bass LORD ARTHUR TALBOT, Cavalier Bass SIR RICHARD FORTH, Puritan Baritone SIR BRUNO ROBERTSON, Puritan Tenor HENRIETTA OF FRANCE, widow of Charles I Soprano ELVIRA, daughter of Lord Walton Soprano Chorus of Puritans, Soldiers of Cromwell, Heralds and Men-at-Arms of Lord Arthur, Countrymen and Women, Damsels, Pages and Servants. Scene and Period : England in the neighborhood of Plymouth, in the period preceding the impeachment and execution of Charles II by Parliament. Previous to Mr. Hammerstein's revival in 1906, Puritani had not been given in America since the production of 1883, with Gerster as Elvira. This is not strange, as the opera on the -whole is somewhat dreary, only the few numbers the Victor has collected being really worth hearing. The plot is rather a foolish one: the libretto being one of the poorest ever written for Bellini, but the music is delightful and fascinating. However, -we will briefly sketch the story, as it will add to the enjoyment of the lovely melodies of Bellini which the Victor has recorded. The translation is a very unsatisfactory one, but a few quotations are given. The action occurs in England in the time of the Stuarts, during the civil war between the Royalists and the Puritans. Lord Wallon, the Puritan Governor-General, has a daughter Elvira, whom he wishes to marry to Richard Forth, a Puritan colonel, but the young girl loves an enemy, Lord Arthur. ACT I SCENE I Exterior of a Fortress near Plymouth At the beginning of Act I, Forth, learning that Elvira loves Arthur, and that her father refuses to force her into an unwelcome marriage, is disconsolate and gives vent to his feel- ing in a famous air : Ah per sempre (To Me Forever Lost) By Mario Ancona, Baritone (In Italian) 87O14 lO-inch, $2.0O given here by Signor Ancona, whose success in this part at the Manhattan revival is well remembered. FORTH : Ah! to me forever lost, Flow'r of love, and hope the dearest! Life, to me thqu now appearest, Gloomy and with tempests cross'd. Oh, happy and lovely dream of peace and joy! Oh, change thou my fate, or change my heart! Ah, what a keen torment, in the day of grief, Becomes the memory of a vanish'd love! 274 VICTOR BOOK OF THE O P E R A B E LL I N I' S PURITANI SCENE II Elvira's Room in the Castle The next scene shows Elvira 's apartment, where her uncle, Sir George, in a fine air, tells her that he has persuaded her father to consent to her marriage with Arthur. This is sung here by de Segurola and issued as a double-faced record, the opposite selection being the Infelice from Ernani. Sorgea la notte (The Night "Was Growing Dark) By A. Perello de Segurola, Bass (In Italian) 55O07 12-inch, $1.5O The night was growing dark. And Heav'n and earth were silent, Favorable the sad hour, Thy pray'rs gave courage to my soul, And to thy sire I went. Thus I began, "My brother" "Your angel-like Elvira Is for the valiant Arthur pining Should she another wed, Oh, wretched one! she dies!" Said thy father "She is to Richard promised!" "Thy unhappy child," repeated I, "will die." "Oh! say not so," he cried, "I must yield, let Elvira live, Ah! may she be happy Let her live in love!" Elvira is overjoyed, and expresses her gratitude. Trumpets are now heard, and Elvira's surprise is complete -when Lord Arthur arrives, attended by squires and pages, and bearing nuptial presents, prominent among which is a splendid white veil, soon to play an important part in the events to come. Shortly after his arrival Arthur discovers that the widow of Charles I is in the castle under sentence of death, and his sense of duty toward the late Queen impels him to contrive her escape by concealing her in Elvira's veil, the guards thinking it is the bride. The escape is soon discovered and Elvira, supposing that her lover has deserted her on the eve of her bridal day, becomes insane. All denounce Arthur and swear to be revenged. ACT II SCENE The Puritan Camp Act II shows the camp of the Puritan forces. Sir George announces that Parliament has condemned Arthur to death for aiding in the escape of the late Queen. Elvira enters, demented, and sings her famous air, much like the Mad Scene in Lucia. Qui la voce (In Sweetest Accents) By Marcella Sembrich, Soprano (In Italian) 88105 12-inch. $3.0O She recalls her first meeting with Arthur and repeats the vows he swore. ELVIRA: It was here in accents sweetest, He would call me he calls no more! Here affection swore he to cherish, That dream so happy, alas! is o'er! We no more shall be united, I'm in sorrow doomed to sigh, Oh, to hope once more restore me, Or in pity let me die! (Her mood changes.) Yes, my father: thou call'st me to the temple? "Tis no dream, my Arthur, oh, my love! Ah, thou art smiling thy tears thou driest, Fond Hymen guiding, I quickly follow! Then dancing and singine. All nuptial feasts providing. , (.Dancing toward Richard, whom she takes by the hand.) And surely you will dance with me Come to the altar. 275 ANCONA AS SIR RICHARD VICTOR BOOK OF THE OPERA-BELLINI'S PURITANI Elvira's uncle, hoping that the sight of her lover will restore her reason, begs Sir Richard to pardon the young man. Richard consents, provided he returns helpless and in peril, but if he comes bearing arms against his country he shall die. Sir George agrees to this, and in the splendid Sound the Trumpet they pledge themselves to fight together for their country. Suoni la tromba (Sound the Trumpet) By Mario Ancona, Baritone, and Marcel Journet, Bass (In Italian) 88500 12-inch, $3.00 This favorite duet, often sung in concert, has been aptly described as a " stentorian " number. It is undeniedly a most vigorous piece of declamation, and if the loyalty of Sir George and Sir Richard can be judged by the vigor of the usual rendition, they are loyal indeed ! SIR RICHARD AND SIR GEORGE: Sound, sound the trumpet loudly! Bravely we'll meet the foemen, 'Tis sweet affronting death! Bold love of country aiding. The victor's wreath unfading, Will unto us be proudly Restor'd by Love and Faith! Morn ! rising on a nation, Whose only trust is freedom Will bring us eternal fame! Earth's tyrants who dissemble, At the war-message tremble, Midst the world's execration They sink in endless shame! The Puritans then renew their pledge as to Arthur, saying: SIR GEORGE: All is now concluded, If Arthur is defenceless RICHARD: He'll find support and succor. SIR GEORGE: If he in arms returns RICHARD: He comes to shame and vengeance ! ACT III SCENE A Garden near Elvira's House The rise of the curtain discloses Arthur, who is fleeing from the enemy, and has come to the castle in the hope of seeing Elvira once more before he leaves England forever. She comes from the castle and at the sight of Arthur her reason suddenly returns. The lovers are reconciled after Arthur explains that it was in the service of his Queen that he had fled from the castle. They sing a lovely duet : Vieni fra queste braccia (Come to My Arms) By Maria Galvany, Soprano, and Francesco Marconi, Tenor (In Italian) 89O46 12-inch, $4-OO Forgetting their present danger, they think only of their love and that they are in each Other's arms again. ARTHUR: Come, come to my arms, Thou my life's sole delight! And thus press'd to my heart, We'll no more disunite! Thrill'd with anxious love and fear, On thee I call for thee I sigh; Come, and say the love is dear That soareth to boundless height! The sound of a drum is heard, and Elvira again becomes delirious, which so alarms Arthur that he thinks not of escape and is captured by the Puritan forces. The sentence of death is read to him and he is being led to his execution, when a messenger arrives from Cromwell saying that the Stuarts were defeated and a pardon had been granted to all captives. Elvira '3 reason returns, and the lovers are united, no more to part. (Curtain) 276 (Italian) 'English* REG IN A DI SABA QUEEN OF SHEBA (.Ray-gee -nah dee Sah' -bah) OPERA IN FOUR ACTS Text by Mosenthal, founded upon the Biblical mention of the visit of the Queen of Sheba to Solomon. Music by Goldmark. First production 1875, in Vienna. In New York 1885, with Lehmann and Fischer. Revived in 1905, with Walker, Rappold, Knote and Van Rooy. Characters KING SOLOMON Baritone HIGH PRIEST Bass SULAMITH, his daughter Soprano ASSAD, Solomon's favorite Tenor QUEEN OF SHEBA Mezzo-Soprano ASTAR.OTH, her slave (a Moor) Soprano Priests, Singers, Harpists, Bodyguards, Women of the Harem, People. Scene: Jerusalem and vicinity. Goldmark's opera, which was his first successful work, was revived on a sumptuous scale by the Metropolitan Company a few years ago, but since that time the only opportunity opera-lovers have had of hearing the beautiful airs has been that offered by their Victors. The plot tells of the struggle of Assad, a courtier of Solomon, against fleshly temptation, and of his final victory -which involves the sacrifice of the happiness of his betrothed, Sulamith. For this text Goldmark furnished some of the most beautiful and sensuous music in the entire range of opera. The wisdom and fame of Solomon having reached even distant Arabia, the Queen of Sheba decides to visit him, and a favorite courtier, Assad, has been sent to meet her and es- cort her to the city. When Assad arrives with the Queen, his betrothed, Sulamith, is aston- ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses to Solomon that he had met a beautiful woman at Lebanon and had fallen in love with her. When the Queen of Sheba arrives and removes her veil, Assad is astounded to recognize in her the mysterious woman who had captured his senses. Involuntarily he rushes toward her, but she coldly repulses him and passes on with the King. In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids her maid attract his attention with a weird Oriental song. Assad starts when he hears the mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his beautiful air, Magic Tones. Magiche note (Magic Tones !) By Enrico Caruso. Tenor (In Italian) 87041 10-inch, $2.0O By Leo Slezak, Tenor (In German) 64115 10-inch, l.OO A lovely melody, sung at first in mezzo-w>ce, develops gradually until the intense and passionate climax is reached. The Queen and Assad soon meet and confess their love for each other, but are inter- rupted by the arrival of the night guard. In the next scene the Court assembles for the -wedding of Sulamith and Assad, but Assad insults his bride and declares his love for the Queen. He is banished from Jerusalem and finally dies in the arms of Sulamith, who is crossing the desert on her way to a convent. 277 THE THEFT OF THE RHINEGOLD (English) THE RHINEGOLD (German) DAS RHEINGOLD (Dahss Rine'-golJ) MUSIC DRAMA IN FOUR SCENES Prelude to the Trilogy : " The Nibelungs' Ring " (Nee'-bel-oong) Words and music by Richard Wagner. First produced at Munich, September 22, 1869. First American production at New York, January 4, 1888. Characters WOTAN, (Vo'-tahn} DONNER, FROH, LOGI, (Low'-jee) FASOLT, FAFNER, ALBERICH, (,4/>/'-6e/--/w,)\ M ., , ,~ MIMF (M-'\~\ jNibelungs (Gnomes) [Gods >Giants . . < r> (Bass [Baritone I Bass ' 1 Tenor [ Tenor Be /Baritone [Tenor [Soprano Goddesses . . . < Soprano (Contralto [Soprano Nymphs of the Rnine 4 Soprano Contralto MIME, (Mee'-mae) FRICKA, (Free-ka FRElA, (Free -ah) ERDA, (Eh/.dah) WOGLINDE, WELLGUNDE, FLOSSHILDE, RheingolJ is not a "society" opera. Played in complete darkness and with no inter- missions during the two hours required for its presentation, it is a work only for real music- lovers who understand something of the story and appreciate Wagner's wonderful music. This first part of the f^ing is an introduction to the Trilogy proper, and a full under- standing of its incidents is necessary to properly appreciate the other Ring operas. SCENE 1 The Bottom of the Rhine The stage is in semi-darkness, representing the murky depths of the Rhine, and the light glimmering on the surface of the water above shows but faintly the three Rhine maidens guarding the Rhinegold. 278 VICTOR BOOK OF THE OPERA THE RHINEGOLD They sing their quaint songs as they float about the rock which conceals the treasure. MOTIVE OF THE RHINE MAIDENS Alberich, prince of the Nibelungs, a strange race of dwarfs who dwell deep in the earth, observes the beauty of the maidens and tries to make love to them. They laugh at him and evade with ease his clumsy endeavors to catch them. Suddenly, as the sun rises, the gleam of the Rhinegold is seen. Alberich, dazzled by the splendor of this glow, asks what it is, and the maidens foolishly inform him that whoever can secure this treasure and form it into a ring can become lord of all the world. One condi- tion, however, is that the possessor cannot wield this power unless he renounces forever the joys of love. Alberich, having failed in his amorous attempts towards the Naiads, now conceives an ambition for power. He cries, " Then love I renounce for- ever," and swimming to the rock, he tears the gold from its place and flees, while from the complete darkness which ensues comes the dwarf's mocking laughter and the -wailing of the maidens who are moaning for their lost treasure. SCENE II A Mountain Top, Showing the Castle of Walhalla THEFT OF THE RHINEGOLD SCENE I During this darkness the scene changes and as the stage becomes lighter we see Wal- halla, the abode of the gods, a wonderful castle built for Wolan by the giants. Wotan and his wife are lying asleep on a flowery bank, but soon wake and see the castle which has been built while they slept. Wotan is overjoyed at the glorious sight, but the more practi- cal Fricka reminds him of the price which he had agreed to pay the giants for this godly dwelling; this being the surrender of Freia, goddess of youth and beauty. Wotan tells her that he never intended to keep his agreement, the god Loge having promised to show him a way to evade payment. Freia now hastily enters, closely pur- sued by the giants Fasolt and Fafner, who call upon Wotan to deliver the goddess to them as agreed. Wotan repudiates his promise, saying that it was made only in jest. WOTAN : How sly to take for truth What only in sport we had settled! This beauteous goddess, light and bright, What use to you are her charms? FrOh and Donner, Fricka's brothers, enter, also Loge, and a long argument en- sues, Wotan finally realizing that he must give up Freia to the giants. Loge, however, tells them of the Rhinegold, saying that if this treasure could be stolen from Alberich by Wotan, it might be accepted by the giants in place of Freia. Wotan refuses to entertain this plan and the giants seize Freia and carry her off, declaring that if the Rhinegold is not in their hands by night the original bargain must stand, and Freia be lost to the gods forever. Left alone, the gods realize the serious 279 VICTOR BOOK OF THE OPERA THE RHINEGOLD predicament they are in, especially as it is seen that, deprived of their youth goddess, they are suddenly aging. Wolan thereupon decides to secure the Nibelungs' gold, and goes with Loge in search of Alberich. A vapor arises from the earth, concealing the stage, and when it disappears the scene has changed. SCENE III Alberich' s Cave Alberich, since he has acquired the Rhinegold, has become more arrogant and cruel than ever, and compels Mime and the other Nibelungs to continually toil and slave to bring him in more gold. At the beginning of the scene he is berating Mime for loitering over his task of making a Tarnhelm, or magic cap, fashioned from the Rhinegold, and which gives the wearer the power to become invisible. Wolan and Loge now enter on this scene and are rudely greeted by Alberich, who demands their business, and holding out the Ring bids them tremble at his power. They at first craftily flatter him, but he is surly and says that naught but envy could have brought them here. Wolan is angry and is about to voice his wrath when the crafty Loge makes him a sign to be quiet and begins to taunt Alberich, doubting his power. Alberich is so enraged that he offers to change himself into any shape required to prove the magic of the Tarnhelm, and immediately becomes a huge dragon. Loge affects extreme terror, at which Alberich laughs and resumes his human shape again. The god then cunningly asks him to change to a toad, which shape he has no sooner assumed than Loge puts his foot on the toad and seizes the Tarnhelm, thus robbing Alberich of his power. His natural form returns and they bind him and start for the upper earth. The scene changes again to the mountain summit. SCENE IV Same as Scene II Wolan and Loge enter, dragging the helpless Alberich, who is beside himself with rage. They demand that he give them his hoarded store of gold as the price of his freedom. He reluctantly obeys and summons the Nibelungs, who instantly swarm up from below carrying the hoard. He then asks to be set free, but Wolan demands also the Ring. Alberich is horrified, but is finally compelled to add it to the pile of gold. He then sings his bitter and ironical air, Bin ich nun fret ? Bin ich nun frei? (Am I Now Free?) By Otto Goritz, Baritone (In German) 64203 lO-inch, $1.0O He lays a frightful curse on the Ring, pre- dicting that it will bring misery and death to each possessor until it is restored to him again. ALBERICH (with bitter irony) : Am I now free? Really free? Then listen, friends, .. To my freedom's first salute ! As at first by my curse 'twas reached, Henceforth cursed be this ring! Gold which gave me measureless might, Now may its magic deal each owner death! No man shall e'er own it in mirth, And to gladden no life shall its luster gleam. May care consume each several possessor, And envy gnaw him who neareth it not! All shall lust after its delights, But none shall employ them to profit him. To its master giving no gain, Aye the murd'rer's brand it shall bring. To death he is fated, Its fear on his fancy shall feed; Though long he live shall he languish each day, The treasure's lord and the treasure's slave: Till within my hand I in triumph once more behold it! So stirred by the hardest need, The Nibelung blesses his ring! I give it thee, guard it with care But my curse canst thou not flee! THE CAPTURE OF ALBERICH SCENE in 280 VICTOR BOOK OF THE OPERA THE RHINEGOLD He vanishes and Wolan, who has paid little attention to his cursing, dons the Ring, gazing at it in admira- tion. The giants now return for their pay, and demand that enough gold shall be piled around Freia to hide her completely from sight. This is done, but when all the gold is piled up Fafner says there is still one small crevice visible, and insists that it be filled with the Ring. Woian refuses, and the giants are about to seize Freia again, when ErJa, the earth goddess, rises and delivers her appeal to Woian. BATTLE OF THE GIANTS SCENE IV ERDA (stretching her hand) : Waver, Wotan, waver '. Quit the Ring accursed! (She continues her solemn warning) Ruin and dismalest downfall wait thee in its wealth. WOTAN : Who speaks such menacing words? V^eiche, W^otan, weiche ! ("Waver, By Ernestine Schumann-Heinle, Contralto (In German) 88O92 12-inch. $3.OO (Wolan's responses are sung by Mr. Witherspoon) She warns him solemnly that the Ring is cursed and charges him to give it up. EBDA: Whatever was, was I; what is, as well; What ages shall work all I show; The endless world's All-wise one, Erda, opens thine eyes. Three, the daughters born to me E'er the world was made; all I notice Nightly thou know'st from the Nornir. But hither in dire danger haste I to thy help. Hear me! Hear me! Hear me! All that exists, endeth! A dismal day dawns for the ^Esir: O render wisely the ring! (She begins to sink slowly into the earth.) WOTAN : A secret spell speaks in thy words: Wait and impart more wisdom. ERDA (disappearing) : I've warned thee now; thou wott'st enough; Pause and ponder truth! (She completely disappears.) Mme. Schumann-Heink sings this powerful number with dignity and dramatic force. Wotan at last yields and throws the Ring on the heap of gold. The giants, as if to prove the curse, immediately begin to quarrel about its possession, and Fasolt is killed by Fafner; after which the murderer coolly proceeds to collect the gold and then departs. Donner, the god of thunder, now calls up a storm and causes a rainbow bridge to form, making a passage to the castle. As the gods proceed across the bridge to Walhalla the voices of the Rhine maidens can be heard from below, still bewailing the loss of their gold. copy: DUPOIT HOMER AS EROA RHINE-NYMPHS (from below): Rhinegold! Rarest gold! O might but again In the wave thy pure magic wake! What is of worth dwells but in the waters! Base and bad those who are throned above. (As the gods slowly cross the bridge to the castle, the curtain falls. ) 281 MONTERONE DENOUNCES THE JESTER ACT I RIGOLETTO OPERA IN THREE ACTS Text by Piave, adapted from Victor Hugo's drama Le Roi s' Amuse. Music by Giuseppe Verdi. First produced in Venice, March 11, 1851. First London production at Covent Garden, May 14, 1853; at the Italiens, Paris, January 19, 1857. First New York production November 2, 1857. Characters RIGOLETTO, a hunchback, jester to the Duke Baritone DUKE OF MANTUA, a titled profligate Tenor GlLDA, (Jeel'-Jah) daughter of Rigoletto Soprano SPARAFUCILE, (Spahr-ah-foo-cheel') a hired assassin Bass MADDALENA, (MaJ-Jah-lay -nah) his sister Contralto COUNT MONTERONE (Mon-ter-oh' -nay) Baritone COUNT CEPRANO Courtiers, pages, servants. Scene and Period : Mantua and vicinity ; sixteenth century. The story tells of the gay and unprincipled Duke of Mantua, -who is assisted in his crimes by his jester, Rigoletto, a hunchback. The father of one of the Dune's victims is mocked by Rigoletto and launches upon him a father's awful curse, which stuns and sobers the jester, as he, too, has a daughter, Cilda, unknown to the court. On his way home Rigoletto meets a professional assassin, Sparafucile, -who offers, for a price, to kill any enemy he may have. Rigoletto says he may need him later. The Duke, in the guise of a young student, has already met Gilda, not knowing who she is, and the young girl has fallen in love with him. When Rigoletto has left the house the Duke's courtiers abduct Gilda and take her to the Palace. The father's rage is terrible to witness, and he goes to the Palace, but too late to save his daughter. She pleads for the Duke's life, but Rigoletto swears to kill him, and arranges with the assassin, Sparafucile, to accomplish the deed. The Duke is lured to a lonely inn by Sparafucile' s attractive sister, Maddalena, and is about to be murdered when Maddalena, who has taken a fancy to him, begs for his life. Sparafucile consents provided a substitute should happen along before midnight. Gilda, 282 VICTOR BOOK OF THE OPERA VERDI'S RIGOLETTO whom Rigoletlo had brought hither (disguised as a page) in order that she might witness the fickleness of her lover, has been listening to the conversation, and now resolves to save the Dune's life at the cost of her own. She enters the hut, is stabbed by Sparafucile, who delivers the body to Rigoletto according to agreement. Rigoletlo is about to cast the body into the river when he hears the Dune's voice in the distance. The wretched man opens the sack, sees his daughter and falls senseless on her body. ACT I SCENE I Ballroom in the Duke's Palace As a fete is in progress in the ducal residence, the Duke confides to one of his courtiers that he is about to make a new conquest. For some months he has seen a young and beautiful girl at church, but knows nothing of her except that she is visited often by a man who is supposed to be her lover. The Duke then sings his first air, Questo o quella. Questa o quella ('Mid the Fair Throng) By Enrico Caruso, Tenor (In Italian) 87018 lO-inch, $2.OO By Florencio Constantino, Tenor (In Italian) 64O69 lO-inch, l.OO This melodious number is perhaps the best of the Duke's solos, though usually cast somewhat in the background by the popular La donna e mobile. In it the Duke announces himself as a man of pleasure, sets forth his code of morals, and boasts of his conquests. DUKE: 'Mid the fair throng that sparkle around me, Not one o'er my heart holds sway; Though a sweet smile one moment may charm me, A glance from some bright eye its spell drives away. All alike may attract, each in turn may please; Now with one I may trifle and play. Then another may sport with and tease Yet all my heart to enslave their wiles display. As a dove flies, alarm'd, to seek shelter. Pursued by some vulture, to bear it aloft in flipht, Thus do I fly from constancy's fetter: E'en women's spells I shun all their efforts I slight. A husband that's jealous I scorn and despise, And I laugh at and heed not a lover's sighs; If a fair one take my heart by surprise, I heed not scornful tongues or prying eyes. Caruso's interpretation of the Duke is quite different from the one to which opera-goers have been accustomed. He does not picture Mantua as a deliberate villain, a fiend in human guise, but as a light-hearted, careless and irresponsible devotee of pleasure, so attractive that the infatuation of GilJa seems wholly natural. This air is always sung by the tenor with perfect ease and extreme brilliancy, and the record is a superb one, not sur- passed by any in his list. 283 VICTOR BOOK OF THE O P E R A VE R D I ' S RIGOLETTO Constantino has made a great success as the Duke, both at the Manhattan Opera and in Boston during the past season. He sings this gay air with grace and abandon. After making another enemy in the person of the Count Ceprano, by his marked atten- tion to the latter's wife, the Duke departs. Marullo enters and eagerly announces to the courtiers a rich discovery. Rigoletto, the Duke 's jester, is in love ! The courtiers refuse to believe this, as Rigoletto is known as a confirmed woman-hater. Marullo insists that the jester makes frequent visits to a young girl. The nobles, who all hate Rigolelto for his cruel tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Ceprano the next evening for a rare adventure. The voice of the aged Count Monterone, whose daughter is one of the recent victims of the Duke, is now heard outside demanding admittance. He throws aside the guards who seek to stop him, and entering, denounces the Duke for his crimes. Ch'io le parli (I Will Speak to Him) By Francesco Cigada, Baritone: Aristo- detno Sillich, Bass; La Scala Chorus (In Italian) *68190 12-inch, $1.25 Rigolelto ridicules and mocks the old man, who calls him a "vile buffoon," and then, in an awful rage, utters so terrible a curse upon him, the curse of a father, that all are horrified. Rigolelto is stunned and sobered by this terri- ble malediction, for he, too, has a daughter, un- known to the court, and love for his child and respect for her dead mother are the sole redeem- ing traits in his cruel nature. Monterone is removed by the guards, and the scene changes to the street in front of Rigoletto' s house. SCENE II A Street ; Rigoletto 's Cottage on one side, opposite the Palace of Count Ceprano The jester enters, brooding with superstitious fear over the curse which had been laid upon him. He is accosted by Sparafucile, a professional assassin, who offers to rid him of an enemy if he has one. Rigolelto looks at him thoughtfully and says that if he has need of his services he will inform him. Sparafucile departs and Rigoletto delivers his famous monologue. Monologo Pari siamo (We Are Equal) By Mario Sammarco, Baritone By Antonio Scotti, Baritone By Emilio de Gogorza, Baritone By Titta Ruffo, Baritone By Ernesto Badini, Baritone He looks at the retreating form of the SPARAFUCILE OFFEPS HIS SERVICES ACT I, SCENE II 8832O 88O32 88179 92041 12-inch, $3.0O 12-inch, 3.0O 12-inch, 3.0O 12-inch, 10-inch, 3.00 1.00 (In Italian) (In Italian) (In Italian) (In Italian) (In Italian) *45032 bravo and says : Tells me, between sleeping and waking: "Come, buffoon, I would laugh now!" Oh shame, I must obey him! Oh life accursed! How I hate ye, Race of vile and fawning courtiers! 'Tis my only joy to taunt ye! For if I am vile, 'tis to your vice I owe it! (He thinks of his home and daughter.) In that blest abode my nature changes! (Again he remembers the curse.) How heavy was that old man's curse! Still I hear it; 'tis ringing in my ears! My soul is troubled fear I some misfortune? , Ah, no, this is folly! * Double-Faced Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. 284 RIGOLETTO: Yon assassin is my equal He stabs in darkness, While I with a tongue of malice Stab men by daylight! (Tie thinks of Monterone's curse.) He laid a father's curse on me. . . . (Continuing in a burst of rage.) Oh hideous fate! Cruel nature! Thou hast doom'd me to a life of torment. I must jest, I must laugh, And be their laughing stock! Yonder the nuke, my master, Youthful and brilliant, rich and handsome VICTOR BOOK OF THE O P E R A VE RD I 'S RIGOLETTO Five records of this great number are here presented, sung by famous exponents of the part of Rigoletto. The jester enters the court-yard and is affectionately greeted by Gilda, who comes from the house. She notes his anxious looks and begs him to confide in her. She asks him about her mother, whom she but dimly remem- bers. Rigoletto avoids her question and sings a pathetic air : Deh non parlare al misero (Recall Not the Past) By Antonio Scotti, Baritone (In Italian) 85031 12-inch, $3.OO in which he begs her to refrain from questions regarding their past life. He embraces her tenderly, then, recalling the curse, solemnly enjoins her to keep within the house and never venture into the town. Gilda says she has only been to Mass each Sunday, but does not tell him of the student with whom she had exchanged fond glances. Rigoletlo summons the maid, Giooanna, and questions her, begin- ning a lovely duet, full of pathos. Veglia o donna (Safely Guard This Tender Blossom By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 915OO 10-inch. $3.OO He warns the maid to always closely guard her mistress from any danger which may threaten. RIGOLETTO : Safely guard this tender blossom, Which to thee I now confide; In her guileless heart and bosom May no thought of ill betide; From the arts of vice protect her, May its snares be laid in vain; Her father will from thee expect her Safely brought to him again. SAMMARCO AS RIGOLETTO GILDA: Ah ! such fear for me revealing, Father dear, why thus display? One from whom there's no concealing Guides me ever on my way From on high my mother's spirit Leads me on with tender care; While this heart bears life within it, 'Twill defy each artful snare! Rigoletto bids his daughter a tender farewell and takes his departure. The Duke, again dressed as a student, now enters, having previously purchased the silence of Giooanna. Gilda is alarmed, not thinking her innocent flirtation in the church would lead to this, and bids him begone, but he reassures her, beginning a fine duet. E il sol dell' anima (Love is the Sun) By Giuseppina Huguet, Soprano, and Fernando de Lucia, Tenor (In Italian) 92056 12-inch, $3.0O By Alice Nielsen, Soprano, and Florencio Constantino, Tenor (In Italian) 74063 12-inch. 1.5O He soothes her fears, telling her he loves her with a pure devotion. DUKE: Love is the sun by which passion is lighted, Happy the mortal who feels its power; Each pleasure once priz'd without it seems blighted; With it we heed not what fate may shower. Feeling celestial, no joy terrestrial Ever to me can such sweet joys impart. Ah! may no blight ever this heart from thee sever ; Rest in my bosom, ne'er to depart! Footsteps are now heard, and after a tender farewell he leaves, after telling her that his name is Walter Malde. Gilda remains pensively gazing at the gate through which the pretended student has departed. In rapturous soliloquy she sings : ABOTT AS GILDA 285 VICTOR BOOK OF THE O P E R A V E RD I 'S RIGOLETTO GILDA: Walter Malde! That romantic name! Already it is on my heart engraven! Caro nome (Dearest Name) By Luisa Tetrazzini, Soprano By Marcella Sembrich, Soprano By Nellie Melba, Soprano By Bessie Abott, Soprano By Graziella Pareto, Soprano By Edith Helena, Soprano By Marie Michailowa, Soprano Then the lovely air, Caro Nome, begins. GILDA: Carv'd upon my inmost heart Is that name forevermore Ne'er again from thence to part, Name of love that I adore, Thou to me are ever near, Ey'ry thought to thee will fly, Life for thee alone is dear, Thine shall be my parting sigh! (Gilda enters the house, but reappears on the balcony.) Oh, dearest name! Oh name beloved! Walter, I love thee, Ev'ry fond, tender thought for thee I cherish! (In Italian) (In Italian) (In Italian) (In Italian) (In Italian) (In English) (In Russian) 88295 88017 88O78 88050 76007 *35067 61141 12-inch, $3.OO 12-inch, 3.00 12-inch, 12-inch, 12-inch, 12-inch, lO-inch, 3.00 3.00 2.00 1.25 1.00 (She disappears, but can be heard from within.) Oh! name beloved! Dear name, within this breast, Thy mem'ry will remain! My love for thee confess'd, No power can restrain! Carved upon my inmost heart Is that name for evermore. Thine shall be my parting sigh, Oh Walter mine! This delightful song, -with its grace, delicacy and coloring, has never been surpassed and the scoring for orchestra, especially in Verdi's use of the wood-wind, is admirable. Melba's rendition is worthy of so exquisite a number, and she has surpassed herself here. The ease with which she sings is wonderful, and her voice shows in an unusual de- gree that luscious smoothness, golden purity and perfect equality for which it is noted. The character of Gilda is represented by Mme. Sembrich -with genuine simplicity, yet with truly impassioned feeling where occasion calls for it; as in this tuneful "Caro nome," when the young girl in soliloquy dwells with rapture on the name of the pretended student, Walter Malde, who has secretly won her heart. Nothing could be more perfect in its way than Mme. Sembrich's singing of this beautiful number. Tetrazzini's delivery of this lovely air is marked by surpassing beauty of tone, the roulades, trills and staccatos in the concluding portion being poured out lavishly and with the utmost ease and fluency. Other adequate renditions, at lower prices, are also listed above. * Double-Faced Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. 286 VICTOR BOOK OF THE O P E R A VE RD I 'S RIGOLETTO Night has now fallen and the courtiers, led by Ceprano, enter, wearing masks. Rigo- letto returns and is much alarmed to see them in this neighborhood, but his fears are allayed when they an- nounce that they have come to carry off Ceprano 's -wile, as he is well aware that the Duke has had designs on that lady for some time past. He tells them Ceprano 's palace is on the opposite side and offers to help them. They insist that he musf^ be disguised and contrive to give him a mask which covers his eyes and ears, and lead him in a circle back to his own balcony, giv- ing him a ladder to hold. GilJa is seized, her mouth THE ABDUCTION OF GILDA gagged with a handkerchief, and she is carried away. Rigoletto, suddenly finding himself alone, becomes suspicious, tears off his mask and finds himself at his own balcony. Frantic with fear he rushes in, finds his daughter gone, and falls in a swoon as the curtain descends. ACT II SCENE A Hall in the Duke's Palace The courtiers enter and tell the Duke that they have captured Rigoletto' s mistress. He expresses his appreciation of the adventure, not knowing they had abducted the young girl he had just left, and asks for particulars. They sing their chorus, Scorrendo unite, Scorrendo unite remota via (On Mischief Bent) By New York Grand Opera Chorus (In Italian) b4O49 10-inch, M.OO which gives the details of the huge joke they have played on Rigoletto by making him assist in the capture of his own mistress. COURTIERS: Unto a lonely abode directed, When shades of evening were falling fast, By dark'ning shadows we were protected Until our game we spied at last; With timid footsteps she scarce came nigh us, We were preparing our prey to seize When Rigoletto just then came by us. With angry brow and ill at ease. And that the joke might be all the madder, We said Ceprano's wife should be our prey, When the Duke learns that Gilda is in an adjoining room he joyfully goes to her, saying that her fears will be soothed when she discovers he is the Walter Malde she loves. Then occurs one of the most dramatic scenes in the opera, and the greatest opportunity for Rigoletto. This scene has been recorded in its entirety by Amato, one of the greatest of Rigoletlos, assisted by Bada, Setti and the Metropolitan Chorus. Povero Rigoletto ! (Poor Rigoletto !) By Pasquale Amato, Baritone, with Bada. Setti and Metropolitan Chorus In Italian 8834O 12 $3.OO Rigoletto's voice is now heard outside, singing a careless air. He enters, affecting in- difference, but trying to find some clue to Gilda 's whereabouts. A page enters with a mes- sage for the Duke and the courtiers tell him their master cannot be disturbed. Rigoletto listens, his fears becoming confirmed, and he exclaims : RIGOLETTO: RIC.OI.ETTO: Ah, she must be here then! The maid whom you last night In yonder chamber! From my_ rowt carried hither. COURTIERS: {affecting surprise): Who? Ah, she is there, I know it! 287 We then desir'd him to hold the ladder; His eyes were bandag'd, he did obey. We swiftly mounted to the room, and found her. The startled beauty we bore away! DCKE (aside): Wondrous! it must be my love, my lost one! CofRTIERS: When he discover'd how we'd fooled him. No doubt he curs'd till break of day! VICTOR BOOK OF THE O P E R A VE RD I 'S R I G O LETT O COURTIERS: If a sweetheart you've lost, RIGOLETTO: Go somewhere else to seek her! Yes, my daughter! RIGOLETTO (with terrible empliasis) : (Rushes toward the door, but the courtiers bar Give me my daughter! his passage and a terrible struggle occurs.) COURTIERS (in astonishment): She is there I stand back, I tell ye! What, his daughter! His rage, now terrible to witness, is expressed in the second part, Cortigiani, vil razza. Cortigiani, vil razza dannata (Vile Race of Courtiers) By Pasquale Amato, Baritone (In Italian) 88341 12-inch, $3.OO By G. Mario Sammarco, Baritone (In Italian) 88315 12-inch, 3.OO By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92O66 12-inch, 3.0O By Emilio Sagi-Barba, Baritone (In Spanish) 74161 12-inch, 1.50 By Renzo Minolfi, Baritone (Double-faced See page 294) 16573 lO-inch, .75 He at first denounces them as abductors and assassins, then breaking down, asks for pity. RIGOLETTO: Race of courtiers, vile rabble detested, (He weeps.) Have ye sold her, whose peace ye molested? Ah, I weep before ye, Marullo, so kindless? Gold and favor will buy ye, I know it Others' grief never yet saw thce mindless, E'en the treasure that nought can restore. Tell, oh tell where my child they have hidden, Ah, where is she? do not rouse me to mad- Marullo, have pity, ness Say the word where my daughter is hidden! Though unarm'd, of my vengeance beware Is't there? say in pity thou'rt silent! alas! ye; (In tears.) For the blood of some traitor I'll pour! Oh, my lords, will ye have no compassion (Again making for the door, and again inter- On a father's despairing intercession? ritpted.) Give me back my belov'd only daughter, Let me enter, ye assassins, stand back! Dearer far than my life, give her back, I That door I must enter! implore! (He struggles again with the courtiers but Have pity, oh give me back my child, is repulsed and gives up in despair.) In pity, oh hear me implore! Ah, I see it all against me have pity ! This affecting scene is ended by Gilda, who now enters, in tears, and embraces her father. RIGOLETTO (overjoyed) : GILDA (hiding her face) : Gilda, my daughter! Dishonor, oh my father! My lost one my treasure! RIGOLETTO: Horror! what say'st thou? My lords, she is all I cherish. GILDA: Now we need fear nothing, Father, oh hide me from ev'ry eye but thine! Angel, I've found thee! RIGOLETTO (imperiously, to the courtiers): Come tell me, 'twas but jesting? Hence, I command, and leave us! (To the courtiers.) If the worthless duke ye serve dares approach, I who was weeping rejoice now. I forbid him to enter! (To Gilda.) Say that, I charge ye! But why art thou weeping? The courtiers, somewhat ashamed at the turn of affairs, obey, and Gilda begins her pitiful confession. Tutte le feste al tempio (On Every Festal Morning) By Marcella Sembrich, Soprano, and G. Mario Sammarco, Baritone (In Italian) 89042 12-inch, $4.00 By Olimpia Boronat, Soprano (In Italian) 88242 12-inch, 3.OO By Laura Mellerio, Soprano, and Ernesto Badini, Baritone (In Italian) *45OOO lO-inch, 1.00 By Giuseppina Huguet, Soprano (In Italian) *62083 lO-inch, .75 GILDA: On ev'ry festal morning Ah, in my hopeless misery. Near to the holy altar, My saint I have enshrined thee. I saw a youth observing me. In horror and anguish here I must find thee, Beneath whose gaze mine did falter ( Thy future all turned to woe! Though 'not a word he said to me, (To Gilda.) My heart his meaning well did know! Daughter come, let me comfort thee in thy When twilight shades were darkening, sorrow Last night he stood before me, GILDA: Fondly he vow'd to love me. Father! And I gave him vow for vow. RIGOLETTO: RIGOLETTO (despairingly): Weep here, weep, on my heart thy tears may Ah! that thou be spared my infamy flow. I've wearied Heaven with praying, GILDA: That every good may lirht on thee Father, in thee an angel doth comfort bestow. Far from the world's betraying, * Double-FaceJ Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. VICTOR BOOK OF THE O P E R A V E R D I 'S RIGOLETTO Piangi fanciulla ('Weep, My Child) By Maria Galvany, Soprano, and Titta Ruffo. Baritone (In Italian) 92502 12-inch. 4.<>O By A. Cassani. Soprano, and F. Federici, Baritone (In Italian) *45032 lO-inch, l.OO The Count Monlerone now passes through the hall under guard. He pauses before the 's portrait and exclaims: MONTEBONE: Oh, then, 'twas in vain in my anger I cursed thee ! No thunder from Heaven yet hath burst down to strike thee. With pleasure triumphant thy days yet are crowned. (Exit, guarded.) Rigolelto, gazing after Monterone, grimly says that vengeance will not be long delayed. Si vendetta (Yes, My Vengeance) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 915O1 lO-inch, $3.OO By Laura Mellerio, Soprano, and Ernesto Badini, Baritone (In Italian) *450OO 10-inch, l.OO He in turn gazes on the Dune's portrait and sings fiercely: RIGOLETTO : But 'twill not be long thus, the avenger is nigh. (Impetuously.) Yes, my vengeance hath doomed thee. Heartless fiend, 'tis my sole consolation, That ere the flames of Hell entomb thee, Thou shalt feel a father's wrath. GILD A: Oh my father, a joy ferocious In thy words doth tell of danger RIGOLETTO: To vengeance! GILDA (timidly): Heav'n doth know his crime atrocious, Oh, might I avert its wrath RIGOLETTO: To vengeance ! GILDA: (In my heart there's nought of anger.) RICOLETTO: Yes, to vengeance fierce I doom fhee Thou shalt feel a father's wrath! GILDA: Oh, forgive him! Ah, might I avert the wrath of Heaven! ( They depart. ) * Double-Faced Record For title of opposite *de xe DOUBLE-FACED RIGOLETTO RECORDS, page 294. 289 VICTOR BOOK OF THE O PE R A VE R D I 'S RIGOLETTO ACT III SCENE I A Lonely Spot on the Rioer Mincio. A House, Half in Ruins, at one Side. The front of the house, open to the spectator, shows a rustic inn on the ground floor ; a broken staircase leads from this to a loft, where stands a rough couch. On the side towards the street is a door, and a low Wall extends backwards from the house. The Mincio is seen in the background, behind a ruined parapet; beyond, the towers of Mantua. It is night. Sparafucile in the house, seated by a table polishing his belt, unconscious of what is spoken outside. Rigoletto and Gilda, the latter in male attire, now approach the inn. Rigoletto pityingly asks his daughter if she still can love the Du^e. She confesses that she does, and he exclaims : RIGOLETTO: GILDA: Thou lov'st him? Nay, rather pity. GILDA: Always. RIGOLETTO: RIGOLETTO' -^"^ if I could convince thee that he is Still to iove him is mere infatuation. worthless, wouldst thou still then love him? GILDA: GILDA- I love him. Perhaps. Ah, he does love me! RIGOLETTO: Ah, tender heart of woman! RIGOLETTO (leads her towards the house to look Oh, base despoiler! through a fissure in the wall): Thou my child shalt yet have vengeance. Come here, and look within. She does so, and is startled to see the Dufae, who comes in disguised as a soldier, demand some wine and sing his famous La donna e mobile, La donna e mobile (Woman is Fickle) By Enrico Caruso, Tenor (In Italian) 87O17 10-inch, $2.OO By Florencio Constantino, Tenor (In Italian) 64072 lO-inch, 1.00 By Giuseppe Acerbi, Tenor (In Italian) *62083 10-inch, .75 This familiar canzone, beginning La don-na & mo-bi - le qual phi-ma al ven - to, mu-ta d'ac cen - to e di pen sic- ro Wom-an- ~isfick . le. false al-lZ'-eeth-er. Mm' d likelhefet-therborneby the tree-fit is perhaps the best known of all the airs of the opera. Its spontaneous melody pictures the gay, irresponsible character of the young noble who thus sings of changeable womankind. DUKE: Woman is fickle, false altogether, Moves like a feather borne on the breezes; Woman with guiling smile will e'er deceive you, Often can grieve you, yet e'er she pleases, Her heart's unfeeling, false altogether; Moves like a feather borne on the breeze, Borne on the breeze, borne on the breeze! Wretched the dupe is, who when she looks kindly, Trusts to her blindly. Thus life is wasted! Yet he must surely be dull beyond measure, Who of love's pleasure never has tasted. Woman is fickle, false altogether, Moves like a feather, borne on the breeze! Caruso delivers the gay air with an ease and abandon which are infectious, and sings the difficult cadenza in the second verse -with unusual effectiveness. Other renditions are given at varying prices. * Double-Faced Record For title of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 294. 290 VICTOR BOOK OF THE O P ER A VERD I 'S RIGOLETTO CONSTANTINO AS THE DUKE ACT III By Arthur Pryor's Band By Arthur Prynr's Band At the close of the Dune's song Sparafucile enters with the -wine. He knocks twice on the ceiling and a young girl conies down. The Due tries to embrace her but she laughingly escapes him. Now occurs the great Quartet, one of the most famous of concerted pieces. Quartet Bella figlia dell'amore (Fairest Daughter of the Graces) By Bessie Abott, Soprano; Louise Homer, Contralto ; Enrico Caruso. Tenor; Antonio Scotti, Baritone (In Italian) 96OOO 12-inch. $6.0O By Marcella Sembrieh. Soprano; Mme. Severina, Contralto ; Enrico Caruso. Tenor; Antonio Scotti, Baritone (In Italian) 96O01 12-inch. 6.OO By Giuseppina Huguet, Soprano: Emma Zaccaria, Mezzo-Soprano ; Carmelo Lanzirotti, Tenor ; Fran- cesco Cigada, Baritone (In Italian) *68O67, 12-inch, 1.25 By Giuseppina Huguet Soprano ; Emma Zaccaria, Mezzo-Soprano ; Carmelo Lanzirotti, Tenor ; Fran- cesco Cigada, Baritone (In Italian) 58359 12-inch, l.OO 31471 12-inch, l.OO *16276 10-inch, .75 Among the musical gems with which the score of Rigoletto abounds, none is so well known and universally admired as this fine number, sung by the Due, Gilda, Maddalena and Rigoletto. It is undoubtedly the most brilliant and musicianly of all Verdi's concerted pieces, and the contrasting emotions the tender addresses and coquetry on the one side, and the heart-broken sobs of Gilda and the cries for vengeance of her father on the other are pictured with the hand of a genius. No less than four records of this great number, at varying prices, also two instrumental renditions, are offered by the Victor. The singers who have been engaged for these records are all noted for their artistic interpretations of the characters represented. Caruso's with its glorious outpourings of luscious voice in the lovely airs; Sembrieh 's perfect por- trayal with its wonderful vocalization ; Abott's girlish and brilliantly sung imper- sonation ; Homer's Maddalena, which is fascinating enough to attract any Duke, and whose one vocal opportunity occurs here ; Scotti's truly wonderful and superbly sung Jester, one of the most powerful im- personations on the operatic stage all these are familiar and admired portrayals; while the artists who render the low - priced record are all well-known and competent singers. THE QUARTET ACT 111 291 VICTOR BOOK OF THE O PE R A VE RD I 'S RIGOLETTO The situation at the opening of the act is a most dramatic one. The Duf(e, gay and careless, is making love to Maddalena in the inn of Sparafucile, the bandit, all unconscious that the assassin hired by Rigoletto is waiting for his opportunity. He sings, beginning the quartet: DUKE: Fairest daughter of the graces me, ed love. fairest aaugnter 01 tne graces, I thy humble slave implore thee, With one tender word to joy restore End the pangs, the pangs of unrequit Of my anguish see the traces, Thee I treasure all above. With one tender word to joy restore me, End the pangs, the pangs of unrequited love! COPY'! OUPON MADDALENA (repulsing him) : I appreciate you rightly, All you say is but to flatter. Ah, I laugh to think how many Yet your tender tale may move! Rigoletto, \vho desires to prove to Gilda that her lover is false, bids her look through the window of the inn at the scene within. The unhappy girl, convinced, exclaims : GILDA: Ah, to speak of love thus lightly! Words like these to me were spoken, He is false; my heart is broken! RlCOLETTO: Silence, thy tears will not avail thee, It were baseness to regret him! Thou must shun him and forget him. (With fierce joy.) Thy avenger I will prove The strength to punish will not fail me HOMER AS MADDALENA That I vow to every power that rules above! The blending of the four voices is marvelous in its smoothness, and the manner in which every syllable and every note of the difficult music is brought out, is most remarkable. The sales of these wonderful reproductions have been enormous, and copies of the records have made their way to every part of the world, and are in the collections of music lovers everywhere. The Duke now goes to his bedroom and is soon asleep. Rigoletto bids his daughter go to Verona with all speed and he will meet her there. She reluctantly departs and Rigo- letto pays Sparafucile half his pri;a, the remainder to be paid on the delivery of the body of the Dut^e at midnight. Rigoletto goes away just as Gilda, who has disobeyed her father, returns and tries to see what is going on inside the house. Sparafucile enters the house and Maddalena, who has taken a fancy to the Duf^e, begs her brother to spare his life, delicately suggesting that he kill Rigoletto and take the money from him. Spara- fucile is indignant and pro- tests that he has never yet failed in his duty to his em- ployers. Maddalena pleads with him and he finally says if another guest should enter he will kill him instead of the Duke. 292 VICTOR BOOK OF THE O P E R A VE R D I 'S RIGOLETTO During this dramatic scene a storm is raging, and in addition to the stage effects of thunder and lightning Verdi has used the effective device of the chorus humming in chro- matic thirds to illustrate the moaning of the -wind. This scene is given here in a wonder- fully impressive record by Brambilla, Cappiello and Sillich, assisted by La Scala Chorus. Tempesta Somiglia un Apollo (He's Fair as Apollo) By Linda Brambilla, Soprano ; Maria Cappiello, Mezzo-Soprano ; Aristo- demo Sillich, Bass ; and La Scala Chorus (In Italian) *6819O 12-inch, $1.25 GilJa hears this terrible agreement and the broken-hearted girl resolves to sacrifice her own life to save that of her false lover. She knocks at the door, is seized and stabbed by the bandit and her body wrapped in a sack. Rigoletto soon returns, pays the remainder of the price agreed upon, and receives the body. Sparafucile, fearing that Rigolello will discover the substitution, offers to throw the body into the river. The Jester says he will do it him- self and bids the bravo depart. Left alone, the Jester gazes on the body with a horrible satisfaction, saying: RIGOLETTO: He is there, pow'rless! Ah, I must see him'. Yes, my foot is upon him! Nay, 'twere folly! 'tis he surely! I feel his My grief has vamsh'd, spurs here. 'Tis turned to joy triumphant; Look on me now ye courtiers! Thy tomb shall be the waters. Look here and tremble. This coarse sack thy shroud and grave cloth'. Here the buffoon is monarch! Away, now! He is about to drag the sack towards the river, when he hears the voice of the Dul^e leaving the inn on the opposite side. DUKE: Woman is fickle, false altogether, etc. RIGOLETTO (tearing his hair): That voice! Am I mad? What fiend deludes me? No, no, no! here I hold him! (.Calling to the house.) Hola, thou thief, thou bandit ! (The Duke's roice dies in the distance.) Then whom have I within here? I tremble the form is human ! (With utmost horror, recognizing Gilda.) My daughter, oh, Heav'n, my daughter! Ah, no! Not my daughter! She is in Verona! 'Twas a dream ! Then begins the wonderful final duet, a fitting end to such a noble and powerful work, and a number which is unfortunately omitted in American performances of the opera. However, the Victor owner, more fortunate than the opera-goer, may hear it at his pleasure. Lassu in cielo (In Heaven Above) By Graziella Pareto, Soprano, and Titta Ruffo, Baritone (In Italian) 925O6 12-inch, $4.OO By Giuseppina Huguet, Soprano, and Renzo Minolfi, Baritone (In Italian) *68O67 12-inch, 1.25 RIGOLETTO: The assassin deceived me. Hola! 'Tis Gilda ! (Knocks desperately on the door of the house.) (Kneeling.) No answer! despair! my daughter! my Gilda! Child of sorrow! my angel, look on thy father! Oh, my daughter! The young girl, who is not yet dead, opens her eyes and cries feebly : GILDA: Ah, who calls me? RIGOLETTO: RIGOLETTO: Heaven's aventing wrath has undone me. Ah, she hears me! She lives then! Must I lose all on earth that was left me! Oh, thou, my heart's only treasure, (To Gilda.) Behold thy father despairing! Turn thine eyes, oh my angel, upon me. GILDA: Speak, oh speak to me, who hath bereft me? Dearest father! RIGOLETTO: GILDA: Who was't that struck thee? Father, oh ask not. GILDA: Bless thy daughter and forpive her. Oh, my father, for him that I cherish. From yonder ky. with the blest angels flying, I deceived thee, and for him 1 perish. Comes my mother to welcome me home! * Doullc-Factd Rtcord For title of oppotite tide *x DOUBLE-FACED RIGOLETTO RECORDS, page 294. 293 VICTOR BOOK OF THE O P E R A V E RD I 'S RIGOLETTO RIGOLETTO: Child, in pity, oh speak not of dying; Stay thou to bless me, oh leave me not alone. GILDA (feebly) : There we wait, my father, for thee! RIGOLETTO: Ah, no, no, leave me not! Live, my child. Canst thou leave me alone, despairing to mourn? GILDA: Ah, no forgive my betrayer, my father, for- give him. From yonder sky there we wait my father, for (She dies.) RIGOLETTO: Gilda! my Gilda! I've lost her! (He recalls the curse.) Ah! 'twas a father cursed me! (Tears his hair and falls senseless on the body of Gilda.) (Curtain) DOUBLE-FACED RIGOLETTO RECORDS 68190 68067 iCh 'io le parli (I Will Speak to Him) By Cigada, Sillich, and La Scala Chorus (In Italian) Tempesta Somiglia un Apollo (He's Fair as Apollo) By Linda Brambilla, Maria Cappiello, Aristodemo Sillich, and La Scala Chorus (In Italian) /Caro nome (Dearest Name) By Edith Helena (In English)} **, \ Sonnambula Ah, non giunge By Edith Helena (English)) Quartet Bella figlia dell' amore (Fairest Daughter of the Graces) By Giuseppina Huguet, Emma Zaccaria, Carmelo Lanzirotti, and Francesco Cigada (In Italian) Lassu in cielo (In Heaven Above) By Giuseppina Huguet, Soprano, and Renzo Minolfi, Baritone (In Italian) JMonologo Pari siamo By Ernesto Badini (In Italian)} \Piangi fanciulla By Cassani and Federici (In Italian)) Tutte le feste al tempio (On Every Festal Morning) 1 By Laura Mellerio and Ernesto Badini (In Italian) I Si vendetta (Yes, My Vengeance) By Laura Mellerio and Ernesto Badini (In Italian)) [Cortigiani, vil razza dannata (Vile Race of Courtiers) 1 By Renzo Minolfi, Baritone (In Italian) \ 165 73 La^me Fantaisie aux divins By M. Rocca, Tenor (In French)} Tutte le feste al tempio (On Every Festal Morning) ] By Giuseppina Huguet, Soprano (In Italian) >62O83 La donna e mobile By Giuseppe Acerbi, Tenor (Italian)) Rigoletto Quartet By Arthur Pryor's Band 12-inch, $1.25 12-inch, 1.25 12-inch, 1.25 45032 lO-inch, 1.00 lO-inch, l.OO lO-inch, .75 Peacemafcei March By Arthur Pryor's Band) 10-inch, .75 16276 10-inch, .75 (Italian) ROBERTO IL DIAVOLO (Roh-bchr-loh eel Dce-ah' -voh-loh) ROBERTLE DIABLE ROBERT "THE DEVIL (Roh-behr-leh Dee-ah' -bl) OPERA IN FIVE ACTS Words by Scribe and Delavigne ; music by Giacomo Meyerbeer. First presented at the Academic, Paris, November 21, 1831. In London, and in English, imperfectly, as The Demon, or the Mystic Branch, at Drury Lane, February 20, 1832; and as The Fiend Father, or Robert of Normandy, at Covent Garden the day following; as Robert the Devil at Drury Lane, March I, 1845. In French at Her Majesty's Theatre, June I I, 1832. In Italian at Her Majesty's Theatre, May 4, 1847 (first appearance of Jenny Lind and Staudigl). CAST ROBERT, Duke of Normandy Tenor BERTRAM, the Unknown Bass RAMBALDO, a minstrel Tenor ISABELLA, Princess of Sicily Soprano ALICE, foster sister of Robert Soprano Knights, Courtiers, Heralds, Pilgrims, Peasants, Chaplains, Priests, Nuns, etc. Although Meyerbeer had produced several operas, most- ly unsuccessful, it was not until the production of Robert le Diable in 1831 that the genius of the composerbecame known. The opera met with an unparalleled success and really made the fortune of the Paris Opera with its splendid scenic effects, brilliant instru- mentation, vigorous recitative and its heroic and partly legendary story. Robert, Duke of Normandy, who was called Robert the Devil because of his courage in battle and his successes in love, is banished by his sub- jects and goes to Sicily, where he continues to struggle with an Evil Spirit, which seems to tempt him to every kind of excess. Alice, his foster sister, suspects that his supposed friend Bertram, is in reality this evil influence. At the close of Act I Robert, led on by Bertram, gambles away all his possessions, and failing to attend the Tournament, loses the honor of a knight and greatly displeases the Lady Isabella, whom he loves. The second act shows the entrance to the Cavern of Satan, -wherein a company of Evil Spirits are collected, and where occurs the great scene for Bertram and the chorus of fiends. Valse Infernal, "Ecco una nuova preda " (I Have Well Spread My Toils) By Marcel Journet, Bass, and Metropolitan Opera Chorus (In French) 74282 12-inch, $1.50 Bertram promises the Demons that he will complete the ruin of Robert and the fiends rejoice at the prospect of adding another soul to their company. 295 ALICE AND BERTRAM ACT IT VICTOR BOOK OF THE OPERA-ROBERT THE DEVIL BERTRAM: I have well spread my toils, another soul to capture ! One more gained! glorious conquest, At which demons must rejoice! (A subterraneous noise is heard; darkness falls. Bertram, tinder the control of the ci'il -one, fceis an unholy joy.) King of fallen angels! ruler mine! ' lie is here! * h He awaits me! * I hear the noise Of their infernal joy * * the fallen spirits seek To drown their remorse in hellish mirth! INFERNAL CHORUS (from the cavern) : Ye demons, who Heaven and its laws defy, The sound of your revels now mounts to the sky, Your voices lift high! Praise the master who reigns over us, Sing aloud in lusty chorus! Praise the Master, yes praise! Jburnet gives an impressive rendering of the utterances of the fiend, Bertram, while the chorus of demons, supposed to proceed from the Cavern of Satan, is strikingly sung by the Opera Chorus. Alice, -who has come to the vicinity of the cave to meet her lover, overhears this infernal bargain and determines to save him. Robert, dejected over the loss of his honor and wealth, meets Bertram, who promises that all shall be restored to him if he will have the courage to visit the ruined abbey and secure a magic branch, which can give wealth, power and immortality. The next scene shows the ruins, where Bertram invokes the aid of the buried nuns in completing the downfall of Robert. This famous invocation is sung here by Plancon with spirit and power. Invocation "Nonnes, qui reposez (Ye Slumb'ring Nuns) By Pol Plancon, Baritone (In French) 85125 12-inch, $3.OO Bertram speaks of the founding of the convent and of the false nuns who lie buried here, and calls upon them to arise. BERTRAM: Whose unholy devotion was offered to other Here then are the nuns of the ancient monas- gods. tery, To Heaven's cause bequeathed by St. Rosalie, Here lie buried the false daughters THE RUINED ABBEY ACT III Nuns, who beneath this cold stone repose, For an hour forsake your sepulcher beds, King of Hell, it is I who calls you. The spectres arise, and when Robert appears they dance around him and lead him to the grave of St. Rosalie, where he is shown the magic branch. Overcom- ing his fears, he grasps it, and by its power defeats the mul- titude of demons who arise from the infernal regions to prevent his escape. In the next scene Robert uses the branch to become invisible, and goes to Lady Isabella's room to carry her off. In this scene occurs the famous air for Isabella, "Oh, Robert, My Beloved," part of which will be found in this selection by Pryor. Selection, including " Oh, Robert, My Beloved" By Arthur Pryor's Band (Double-faced) 35O64 12-inch, $1.25 Moved by her entreaties, he yields to the promptings of his good angel and breaks the branch, thus destroying the spell. In the last act Bertram renews his efforts to induce Robert to sign an eternal contract. Tired of life, he is about to yield when Alice appears and tells him of the last words of his mother, -warning him against the Fiend, who is in reality Robert's father. The clock strikes twelve, and the baffled Fiend disappears, while the cathedral door opens showing the Princess waiting for the reformed Robert. 296 LE ROI Dif LAHORE (Le Rwah deh Lah-houir') (Entfluh) THE KING OF LAHORE OPERA IN FIVE ACTS Libretto by Louis Gallet ; music by Jules Massenet. First production at the Grand Opera, P?.ris, April 27, 1877; and at Covent Garden, Royal Italian Opera, June 28, 1879. Cast AUM, King of Lahore Tenor SCINDI A, his minister Baritone TlMUR, a priest Bass INDRA Xf. 'Bass SlTA ..'.;. Soprano , confidant of the King Mezzo-Soprano Time and Place : India ; the eleventh century, during the incursion of the Mohammedans. This early work of Massenet's is founded upon an Indian subject, and deals with the Mussulman invasion. It is noted for its brilliant ballet, illustrative of an Indian paradise. Sita, niece of the high priest, Timur, is beloved by Alim, King of Lahore. His rival, Scindia, accuses her of profaning the Temple and she is condemned to death, but is saved by the King, who asks her hand in marriage. In the second act Alim, at war with the Mussulmans, is betrayed to the enemy by Scindia, and is killed in battle, while Scindia seizes his throne and carries away Sila. Alim is transported to the celestial realm of India, but is not contented, and begs the divinities to allow him to return to earth. His request is granted on condition that he does not resume his rank and returns to India when Sita dies. On his return he finds that Scindia has secured the throne and forced Sita to become his wife. Alim declares himself, but Scindia denounces him as an impostor. Alim is obliged to flee, but Sita goes with him, and when they are about to be captured she kills herself. Alim, in fulfillment of his vow, also dies, and the lovers are united in celestial India. Promesse di mon avenir (Oh, Promise of a Joy Divine) By Emilio de Gogorza, Baritone (In French) 88172 12-inch, $3.00 The most famous of the numbers is of course this superb air for baritone in the fourth act, which La Salle sung in the first production with great success. A portion of the fine translation by Dudley Buck, from the Schirmer " Operatic Anthology " (Copy't G. Schirmer), is given here by permission. SCINDIA: The Sultan's barb'rous horde, who had so gladly riven From us fair Lahore. By our own might have from the field been driven. From care my people free, Loudly sound forth Loudly sound forth my praises! O promise fair of joy divine, Sita, Thou dream of all my life, Sita, iny queen thou soon shall be! O beauty torn from me by strife. To thee the world its glory offers, At last, thou shalt be mine! O Sita! To thee a king his crown now proffers; O fair one, charm my loving heart, Come, Sita, O come! ah! be 'mine! And ne'er again from me depart ! A fine rendition of this air is given here by Mr. de Gogorza, whose beautiful voice and perfect French diction are well exhibited. 297 ROMEO ET JULIETTE ROMEO AND JULIET (Roh'-may-oh ay Joo-ke-ef) OPERA IN FIVE ACTS Words by Barbier and Carre 1 , after Shakespeare's drama. Music by Charles Gounod. First produced at the Theatre Lyrique, Paris, April 27, 1867. First London production July 1 1, 1867. Presented in America, 1868, with Minnie Hauk. Some famous American productions occurred in 1890, with Patti, Ravelli, del Puente and Fabri ; in 1891, with Eames (d^but), the de Reszkes and Capoul ; in 1898, with Melba, Saleza, de Reszke and Plancon ; and more recently with Farrar as Juliet. * Characters JULIET, (Joo-lee-ct 1 ) daughter of Capulet Soprano STEPHANO, (Stef' -ah-noh) page to Romeo Soprano GERTRUDE, Juliet's nurse Mezzo-Soprano ROMEO Tenor TYBALT, (Tee-bahf) Capulet's nephew Tenor BENVOUO, (BenW -lee-oh) friend of Romeo Tenor MERCUTIO, (Mer-ken -shee-oh) friend of Romeo Baritone PARIS, (Pah-ree) Capulet's kinsman Baritone GREGORIO, Capulet's kinsman Baritone CAPULET, (Cap-u-leh 1 ) a Veronese noble Basso-Cantante FRIAR LAURENCE Bass THE DUKE OF VERONA Bass Guests ; Relatives and Retainers of the Capulets and Montagues. The action lathes place at Verona. PHOTO LADCHE* THE LOVERS' FIRST MEETING Romeo and Juliet over- flows with charming music, Gounod having written for the lovers some of the most emo- tional passages ever composed, and the opera has even been called "a love duet with occa- sional interruptions." It is of course not another Faust, no composer could write two such works, but it is a most beau- tiful setting of the story of the ill-fated Italian lovers, which will always be listened to with pleasure. Several of the Shake- spearean personages have been omitted from the opera cast by the librettists, and a new character, that of the page Stephana, has been added. 299 VICTOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET ACT I SCENE Ballroom in Capulet 's House, Verona The curtain rises on a scene of festivity. Capulet, a Veronese noble, is giving a masked fete in honor of his daughter Juliet 's entrance into society. Juliet is presented to the guests by her father, and Capulet calls on his guests to make merry in a rousing air. Couplets de Capulet (Capulet's Air,) By Pol Plancon, Bass (Piano ace. ) (In French) 81O35 10-inch, $2.00 When the guests have gone to the banquet hall, Juliet lingers behind and gives expression to her girlish joy in the famous waltz. Valse (Juliet's Waltz Song) By Louise Tetrazzini, Soprano (In Italian) 883O2 12-inch, $3.00 By Emma Earnes, Soprano (In French) 88011 12-inch, 3.00 By Blanche Arral, Soprano (In French) 74151 12-inch, 1.50 It is maintained by some critics that this waltz is too showy and brilliantly effective to be sung by a modest young girl at her first ball. However, Gounod has written such an uncommonly pretty waltz of exquisite melody, that most hearers are too delighted to inquire very closely into questions of dramatic fitness. JULIET: Song, jest, perfume and dances. Sprites from fairyland olden, Smiles, vows, love-laden glances On me now bend. All that spells or entrances Forever would this gladness In one charm blend Shine on me brightly as now, As in fair dreams enfolden Would that never aee or sadness Born of fantasy golden, Threw their shade o'er my brow! Three records of this delicate waltz, with its ear-haunting melody, are offered for a selection. Mme. Tetrazzini gives it with much animation, its difficult requirements being met with a perfect ease and grace. Mme. Eames, whose Juliet is remembered with pleasure, sings the number with much charm; while a lower-priced rendition is contributed by Mme. Arral. Juliet is about to leave the room when Romeo enters, having ventured masked into the house of his enemy. He is much impressed with her beauty and grace, and contriving to speak with her, asks her to remain a moment. They sing the first of their duets, the opening portion of which is full of airy repartee. As the number progresses a mysterious attraction seems to draw the youth and maiden toward each other, and the duet becomes an impassioned love scene. Ange adorable (Lovely Angel) By Alice Nielsen and Florencio Constantino (In French) 74108 12-inch, $1.50 FARRAR AS JULIET ROMEO: Angel that wearest graces the fairest, Forgive, if to touch I dare, The marble whiteness of thy hand That Heav'n hath formed so fair! Claim, then, unsparing, that for my daring I one soft kiss be fined. Kiss, that effaces unworthy traces, This hand hath left behind. JULIET: Thy hand, good pilgrim, this fine but wrongeth For thou dost blame it o'ermuch, To pure devotion surely belongeth. Saintly palm that thou may'st touch. Hands there are, sacred to pilgrim's greeting, 15ut, ah me! I not such as this, Palm unto palm, not red lips meeting, Is a holy palmer's kiss! Ro M EO : To palmer and to saint, have not lips too been given ? JULIET: Yes; but only for prayer! ROMEO: Then grant my pray'r, dear saint, or faith may else be driven, Unto deenest despair! JULIET: Know, the saints ne'er are moved. And if they grant a pray'r, 'tis for the prayer's sake! 300 VICTOR BOOK OF THE OPERA GOUNOD'S ROMEO AND JULIET ABOTT AS JULIET ROMEO: Then move not, sweetest saint. Whilst the effect of my pray'r, from thy lips (He kisses her) I shall take! JULIET: Ah! now my lips from thine burning, Have the sin that they have taken! ROMEO: O give that sin back again. To my lips their fault returning. JL-LIET: No, not again! No, not again! ROMEO: O give the sin to me again ! Tybalt, a hot-headed member of the Capulel family, recog- nizes Romeo through his mask, and threatens to kill him for his presumption in coming to the house of his enemies. Capulet restrains Tybalt and the dancing recommences as the curtain falls. 1.00 ACT II SCENE Capulet's Garden; Juliet's Apartments Above This balcony scene is taken almost literally from Shakespeare, about the only variation being the entrance of Grcgorio and the servants, which serves merely to divide the long love duet into two parts. Romeo appears, and gazing at the balcony, ^^^^^^^Et sings his lovely serenade. Ah ! leve toi soleil (Arise, Fairest Sun) By Charles Dalmores, Tenor (In French) 85121 12-inch, $3.OO By Leo Slezak, Tenor (In German) 61204 10- inch, ROMEO: Rise, fairest sun in heaven! Quench the stars with thy brightness, That o'er the vault at even Shine with a feeble lightness. Oh! rise again! Oh! rise again! And banish night's dark shades. She is watching, ah! ever untwining From their bonds her tresses shining! Now she speaketh. Ah! how charming! By her beauty's brilliant ray. As burneth, ashamed and jaded, A lamp by the light of day! At her window, on her fair hand, See now she leaneth her cheek. On that hand, were I a glove. That I might touch that cheek! Juliet appears on the bal- cony and Romeo conceals him- self. She speaks to the stars of her new-found happiness. , . JULIET: Ah, me and still I love him! Romeo, why art thou Romeo? Doff then thy name, for it is ^^1 no part, My love, of thee! What rose ^H we call By other name \rould smell as I sweetly : Thou'rt'no foe, 'tis thy name! 301 VICTOR BOOK OF THE OPERA GOUNOD'S ROMEO AND JULIET ROMEO AND JULIET A long scene between the lovers is interrupted by Gregorio and some retainers, who are searching for Romeo. He conceals himself, and on their de- parture the duet is resumed. Ne f uis encore (Linger Yet a Moment) By Alice Nielsen, Soprano, and Florencio Constantino, Tenor (In French) 64091 10-inch, $1.00 ROMEO AND JULIET: Ah! go not yet, but stay thee! Let me once more kiss thy dear hand, I pray thee ! JULIET: Silence! a step is near us. Someone I fear will hear us, Let me at least take my hand from thy keep- ing. Good night, love. ROMEO: Good night, love. BOTH: Good night! Dearest, this fond good night is such sweet sorrow That I would say good night, till it be dawn! ROMEO: Soft be thy repose till morning! On thine eyes slumber dwell, and sweet peace In thy bosom: would I were sleep and peace So sweet to rest! ACT III SCENE I The Cell of Friar Laurence Romeo and Juliet meet by appointment in the Friar's cell to ask him to marry them. He at first protests but finally consents, hoping the union will bring the rival houses to- gether in friendship. The marriage takes place, and Juliet returns home with her nurse. SCENE II A Street in Verona Stephana enters, seeking his master. Observing the residence of Capulet, he decides to sing a song, thinking Romeo may still be lingering near the house. A fine rendition of this air has been given by Rita Fornia. Chanson de Stephano (Page Song) By Rita Fornia, Soprano (In French) 74211 12-inch, $1. SO This brilliant young so- prano, who has just been en- gaged by the Victor, has made an especial success at the Metropolitan in this role, her fresh and youthful voice being admirably suited to the music of the Page, while in the recent revival of Romeo her singing of Stephana's air -was pronounced one of the best features of the performance. Gregorio appears, angry at being waked up, and scolds the noisy youth, finally rec- ognizing him as the compan- ion of Romeo on the previous night. They fight, but are interrupted by Mercutio and Tybalt, -who begin to quarrel with Gregorio. Romeo enters FRIAR LAURENCE AND ROMEO and tries to act as peacemaker, but is insulted and forced to fight, killing Tybalt. The action comes to the ears of the 302 VICTOR BOOK OF THE OPERA-GOUNOD'S ROMEO AND JULIET Duke of Verona, who happens to be passing with his suite, and he banishes Romeo from the kingdom. The unhappy youth yields to the decree, but secretly vows to see Juliet again. ACT IV SCENE Juliet's Room Romeo has made his way into Capulet's house at imminent risk of death, and has penetrated to the room of his bride. As the curtain rises he is taking leave of her, and in another exquisite duet she begs him not to go. He finally departs after a tender farewell, just as Capulet and Friar Laurence enter to tell her that it was Tybalt's dying wish that she should marry Paris. Left alone with the good priest she tells him she will die rather than be separated from Romeo. The Friar tells her to have patience, as he has a plan by which they are to be reunited. He then gives Juliet a potion, commanding her to drink it when her marriage with Paris seems imminent, and tells her she will go into a death-like trance. He continues : FRIAR LAURENCE: Loud will they raise the sound of lamentation, "Juliet is dead! Juliet is dead!" For so Shall they deem thee reposing. But The angels above will reply, "She but sleeps!" For two-and-forty hours thou shalt lie in death's seeming, And then, to life awaking as from a pleasant dreaming. From the ancient vault thou shalt haste away; Thy husband shall be there, in the night to watch o'er thee! The good priest leaves her and shortly afterward, seeing her i father and Paris approaching, she drinks the contents of the phial, and [growing faint, apparently expires in Capulet's arms. ACT V SCENE The Tomb of Juliet The curtain rises, showing the silent vault of the Capulets, where Juliet is lying on the bier still in her trance. Romeo, who has failed to receive Friar Laurence's message, and believes Juliet is dead, now forces the door with an iron bar and enters. He sees his bride apparently dead, and flings himself on her body. CONSTANTINO AS ROMEO After a mournful air in which he bids her farewell, he drinks poison, but is soon startled to see signs of life in the body of Juliet. For- getting the poison he had taken, he embraces her joyfully and they sing their final duet: JULIET: ROMEO: Ah! methought that I heard Come, let's fly hence! Tones that I lov'd, soft falling! JULIET: ROMEO: Happy dawn! 'Tis I! Romeo thine own ROMEO AND JULIET: Who thy slumbers have stirr'd, Come, the world is all before us, Led by my heart alone, two hearts, yet one! Thee, my bride, unto love Grant that our love And the fair world recalling! Be now and ever (Juliet falls into his arms.) Holy and pure, till our life shall end. Suddenly remembering the fatal draught, Romeo cries out in horror : Xow, happy dagger, behojd thy sheath ! (5/i n J D ifOZOOO lO-inCll, .ZD I Minuet from 2nd bymphony (Haydn) By aanda Keal) *Double-FaceJ Rscorct For title of opposite tide see abooe list. 306 (Italian) SEMIRAMIDE TRAGIC OPERA IN TWO ACTS Text by Rossi; music by Gioachino Antonio Rossini. It is founded on Voltaire's tragedy Semiramis. First produced at the Fenice Theatre, Venice, February 3, 1823; in London at the King's Theatre, July 15, 1824. In French, as Semiramis, it appeared in Paris, July 9, 1860. First American production occurred in New York, April 25, 1826. Some notable American revivals were in 1855 with Grisi and Vestvalli ; in 1890 with Adelina Patti as Semiramide ; and in 1 894 with Melba and Scalchi. Cast of Characters SEMIRAMIDE, or SEMIRAMIS, Queen of Babylon Soprano ARSACES, commander in the Assyrian army, after- ward the son of Ninus and heir to the throne. .Contralto THE GHOST OF NINUS Bass OROE, chief of the Magi Bass ASSUR, a Prince of the blood royal Bass AZEMA, Princess of the blood royal Soprano IDRENUS, of the royal household Tenor MlTRANES, of the royal household Baritone Magi, Guards, Satraps, Slaves GK1SI AS SEMIRAMIDE Semiramide is perhaps the finest of Rossini's serious operas, but although it was a great success in its day, its splendid overture and the brilliant Bel raggio are about the only reminders of it which remain. The story is based on the classic subject of the murder of Agamemnon by his wife, called Semiramis in the Babylonian version. It is a work which the composer completed in the astonishingly short time of one month, but which shows his art at its ripest. The action takes place in Babylon ; SemiramiJe, the Queen, assisted by her lover Assur, has murdered her husband, King Ninus, -who, in the second act, rises in spirit from the tomb and prophesies the Queen's downfall. Overture By Police Band of Mexico City *35167 12-inch. $1.25 By Police Band of Mexico City 31676 12-inch, l.OO By Arthur Pry or 's Band 31527 12-inch, l.OO The overture opens -with an unusually brilliant introduction, followed by a beautiful chorale for brass which is one of the most admired portions of the work. The familiar melody which forms the principal theme of the overture then appears as a clarinet passage. It begins: The finale is rather long drawn out for modern ears, but is a fine example of its kind, and the overture is a most showy one, very popular on band and orchestra programs. Three splendid records of this famous number are presented here, and a comparison of the playing of these two great organizations is most interesting. * Doubk-FactJ Record For lilk of opposite side sse nexl pace. 307 VICTOR BOOK OF THE OPER A ROSSIN I 'S SEMIRAMIDE The Bel raggio, a favorite cavatina with all prima donnas, and a brilliant and imposing air, occurs in the first act. The scene shows the Temple of Belus, where a religious festival is in progress. Semiramide is about to announce an heir to the throne and has secretly deter- mined to elect Arsaces, a young -warrior, with whom she has fallen in love, unaware that he is in reality her own son. Bel raggio lusinghier Hope) (Bright Gleam of By Marcella Sembrich, Soprano (In Italian) 88141 12-inch, $3.0O SEMIRAMIDE: Here hope's consoling ray Bids sorrow hence away, And joy calls from above! Arsaces to my love soon will return dejected. But ere while with grief I drppp'd my head, Now once more beams my smile! Hence all my doubts have fled, No more I feel the sway of grief and anguish dread! Yes! now hope's consoling ray Bids dark sorrow hence away, And calls down joy from above, Awhile in this breast to stay. Arsaces will return! Vision enchanting, my spirit haunting, With fond emotion thou fill'st my heart, ALBONI AS ARSACES Ah, bright smiles the morn When dark waves of sorrow Like some wild ocean sink and depart! Rossini, who objected to the ornamentation of his music by famous singers, is said to have -written this air in so elaborate a fashion as to make further additions impossible. But even as left by Rossini, Bel raggio is not sufficiently elaborate to show the skill of a Sembrich, and the additions with which the diva has embellished it not only make it more dazzling, but belong also to the true spirit of the air. Thus the inspiring declamatory passages, with their brilliant runs, receive a lavish addition of the singer's splendid high notes, notably the high B on the alfin perme brillo, and the astonishing arpeggio up to C sharp on the dal mio pensier -which follows. The ensuing cantabile is sung -with all the legato and grace which it requires, its principal figure being also additionally embellished. DOUBLE-FACED SEMIRAMIDE RECORD (Overture By Police Band ofl Mexico City . < Marche Slave (Op. 31} 3M67 12-mch, $1.25 By Arthur Pry or s Band] TAMBUR1N1 AS ASSUK 308 (German) SIEGFRIED (Seeg' -freed) MUSIC DRAMA IN THREE ACTS Second Opera of the Rhinegold Trilogy Words and music by Wagner. First produced at Bayreuth, August 16, 1876. It was given in French at Brussels, June 12, 1891, and subsequently at the OpeYa in Paris. In Lon- don (in English) by the Carl Rosa Company, in 1898. First American production in New York. February 1, 1888. Characters SIEGFRIED Tenor MIME (Mee'-mee) Tenor THE WANDERER (WOTAN) Baritone ALBER1C (Aht -ber-ik) Baritone FARMER (Faf.) Bass ERDA (Eh/^iah) Contralto BRUNNHJLDE (Broon.hii'^ah) Mezzo-Soprano There is little of tragedy and much of lightness and the joy of youth and love in this rnost beautiful of the Ring Cycle, which tells of the young Siegfried, impetuous, brave, joy- ful and handsome ; and Briinnhilde, the god-like maid unselfish, lovely, innocent, who finds she is but a woman after all. After Sieglinde had been saved from the wrath of Woian by Brunnhilde (related in the last part of Walkjart), she wanders through the forest and dies in giving birth to the child Siegfried, who is found and brought up by Mime, the Niblung. In the first two acts of Siegfried the hero is shown in his forest home, where he forges the sword with which he slays the dragon. Having accidentally tasted the dragon's blood, he becomes able to understand the language of the birds, which tells him of BriinnhilJe, the fair maiden who sleeps on the fire-encircled rock. He follows the guidance of one of the birds, cuts through the spear of Wolan, who endeav- ors to stop him, and penetrates the flames. On the top of the rock he beholds the sleeping Valkyrie covered with her shield. He removes the armor, and Briinn- hilde lies before him in soft, wo- manly garments. She is the first woman he has ever seen, and he kneels down and kisses her long and fervently. He then starts up in alarm ; Brunnhilde has opened her eyes. He looks at her in wonder, and both remain for some time gazing at each other. She recognizes him as Siegfried, and hails him as the hero who is to save the world. This part of the trilogy ends in a splendid duet. ACT I SCENE A Forest. At One Side a Cave Mime, the Niblung, brother of Alberic, found Sieglinde in the forest after she had escaped from Wolan, and brought up her child, knowing that it was Siegfried, who was destined to kill Fafner and regain the Ring. The opera opens with an air by Mime, who is discovered at the anvil in his forest smithy trying to forge a sword for Siegfried. SIEGFRIED AND T] com OUPOIT K1SS AS MIME 309 Siegfried and the Dragon VICTOR BOOK OF THE O P E R A WAG N E R'S SIEGFRIED SIEGFRIED, MIME AND THE BEAR ACT I Zwangvolle Plage ! (Heartbreaking Bondage) By Albert Reiss, Tenor (In German) 74235 12-inch, $1.5O Mr. Reiss' -wonderful character study of Mime, the dwarf, has been one of the most impressive features of the Metropolitan performances during the past few years. His impersonation gains each year in the sar- donic and malignant side of Mime 's nature, but is always amusing, nevertheless. The artist's portrayal, dramatic- ally and vocally, leaves nothing to be desired, and in the episodes where the dwarf is most abject and fawn- ingly malicious he is superb. Siegfried, in forest dress, -with a horn around his neck, bursts impetuously from the woods. He is driv- ing a great bear and urges it with merry roughness to- wards Mime, who drops the sword in terror and hides behind the forge. Taking pity on the frightened dwarf, Siegfried drives the bear back into the wood, and seeing the sword, breaks it over the anvil, as he has broken all of the others. He questions Mime about his childhood, and the dwarf tells him reluctantly about his mother and about the sword his father had broken in his last fight. Siegfried demands that Mime shall mend his father's sword without delay, and goes back into the forest. Wolan now enters and in answer to Mime's questions says he is the Wanderer, and speaks to Mime of the sword, telling him that only he who knows no fear will be able to forge the broken weapon. After the Wanderer has departed, Siegfried returns, and Mime, who is now beginning to be afraid of the youth, tells him that it was his mother's wish that he should learn fear. " What is this fear ?" says Siegfried, and Mime attemps to describe it. MIME: Feltest thou ne'er in forest dark, At gloaming hour in gloomy spots, Feltest thou then, no grisly gruesomeness grow o'er thy fancv? Balefullest shudders shake thy whole body, All thy senses sink and forsake thee. In thy breast bursting and big Beat thy hammering heart? Siegfried Regretfully admits that he has never felt any such sensation. Mimi, in despair, then tells him of the Dragon which dwells near by. Siegfried eagerly asks Mime to conduct him hither, but says he must have his sword mended first, and, when Mime refuses, he forges it himself. When it is finished, to try the blade, he strikes the anvil a mighty blow and splits it in half, while Mime falls on the ground in extreme terror. Siegfried brandishes the sword and shouts with glee as the curtain falls. ACT II SCENE The Dragon's Caoe in the Fores! Fafner, who has changed himself into a dragon, the better to guard his gold, dwells within a cave, keep- ing constant watch. Alberic is spying near by, hoping to regain the treasure by killing the hero whom he knows will overcome the Dragon. The Wanderer en- ters and warns jJlberic of the approach of Siegfried. Alberic wakes the Dragon and offers to save its life in return for the Ring. Fafner contempt- uously refuses, and makes light of the hero's prowess. Wolan departs, laughing at the dis- comfited Alberic, who hides as Siegfried and Mime approach. The latter is still trying to terrorize Siegfried with awful descriptions of the Dragon, but Siegfried laughs at him and finally drives him away. 311 MIME AT THE ANVIL ACT VICTOR BOOK OF THE O P E R A 'WAG N E R'S SIEGFRIED The young hero, left alone, sits down under a tree and meditates about his mother, whom he pictures as gentle and beautiful. His dreaming is ended by the song of the birds, and he regrets that he cannot understand their language. He answers their song with a blast of his horn, which disturbs Fafner and the Dragon utters an awful roar, -which, however, only makes the youth laugh. The Dragon rushes upon him, but Siegfried jumps aside and buries his faithful sword in the reptile's heart. Having accidentally tasted of the Dragon's blood by carrying his stained hand to his lips, he finds to his astonishment that he is able to understand the song of the bird, which tells him to go into the cave and secure the Ring. Siegfried thanks the warbler and goes into the cavern. Mime comes back and, seeing the dead Fafner, is about to enter the cave when Alberic stops him and a heated argument occurs. This scene has been given for the Victor by two celebrated impersonators of these roles, Goritz and Reiss. 'Wohin schleichst du ? (Whither Slinkest Thou ?) By Otto Goritz. Baritone, and Albert Reiss, Tenor (In German) 64215 10-inch, $1.0O KRAUS AS SIEGFRIED ALBERIC: Wither slinkest thou, hasty and sly, slippery scamp ? MIME: Accursed brother, what brings thee here? I bid thee hence. ALBERIC: Graspest thou, rogue, towards my goltl? Dost lust for my goods? MIME: Yield the position! This station is mine. What stir.rest thou here? ALBERIC: Startled art thou from stealthy concerns, that I've disturbed? SIEGFRIED MIME: What I have shaped with shrewdest toil shall not be shaken. ALBERIC: Was't thou that robbed the golden Ring from the Rhine? Or charged it with great and choice enchant- ment around? MIME: Who formed the Tarnhelm which to all forms can turn? By thee 'twas wanted ; its worker wert thou too? ALBERIC: What couldst thou ere, fool, By thyself have fancied and fashioned? The magic Ring made the dwarf meet for the task. MIME: Where now is thy Ring ? The giants have robbed thee. thou recreant ! What thou hast lost, by my lore, belike, I will gain. ALBERIC: By the boy's exploit Shalt thou, booby, be bettered? Thou shall have it not, For its holder in truth is he. MIME: I nourished him, And his nurse now shall he pay: For toil and woe long while have I waited reward. ALBERIC: For a bantling's keep W r ould this beggarly, niggardly boor, Bold and blustering. Be well nigh as a king? To rankest of doge booteth the ring Far rather than thee: Never, thou rogue, shall reach thee the magic round! M i M E : Then hold it still and heed it well, Thy hoarded Ring. Be thou head, and yet hail me as a brother! For my own Tarnhelm. Excellent toy, I'll tender it thee! 'Twill boot us twain. Twin we the booty like this. 312 VICTOR BOOK OF THE O P E RA WAG N E R'S SIEGFRIED ALBERIC: Turn thy head round; From the cavern toward us he comes. MIME: Trivial toys have tempted him there. ALBEKIC: The Tarnheltn he holds! MIME: Aye, and the Ring! ALBERIC: A curse! the Ring! MIME (with an evil laugh): Let him the Ring to thee render! I ween full soon I shall win it. (He slips back into the wood.) ALBERIC: And yet to its lord Shall it alone be delivered! (He disappears in tlie cleft.) ALBERIC (laughing scornfully) : Twin it with ttoee? And the Tarnhelm too? How sly thou art! Safe I'd sleep then Never from thy ensnarings. MIME (beside himself): Wilt not bargain? Wilt not barter? Bare must I go, gaining no boon? Giv'st thou to me no booty ? ALBERIC: Not an atom, not e'en a nail's worth: All I deny thee. MIME (furiously): In the Ring and Tarnhelm Ne'er shalt thou triumph! Nought talk we of shares! Unto thee I'll call For Siegfried to come: With his carving sword The caustic boy Shall crush thee, brother of mine! They hide themselves as Siegfried comes from the cave with the Ring, the value of which he does not yet comprehend. The bird's voice is again heard explaining its history, and revealing the intended treachery of Mime. When the dwarf approaches, Siegfried is able, by the magic of the Ring, to read his thoughts. Horrified to learn that Mime is planning to kill him, he strikes down the dwarf and throws his corpse in the cave, rolling the body of the Dragon v v -i\\i^ '-: before the entrance. Wearying of his adventures Siegfried reclines under the tree and asks the bird to sing again. This time the songster reveals to him that Briinnhilde lies sleeping, -waiting for the hero who is able to reach the fire- encircled spot. THE BIRD: Hey! Siegfried has slain now the sinister dwarf! I wot for him now a glorious wife. In guarded fastness she sleeps, Fire doth emborder the spot: O'erstepped he the blaze, Waked he the bride. Briinnhilde then would be his! SIECFREID (starting impetuously to his feet) : O lovely song! Sweetest delight! How burns its sense mv suffering breast! But once more say to me. lovely singer, May I the furnace then break through? And waken the marvelous bride? THE BIRD: The bride is won, Brunnhilde awaked by faint-heart ne'er: But by him who knows not fear. MIME He laughs with delight, saying, " Why, this stupid lad who knows not fear, it is I ! " and follows the bird, who flies ahead to guide him to Briinnhilde' s fiery couch. ACT III SCENE A Wild Region at the Foot of a Rocky Mountain The act opens with a long scene between Erda and Wotan. The god summons his earth goddess wife and tries to consult her regarding the coming deliverance of the world through Siegfried and Briinnhilde. The goddess, however, is confused and bewildered by Wotan's eager questions and fails to give counsel, asking only to be allowed to return to her sleep. Wotan, wearying of the struggle against fate, renounces his sway over the -world, realizing that the era of love must supplant the rule of the gods. Siegfried approaches and Wotan attempts to bar his way as a final trial of his courage. The youth, however, makes short work of the weary god, shatters his spear at a single stroke, and continues on his way singing: SIEGFRIED: Ha! Heavenly glow! brightenine glare! Through fire will I fare to my bride! Roads are now opening radiantly round me! Oho! Oho! Aha! Aha! Gaily! Gaily! rious frie In fire will I bathe, Soon greets me a gloric iend! 313 VICTOR BOOK OF THE O PERA WAG NE R'S SIEGFRIED LD PRINT BRL'NNHILDE'S FIERY COUCH BRUNNHILDE: No god e'en has touched me! As a maiden ever heroes revered me: Virgin I hied from Valhalla! As the hero plunges fearlessly through the fire the flames gradually abate, and when he reaches the sleeping Briinnhilde they die out completely. Siegfried approaches the unconscious maiden with awe and removes her helmet. He is speechless with admira- tion, and naively asks if the strange emotion which he feels can be fear. Finally, when he presses an ardent kiss on her lips she awakes and greets him joyfully as the hero Siegfried who is to save the -world. After a long scene in -which Siegfried's ardent wooing is gently repressed by Briinnhilde, he finally seizes her in his arms. Frightened, she repulses him, crying : Woe's me! Woe's me! Woe for the shame, the shunless disgrace! My wak'ning hero deals me this wound! Siegfried pleads his love and asks her to be his bride, but she begs him to spare her in a wonderful plea, Deathless Was I, sung here by Mme. Gadski. Ewig war Ich (Deathless Was I) (Briinnhilde's Appeal to Siegfried) By Johanna Gadski, Soprano (In German) 88186 12-inch, $3.0O BRUNNHILDE: Deathless was I, deathless am I, Deathless to sweet sway of affection But deathless for thy good! O Siegfried, happiest hope of the world! Life of the universe! Lordliest hero! Leave me in peace! Press not upon me thy ardent reproaches! Master me not with thy conquering might! Saw'st e'er thy face in crystal floods? Did it not gladden thy glance? When into wavelets the water was roused, The brook's glassy surface broken and flawed, Thy face saw'st thou no more: Nought but ripples swirling round! So disturb me no more, trouble me not: Ever then thou wilt shine In me an imar:e reflected. Fair and lovely, my lord! O Siegfried! Siegfried! Light of my soul! Destroy not thy faithful slave! But the impetuous hero resumes his wooing, and love finally conquers the god-like maiden. She laughs in a transport of love, exclaiming : BRUNNHILDE: O high-minded boy! O blossoming hero! Gladly glide to destruction, Thou babe of prowess, Gladly go down to death! Past all that breathe! Far hence, Walhall' lofty and vast, Gladly love do I glow with, Let fall thy structure of stately tow'rs; Gladly yield to thee blindly, Farewell, grandeur and pride of gods! and throws herself into Siegfried's arms as the curtain falls. SIEGFRIED MISCELLANEOUS SIEGFRIED RECORDS Siegfried Fantasie By Sousa's Band 31621 12-inch, $1.0O A superb record of some of the most famous portions of Wagner's great music drama, including several of the leit motive Siegfried's Hunting Call, The Sword, The Bird, and Casting of the Steel, with part of Siegfried's wonderful Song of the Forge. 314 -WALKING SCENE ^Italian) (English) LA SONNAMBULA-THE SOMNAMBULIST (Lah Son-nahm -bu-lah) OPERA IN THREE ACTS Libretto by Felice Romani ; music by Vincenzo Bellini. Produced at the Tealro Carcano, Milan, March 6, 1831 ; Paris, October 28, 1831 ; and at the King's Theatre, London, July 28th of the same year. At Drury Lane in English, under the Italian title. May 1, 1833. First performance in New York, in English, at the Park Theatre, November 13, 1835, with Brough, Richings, and Mr. and Mrs. Wood. First performance in Italian in New York, Palmo's Opera Company, May 11, 1844. Revived in 1905 at the Metropolitan with Caruso, Sembrich and Plancon ; at the Manhattan Opera, 1909, with Tetrazzini, Trentini, Parola and de Segurola. Characters COUNT RUDOLPH, lord of the village Bass TERESA, milleress Mezzo-Soprano AM1NA, orphan adopted by Teresa, betrothed to Elvino Soprano ELVINO, wealthy peasant Tenor LISA, inn-keeper, in love with Elvino Soprano ALESSIO, peasant, in love with Lisa Bass A NOTARY Tenor Peasants and Peasant Women. The scene is laid in a Swiss village. How our grandfathers and grandmothers doted on this fine old opera by Bellini! In the '30's it was a novelty by a young and gifted composer; by 1850 it was part of every opera season and shone through a halo of great casts Malibran, Pasta, Jenny Lind, Gerster, Campanini, Grisi and in the '60's and '70's it continued to be popular. Then came the Wagnerian era, and the pretty little pastoral work was all but forgotten. Now, however, Italian opera of the old-fashioned kind has begun to be appreciated once more, and even the Wagnerites admit that there may be some pleasure in witnessing this charming little opera. ACT I SCENE A Village Green The peasants are making merry in honor of the marriage of Amina and Elvino. Lisa, the hostess of the inn, enters and gives way to bitter reflections. She also loves Elvino. and 315 VICTOR BOOK OF THE OPERA LA SONNAMBULA her jealousy finds expression in a melodious air, Sounds So Joyful. Alessio, a villager who fancies Lisa, tries to console her, but she repulses him. Amina and her friends enter, fol- lowed soon after by Eloino, and the marriage contract is signed. Eloino places the ring on his bride's finger, and they sing a charming duet, Take Now This Ring. Prendi Tanel ti dono (Take Now This Ring) By Maria Galvany, Soprano, and Fernando De Lucia, Tenor (Piano accompaniment) (In Italian) 89045 12-inch, $4.0O By Emilio Perea, Tenor (In Italian) *62092 10-inch, .75 Two renditions of this number, at widely varying prices, are given here, the latter including only Eloino's solo at the beginning of the duet. The words are not given, being merely a succession of flowery phrases to which Bellini has written his delightful melodies. The nuptial celebration is interrupted by the sound of horses' hoofs, and a handsome and distinguished stranger enters, inquires the way to the castle, and learning that it is some distance, decides to remain at the inn. He looks around him, appearing to recognize the scene, and sings his fine air, Vi ravviso. Vi ravviso (As I View These Scenes) By Antonio Scotti, Baritone (In Italian) 88O28 12-inch, $3.0O By Antonio Scotti, Baritone (In Italian) 87O34 lO-inch, 2.OO By Perello de Segurola, Bass (In Italian) *62O92 lO-inch, .75 COUNT: As I view the scene, how familiar that mill- Whert my childhood serenely glided, stream, yon fountain, those meadows! Where the joyous moments flew; Oh remembrance of scenes long vanish'd, Oh how peaceful have ye abided. Soft enchantment long lost and banish'd, While those days nought can renew! Two versions of this noble air are given here one by Scotti, whose Rudolph is always a fine impersonation; and a lower-priced rendition by de Segurola, who sang the character at the Manhattan when the opera was revived for Tetrazzini. The stranger inquires the reason for the festivities, and is presented to the pretty bride, in whom he is much interested. He tells the peasants that in his childhood he lived with the lord of the castle, and now brings news of the lord's only son, who disappeared some years since. Amina 1 s mother, Teresa, now says that as night is falling they must go within, as the phantom may appear. The stranger is told that a spectre has been often seen of late, and he scoffs at the tale, but the peasants, in an effective chorus, describe the appearance of the ghost. Ah ! fosco ciel ! (When Daylight's Going) By La Scala Chorus (In Italian) *62642 10-inch, $0.75 CHORUS: CHORUS: When dusky nightfall doth shroud the sun- Ah, no such folly in our relation ; beam, We all have seen it, in very truth. And half repulses the timid moonbeam, And wheresoever its pathway falleth When thunder boometh; where distance loom- A hideous silence all things appalleth; eth; No leaflet trembles, no zephyr rambles, Floating on mist, a shade appears! As 'twere a frost the brook congeals. In filmy mantle of pallid whiteness. The fiercest watchdog can nought but cower, The eye once gentle now glaring brightness, A mute true witness of its fell power. Like cloud o'er Heaven by tempest driven, The screech-owl shrieking, her haunt seeking, Plainly confest the phantom wear< ! Far from the ghost her dark wing wheels. RUDOLPH: RUDOLPH: You are all dreaming; 'tis some creation 'Tis fripht for youth. I will discover Of mere gossips, to frighten youth. What hidden mystery your tale conceals. The stranger now desires to retire and is shown to his room. Amina and Eloino remain, and the latter reproaches his bride for her interest in the guest ; but at the sight of her tears he repents his suspicions, and the act closes with a duet by the reconciled lovers. * Double-Faced Record For title of opposite side see list on page 318. 310 VICTOR BOOK OF THE OPERA LA SONNAMBULA ACT II SCENE The Apartment of the Stranger The guest muses that he might have done worse than stop at this little inn the people are courteous, the women pretty, and the accommodations good. Lisa enters and asks if he is comfortable, calling him " my lord," the villagers having suspected that he is the Count Rudolph. The Count, although somewhat annoyed that his identity is revealed, takes it good- naturedly, and even flirts a little with the buxom landlady. She coyly runs away, dropping her veil as she does so. Amina now appears at the window, walking in her sleep. She unlatches the casement and steps into the room, saying in her sleep, " Elvino, dost thou remain jealous ? I love but thee." The Count is at first astonished, but soon sees that the young girl is asleep. Just here Lisa peeps into the room, and seeing Amina, runs off scandalized. Amina, in her dream, again goes through the marriage ceremony, and entreats Eloino to believe that she loves him, finally throwing herself on the bed in a deep sleep. The Count is somewhat puzzled *&l the situation, and finally deciding to leave the young girl in possession of the room, goes out by the window. Elvino and the villagers, who have been summoned by Lisa, now enter and are aston- ished to see Amina asleep in the Count's room. She wakes at the noise, bewildered, and runs to Elvino, who repulses her roughly. She is met with cold looks on every hand, and sinks down in despair, crying bitterly. Rousing herself, she begins the duet, D'un pensiero. D'un pensiero (Hear Me Swear, Then) By Giuseppina Huguet. Soprano: Aristodemo Giorgini. Tenor: and Chorus (In Italian) 88255 12-inch, $3.00 AMISA: ELVINO: Not in thought's remotest dreaming, Heav'n forgive ye, this guilt redeeming; Was a crime Dy me intended; May thy breast be ne'er thus rended; Is the little faith now granted, With what love my soul was haunted, Fit return for so much love? Let these burning tear-drops prove! Finding all turned against her except her mother, she runs to the maternal arms, while Elvino rushes from the room. The curtain falls. ACT III SCENE I A Shady Valley near the Castle Amina and Teresa enter on their way to the castle to plead with the Count to clear the girl's good name. Seeing Eloino, Amina makes another effort to convince him she is still true, but he reproaches her bitterly, takes the ring from her finger, and rushes away. SCENE II A Street in the Village. Teresa's mill on the left The villagers enter and inform Lisa that Ehino has transferred his affections to her. He enters and confirms the good news, and they go toward the church. The Count stops them, and assures Elvino that Amina is the victim of a dreadful misunderstanding. Eloino refuses to listen to him and bids Lisa follow him to the church, but they are again inter- rupted by Teresa, who has learned of the proposed marriage, and now shows Lisa's veil which she had found in the Count's room. "Deceived again," cries Eloino, and asks if any of these women are to be trusted. Rudolph assures him again that Amina is guiltless, and Eloino desperately says, " But where is the proof?" "There," cries the Count, suddenly pointing to Amina, who in her night dress comes from a window in the mill roof, carrying a lamp. All watch her breathlessly, fearing to wake her lest she fall. She climbs down to the bridge over the wheel, and de- scends the stairs. AMINA (advancing, still in her sleep, to the mid- (Amina. clasping her hands on her bosom, die of the stage) : takes from it the flowers given her by Oh, were I but permitted Elvino in the first Act.) Only once more to see him, AMINA: Ere that another he doth lead to the altar! Sweet flowers, tenderest emblems, RUDOLPH (to Elvino): Pledging his passion, from ye ne'er will I Hear her sever. TERESA: Still let me kiss you She is thinking, speaking of thee! But your bloom is fled forever! The first of the two lovely airs for Amina in this act now occurs. 317 VICTOR BOOK OF THE OPERA LA SONNAMBULA Ah ! non credea mirarti (Could I Believe) By Luisa Tetrazzini. Soprano (In Italian) 88305 12-inch, $3.OO By Graziella Pareto, Soprano (In Italian) Z6003 12-inch, 2.0O Perhaps the most effective part of the opera lies in this sleep-walking scene, when Amina, in a state of somnambulism, walks along the roof of the building, and finally climbs down to the ground. This act establishes her innocence, and clears up a mystery which had caused her good character to be doubted. Ah I non credea is sung by the sleeper as she descends from her dangerous position, while her lover and friends watch hi terror, fearing to awaken her. It opens with a beauti- ful cantabile in the key of A minor, its pathos being fully in keeping with the plight of Amina, who, being discarded by her lover and doubted by her friends, weeps over her short-lived love and happiness. At the words " Potrio novel vigore, '' the pathetic note gives place to a more ardent emotion, as hope is mingled with her despair. Regarding the flowers which her lover had given her, and which are now faded, she exclaims : AMINA: Ah! must ye fade, sweet flowers, But tho' no sunshine o'er ye, Forsaken by sunlight and showers, These tears might yet restore ye, As transient as lover's emotion But estranged devotion That lives and withers in one short day! No mourner's tears have powei to stay! i'rom the Ditsou Edition. The singer's aim has been to illustrate the simple charm of the character of Amina and the pathos of the scene, rather than exhibit brilliance of ornament. The cadenza at the close, although typical of Tetrazzini's marvelous powers of execution, is well subordinated to the character of the song, and pleases as much by its delicate beauty as by its amazing technical perfection. Elvino can restrain himself no longer, and rushes to Amina, who wakes, and seeing Eloino on his knees before her, utters a cry of delight and falls in his arms. The opera then closes with the joyous, bird-like air, Ah I non giunge, which is a fitting close to this charming work, with its graceful and tender music and peaceful pastoral scenes. In Amina, Mme. Tetrazzini finds a most congenial role, and for her sake alone Sonnambula would always be worth hearing. She has the voice, style and technical skill to make such music as this captivating; while Sembrich's impersonation of the ingenuous village beauty, who is all liveliness and joy, leaves nothing to be desired. Hers is a graceful and natural impersonation, and the delightful sleep-walking scene is given with a delicacy which is admirable. Ah non giunge (Oh Recall Not One Earthly Sorrow) By Luisa Tetrazzini, Soprano (In Italian) 88313 12-inch, $3.OO By Marcella Sembrich, Soprano (In Italian) 88O27 12-inch, 3.0O AMINA: Do not mingle one human feeling Ah. embrace me, and thus forgiving, With the rapture o'er each sense stealing; Each a pardon is now receiving; See these tributes, to me revealing On this bright earth, while we are living, My Elvino, true to love. Let us form here a heaven oi love! (Curtain.) DOUBLE-FACED AND MISCELLANEOUS SONNAMBULA RECORDS IVi ravviso (As I View These Scenes) 1 By Perello de Segurola, Bass (In Italian) L 2O92 1O -inch $O 7* Prendi 1'anel ti dono (Take Now This Ring) By Emilio Perea, Tenor (In Italian)) (Ah! fosco ciel! (When Daylight's Going) ) By La Scala Chorus (In Italian) 62642 10-inch, .75 Lohengrin Coro Nuziale By La Scala Chorus (In Italian)) 318 CONTES D'HOFFMAN TALES OF^HOFFMAN (Con/ Thff'-man) (German) HOFFMAN'S ERZAHLUNGEN (A ir-kay' -loong-en) OPERA IN THREE ACTS WITH PROLOGUE AND EPILOGUE Text by Jules Barbier. Music by Offenbach. First performance in Paris, February 10, 1881. First United States production October 16, 1882, at Fifth Avenue Theatre. Revived at the Manhattan Opera House, New York, November 27, 1907. Cast THE POET HOFFMAN Tenor NlCLAUS, his friend Soprano OLYMPIA, . ( the various ladies with whom Hoffman falls in love. . . .Sopranos ANTONIA, STELLA, J rvADc-D-n rrTv> ! his opponents. (These three roles are usually sung BESS^J by the same artist). ..Baritone LUTHER, an innkeeper Bass SCHLEMIL, Giulietta's admirer Bass SPALANZANI, an apothecary Tenor COUNCILLOR CRESPEL, father of Antonia Bass Offenbach's delightful and fantastic opera comique, first produced at Paris in 1881, has been a success wherever performed, although it was tabooed in Germany for many years after the disastrous fire at the Ring Theatre in Berlin, -which occurred during the presenta- tion of the opera at that house. Its American successes are familiar to opera-goers, especially the brilliant and altogether admirable Hammerstein production, which drew large and delighted audiences for several years. THE PROLOGUE This introductory scene occurs in Nuremberg at Luther's tavern, a popular student resort. Hoffm a n , the favorite of all, enters with his friend Nicholas and joins in the merry- making. In response to calls for a song, Hoffman sings the Ballad ofKlein-Zach, and then volunteers to relate his three love affairs. This proposal is greeted with enthusiasm, and as Hoffman be- gins by saying "The name of my first was Olympia," the cur- tain falls. When it rises, the first tale of Hoffman is seen in PROLOGUE THE LEGEND OF KLEIN-SACK actual performance. 319 VICTOR BOOK OF THE OPERA TALES OF HOFFMAN ACT I Spalanzani, a wealthy man with a mania for au- tomatons, has perfected a marvelous mechanical figure of a young girl which he calls Olympia, pretending it is his daughter. Hoffman and Nicholas call upon him, and during Spalanzani's absence, Hoffman discovers Olympia, and falls in love at sight. Unable to take his eyes from the doll- like perfection of the figure, he expresses his infatuation in a beautiful air. C'estelle CTis She !) By Charles Dalmores, Tenor (In French) 87089 10-inch, $2.00 Dalmores makes a great success in the part of Hoffman. This role calls for a handsome appearance, a gallant bearing, and enduring vocal powers, and this tenor fills these re- quirements admirably. He sings this beautiful air with graceful fluency and much warmth of tone. Nicholas tries in vain to prevent his friend from mak- ing a fool of himself, but Hoff- man, owing to the magic glasses Spalanzani has induced him to wear, sees only a lovely woman instead of an automaton ; but is undeceived when he dances with the figure and she falls to pieces before his astonished eyes. ACT II This adventure concerns the Lady Giuliella, who resides in Venice. Among her many friends are Hermann and Nathanael, and the latter, fearing the power of the lovely coquette, tries to get Hermann away, but he insists that he is proof against her fascinations. Dapertutlo, the real lover of the lady, hearing this boast, induces Giulietla to try her arts on the young man. She succeeds, and Hoffman, madly in love, challenges Giulietta's protector, Schlemil, and kills him in a duel. Hoffman rushes back to his charmer's residence only to find that she has fled with her chosen admirer. This second tale introduces that lovely gem, the Barcarolle, with its languorous, fascinating rhythm and charming melody. THE MECHANICAL DOLL ACT COPVI MISHKIN DALMORES AS HOFFMAN Barcarolle Belle Nuit (Oh, Night of Love) By Geraldine Farrar and Antonio Scotti (In Italian) 875O2 10-inch, $3.0O By Mr. and Mrs. Wheeler (Doui/e-F Bass A SACRISTAN Baritone SPOLETTA (Stx>-M -tah) a police agent Tenor SCIARRONE, a gendarme Bass A JAILOR Bass Judge, Cardinal, Officer, Sergeant, Soldiers, Police Agents, Ladies, Nobles, Citizens. Scene and Period : Rome, June, 1800. The Story Tosca is Puccini's fifth opera, and by far the most popular, next to Mme. Butterfly, which probably holds first place in the affections of opera-goers. The opera is a remarkable example of Puccini's skill in adjusting both instrumental and voice effects to the sense of the story, interpreting both the characters and the situations. The plot is gloomy and intensely tragic, following closely the Sardou melodrama, but is relieved somewhat by the beauty of the musical setting, which confirmed Puccini's place in the first rank of modern operatic composers. The three acts of the opera are crowded with sensational events and highly dramatic situations. The work has neither introduction nor overture. The first scene occurs in the church of San Andrea, where the painter, Mario Caoaradossi, is at work on the mural decorations. Here he has been accustomed to meet his fianc6e, the beautiful Fiona Tosca, a singer. While awaiting her, he contemplates the Magdalene he is at work on, the face being that of the unknown beauty who had frequently prayed at the altar. Suddenly a political refugee, Angelotti, who has just escaped from the castle, appears, recognizes his friend Caoaradossi, and asks his assistance. The painter gives him food and sends him to his {CaoaradossCs) villa, just as Tosca arrives. Her lover's confused man- ner arouses her curiosity, and when she sees the like- ness on the easel, she is jealous. He soothes her, and after her departure hurries out to guide Angelotti, a cannon shot from the castle meanwhile announcing the escape of the fugitive. Scarpia and his police enter in search of the pris- oner, who has been traced to the church. Caoaradossi is suspected as an accomplice, and Scarpia, who is secretly in love with Tosca, plans his ruin, with a view to removing from his path a dangerous rival. 331 PHOTO IIAIUEl FAKRAB AS TUSCA VICTOR BOOK OF THE OPER A P UCCINI'S TOSCA CARUSO AS MARIO ACT I In the second act Scarpia, putting into execution his schemes, orders Mario's arrest, and when the painter is brought in, sends for Tosca and contrives that she shall hear the cries of her lover as he is being tortured to induce him to reveal Angelotti's hiding place. Unable to endure Mario's agony, she tells Scarpia where the refugee is concealed. Mario is sent to prison, and Scarpia tells Tosca that unless she looks with favor on him, her lover shall die within an hour. To save his life she consents, but demands that they be allowed to depart in safety the next day. A mock execution is planned by Scarpia, who writes out a pass for the lovers. As he gives it to Tosca, she stabs him and runs to Mario with the release. In Act III the mock execution takes place as plan- ned, but through Scorpio's treachery, it proves to be a real one, and Mario is killed. Tosca afterwards throws herself from the castle parapet as they attempt to arrest her for Scarpia 's murder. ACT I SCENE Interior of the Church of St. Andrea Mario Cavaradossi, the painter, enters the church, where he has been at work on a Madonna. As he uncovers the portrait, the Sacristan, who is assisting Mario, is surprised to discover in the face of the painting the unknown beauty whom he had noticed of late in the church. Mario smilingly confesses that while she had prayed he had stolen her likeness for his Madonna. Then taking out a miniature of his betrothed, Tosca, he sings a lovely air in which he compares her dark beauty with the fair tresses and blue eyes of the unknown worshipper, calling it "a strange but harmonious contrast." Recondita armonia (Strange Harmony) By Enrico Caruso, Tenor (In Italian) 87O43 10-inch, $2.OO His musings are inter- rupted by the hurried entrance of a man in prison garb, pant- ing with fear and fatigue, whom Mario recognizes as an old friend, Angelotli, a political prisoner. Mario, in response to his friend's appeal for assist- ance, hastily closes the outer door, and conceals Angelotli in the chapel, just as Tosca' s voice is heard impatiently de- manding admittance. He admits her, but is anxious and ill at ease, fearing to intrust even Tosca with so dangerous a secret, but she notices his preoccupation and is somewhat piqued because he is not as attentive as usual. She is at first jealous and asks him if he is thinking of another woman ; but soon repents, and in the charming love scene which follows endeavors to smooth his brow by planning an excursion for the morrow. TOSCA AND MARIO IN THE CHURCH ACT I 332 VICTOR BOOK OF THE OPER A P UCCINI'S TOSCA EAMES AS TOSCA Ora stammi a sentir (Now Listen to Me) By Geraldine Farrar, Soprano (In Italian) 88287 12-inch, $3.OO She sings of the delights of the proposed visit to the villa, and the romantic forest where they will wander and forget the cares and troubles of their professional life. He listens but seems absent-minded, and she con- tinues her recital of the joys of their secluded little retreat among the hills. Mario says she is an enchantress, and in this duet they exchange anew their vows of love. Non la sospiri la nostra casetta (Our Cottage Secluded) By Ruszcowska, Soprano ; Cunego, Tenor (In Italian) 88272 12-inch, $3.OO Tosca now perceives the Madonna and recognizes the face as that of the Attavanti, sister of Angeloiti. Her jeal- ousy revives, and she declares that Mario has fallen in love with the blue eyes. Beginning another duet, he swears that none but Tosca's eyes are beautiful to him. Qual occhio al mondo (No Eyes on Earth) By Elena Ruszcowska and Egidio Cunego (In Italian) 88273 12-inch, $3.OO Mario promises to meet her at the stage door that evening, and she bids her lover a tender farewell and departs. The painter hurries to the chapel and bids Angeloiti escape, showing him the path to the villa, where he will be safe. A cannon shot from the fortress tells that the escape of the prisoner has been discovered. He is no sooner gone than the Sacristan and choir enter, followed soon after by Scarpia and his police, who have traced Angelotti to the church. The Attavanti' s fan and Mario's empty basket are found in the chapel, and when the Sacristan says it should contain the painter's lunch, Scarpia suspects Mario of aiding the prisoner. Tosca now returns, still doubting her lover, and Scarpia, divining the state of affairs, decides to add fuel to the flame of jealousy. He approaches her respectfully and sings his first air, Divine Tosca. Tosca Divina (Divine Tosca !) By Gustav Berle-Resky, Baritone (In Italian) *16745 10-inch, $0.75 He praises her noble character and devout habits. She is inattentive and scarcely hears him, until he insinuatingly says that she is not like other women who come here to meet their lovers. She asks him what he means and Scarpia shows her the fan which he had found in the church. Tosca is now convinced that Mario has been deceiving her, and in a jealous rage she leaves the church, weeping. Te Deum By Giuseppe Magge, Bass, and La Scala Chorus (In Italian) *55O08 12-inch, $1.50 COPVI DUPOIIT MARTIN AS MARIO ACT I > Double-FaceJ Record For title of opposite side see DOUBLE-FACED TOSCA RECORDS, page 337. 333 VICTOR BOOK OF THE O P E R A P U C C I N I ' S TOSCA The act closes with a Te Deum, sung in celebration of the defeat of Bonaparte, and the scene at the fall of the curtain is a most impressive one, the solemn strains of the service sounding through the church, -while Scarpia kneels, apparently in reverence, but secretly plotting his diabolical crimes. ACT II SCENE A Room in Scorpio's Apartments in the Farnese Palace When the curtain rises Scarpia is shown at his supper, restless and agitated, awaiting the report of his police, who have been sent to arrest Mario and Angelotti. Hearing Tosca's voice in the apartments of the Queen below, where she is singing at a soiree, he sends her a note saying he has news of her lover. He is certain she will come for Mario's sake, and sure that his plans will succeed. He then sings his celebrated soliloquy. Scarpia loves such a conquest as this no tender vows in the moon- light for him! He prefers taking what he desires by force, then when wearied he is ready for further conquest. This, in short, is his creed God has created divers wines and many types of beauty he prefers to enjoy as many of them as possible! Mario is brought in by the police, who report t\\&t Angelotti THE TORTURE ACT ii cannot be found. Scorpio is furious, and tries to force Mario to reveal the hiding place of the fugitive ; but he refuses to speak, and is ordered into the torture chamber adjoining. Tosco comes in answer to Scorpio's summons and is told that Mario is being tortured into a confession. Unable to bear the sound of his groans, she reveals the hiding place of Angelotti. Scarpia, in triumph, orders the torture to cease, but sends Mario to prison, telling him he must die. Tosca tries to go with him but is forced to remain. Then begins the great scene of the opera, which Scarpia begins by offering to save Mario's life. She scornfully asks him his price, and he proposes that Tosca shall accept his attentions in order to save her lover's life. He then sings his famous Cantabile, given here in two parts. Cantabile Scarpia (Venal, My Enemies Call Me) By Antonio Scotti, Baritone 88122 12-inch, $3.00 Gia mi struggea (You Have Scorned Me) (Last Part of Cantabile) By Ernesto Bad ini (In Italian) 45016 10-in., $1.00 He tells her that he has long loved her and had sworn to possess her. She scorns him, but when he tells her that Mario shall die in an hour and exults in his power, her spirit is broken, and weeping for shame, she sings that loveliest and most pathetic of airs, Vissi d'arte. Vissi d'arte e d'amor (Love and Music) By Nellie Melba, Soprano (In Italian] By Geraldine Farrar, Soprano (In Italian) By Emma Eames, Soprano (In Italian) By Lucille Marcell, Soprano (In Italian) By Maria Bronzoni, Soprano (In Italian) 334 PHOTO GARO SCOTTI AS SCARPIA 88075 88192 88O1O 76O18 45017 12-inch, 12-inch, 12-inch, 12-inch, lO-inch, $3.00 3.00 3.OO 2.OO 1.00 VICTOR BOOK OF THE OPER A P UCCINI'S TOSCA One of the most interesting comparisons to be found in the Victor's opera list is in a hearing of these five renditions, by five famous Toscas Melba, the Australian ; Farrar and Eames, the Americans; Marcell, the Frenchwoman; and Bronzoni, the Italian, the latter record being doubled with Mario's 3d Act air. This highly impassioned number is given its full dramatic value by Mme. Melba, -whose performance of the ill-fated Fiona Tosca is always an impressive one. Farrar, in her rendition, delivers this touching appeal of the unfortunate Tosca with much pathos and simplicity. It is probably the most perfect and beautiful of all the Farrar records. The air is also a fine test of Mme. Eames' dramatic ability, and this scene is one in which she has made one of her greatest triumphs. The unhappy woman asks what she has done that Heaven should forsake her. Scorpio, who is -watching her intently, calls her attention to the sound of drums, summoning the escort for the condemned prisoners, and demands her answer. She yields, bowing her head for shame. Scorpio is overjoyed, and -when she insists that Mario shall be set free he consents, but says a TOSCA SECURING THE DAGGER m ck 6 X C C U t i O n is necessary. It is agreed that after this pretended execu- tion, Mario shall have his liberty, but Tosca demands a safe escape from the country for them both. While Scarpia is writing the docu- ment, Tosca contrives to secure the dagger from the table, and as Scarpia approaches to give it to her and then take her in his arms, she stabs him, crying that thus she gives him the kiss he desired. In a prolonged and highly dramatic scene she takes the paper from Scorpio's dead fingers, then -washes her hands in a bowl on the table, places the two candles at the dead man's head and the cross on his bosom, then goes out, turning for a last look at the lifeless body as the curtain falls. THE MURDER OF SCARPIA ACT II ACT III (A terrace of San Angela Castle, outside the prison cell of Caoaradossi. View of Rome by night) The music of the opening act is most effective, with its accompaniment of pealing church bells, and it is splendidly played by Mr. Pryor in the Tosca Selection. This entire prelude is also given by an Italian orchestra under the direction of Sabaino, doubled -with the Te Deum of Act I. Prelude By Italian Orchestra, M. Sabaino, Director 55008 12-inch, $1.5O Mario is brought out from his cell, is shown the official death warrant, and told he has but one hour to live. He asks permission to -write a note to Tosca, and is given paper and pen. He begins to write, but engrossed with memories of the past, he pauses and sings passionately of his loved one, whom he expects never to see again. 335 AND TOSCA ACT 111 VICTOR BOOK OF TIIE OPER A P UCCINI'S TOSCA THE EXECUTION ACT III E lucevan le stelle (The Stars W^ere Shining) By Enrico Caruso, Tenor (Piano ace.) (In Italian) 87O44 10-inch, $2.OO By Riccardo Martin, Tenor (In Italian) 87O50 10-inch, 2.0O By Franco de Gregorio, Tenor (In Italian) 45O17 lO-inch, l.OO Mario at first recalls their former meetings on starlight nights in quiet gardens ; then, feel- ing the bitter regret of loss of life and all that he holds dear, the voice rises in passages of tragical import and power as the air proceeds. The regret, the grief and the hopelessness of the situation are depicted by Caruso with intense pathos, the air closing with a sob an effect by which this singer can effectively express the extremity of passionate grief. In Martin's rendition this tenor is at his best, singing the lovely Puccini music with much beauty of tone. The de Gregorio record is a double-faced one, being paired with Mme. Bronzoni's Vissi d'arte. Tosca now enters, and joyfully telling Mario he is to be free, shows him the safe conduct, telling him how she has killed Scarpia. He gazes at her with compassion and regrets that these hands such tender and beautiful hands should be compelled to foul themselves with a scoundrel's blood. She then explains that a mock execution has been arranged, and instructs him to fall down when the volley is fired, and when the soldiers are gone they are to escape together. In a beautiful duet, recorded here in two parts, they rejoice in their hopes for the future. Amaro sol per te m'era il morire (The Bitterness of Death) By Elena Ruszcowska, Soprano, and Egidio Cunego, Tenor (In Italian) 88274 12-inch, $3.OO Trionfa di nuova speme By Elena Ruszcowska and Egidio Cunego (In Italian) 87O69 10- inch, 2.0O The squad of soldiers now enter and the pretended execution takes place as planned ; the shots are fired and Mario falls as if dead. Tosca waits till the firing party is gone, whis- pering to her lover not to get up until the footsteps have died away. "Now, Mario, all is safe, " she cries, but is astounded that he does not obey her. She rushes to him, only to find that Scarpia had added another piece of treachery to his long list, having secretly ordered Mario to be killed. She throws herself on his body in an agony of grief. Spoletta and soldiers now come running in and announce the murder of Scarpia ; but when they attempt to arrest Tosca she leaps from the castle wall and is killed. 336 VICTOR BOOK OF THE O P E R A P U C C I N I ' S TOSCA DOUBLE-FACED AND MISCELLANEOUS TOSCA RECORDS /Te Deum By Giuseppe Maggi and Chorus (In Italian)}* * . , \Pre\udio-AttoIII By Italian Orchestra/ 550 12-inch, $1.5O /Tosca Selection By Pryor's Band! \ Manon Lescaut Intermezzo By Pryor's Band) IGia mi struggea By Ernesto Badini. Baritone (In Italian)] Manon Lescaut Donna non vidi mat (Puccini) By Egidio Cunego, Tenor JVissi d'arte By Maria Bronzoni, Soprano |E lucevan le stelle By De Gregorio, Soprano ) Tosca Tosca Divina By Berl-Resky, Baritone Preghiera Alia menle confusa ( Tosti) By Gustav Berl-Resl^y, Baritone 35OO3 12-inch, 1.25 U5016 (In Italian)} (In Italian)}. 1 1 it i- ^ r45Ol 7 (In Italian)) (In Italian)} [16745 (In Italian)} lO-inch, l.OO lO-inch. l.OO lO-inch, .75 THE TE DEUM, FINALE ACT I 337 (Italian) LA TRAVIATA (Lah Trah-oee-ah' -tah) OPERA IN THREE ACTS Text by Piave, founded on Dumas' "Lady of the Camelias," but the period is changed to the time of Louis XIV. Score by Giuseppe Verdi. First presented in Venice, March 6, 1853. First London production May 24, 1856. First New York production December 3, 1856. Characters of the Opera VlOLETTA VALERY, a courtesan Soprano FLORA, friend of Violetta Mezzo-Soprano ANN1NA, confidante of Violetta Soprano ALFREDO GERMONT, (Zher-maw) lover of Violetta Tenor 'GIORGIO GERMONT, his father Baritone GASTONE, Viscount of Letorieres Tenor BARON DOUPHOL, a rival of Alfred Baritone DOCTOR GRENVIL, a physician Bass GIUSEPPE, servant to Violetta Tenor Chorus of Ladies and Gentlemen, friends of Violetta and Flora. Mute Personages: Matadors, Picadors, Gypsies, Servants, Masks, etc. Scene and Period : Paris and environs, about the year 1700. Verdi's La Traviata is based upon a well-known play by Alexandre Dumas, La Dame awe camelias, familiar in its dramatic form as Camille. It is one of the most beautiful works of its class, and is full of lovely melodies; while the story of the unfortunate Violetla has caused many tears to be shed by sympathetic listeners. The opera met with but indifferent success at its first production. Several ludicrous incidents aroused the laughter of the audience, the climax being reached when the Violetta (Mme. Donatelli), who happened to be very stout, declaimed in feeble accents that she was dying of con- sumption! This was too much for the Venetian sense of humor, and the house exploded with mirth, utterly spoiling the final scene. The opera was then revised, eight- eenth century costumes and settings being substituted for the modern ones first used ; and the new version was produced in various cities with suc- cess, the London season being particularly brilliant. The plot, being quite familiar, will be but briefly sketched here. Violetta, a courtesan of Paris, is holding a brilliant revel in her home. Among the guests is a young man from Provence, Alfred, who is in love with Violetta, and after much persuasion, the spoiled beauty agrees to leave her gay life and retire with him to an humble apartment near Paris. After a few brief months of happiness, the lovers are discovered by Alfred's father, who pleads with Violetta to release his son from his promises. She yields for his sake, and resumes her former life in Paris. Alfred, not knowing the real cause of her desertion, seeks her out and publicly insults her. Too late he discovers the sacrifice Violetta has made, and when he returns, full of remorse, he finds her dying of consumption, and she expires in his arms. Prelude to Act I By La Scala Orchestra *68O27 12-inch. $1.25 The prelude, one of the loveliest bits in the opera, is played in fine style by the famous orchestra of La Scala. *Double-Faocd Record For htle of opposite side see DOUBLE-FACED LA TRA VIA TA RECORDS, page 344, 339 FRANCESCO PfAVE (1810-1876) LIBRETTIST OF TRAVIATA VERDI AT THE TIME OF THE FIRST TRAVIATA PRO- DUCTION VICTOR BOOK OF THE O P E R A V E R D I 'S TR A VI AT A ACT I SCENE Drawing-room in the House of Violelta A gay revel is in progress at the house of Violetta, and the act opens with a lively chorus, followed by a rousing drinking song, given by Alfred, in which Violetta joins. Libiatn nei lieti calici (A Bumper "We'll Drain) By Amelia Rizzini, Soprano; Emilio Perea, Tenor; and La Scala Chorus (In Italian) *62415 10-inch, $0.75 ALFRED: YIOLETTA: A bumper we'll drain from the wine-cup Enjoy the hour, for rapidly flowing. The joys of life are flying That fresh charms to beauty is lending, Like summer fiow'rets dying O'er fleeting moments, so quickly ending, Improve them while we may! Gay pleasure alone should reign. The present with fervor invites us. Its flattering call obey. CHORUS: Enjoy then the wine-cup with songs of pleasure That make night so cheerful and smiling, In this charming paradise, beguiling, That scarcely we heed the day. The dance commences, and all go into the ballroom except Violetta and Alfred, who remain for a charming love scene. In a beautiful duet the lovers speak of their first meeting. Un di felice (Rapturous Moment) By Marie A. Michailowa, Soprano, and A. M. Davidow, Tenor (In Russian) 61138 10-inch, $1.0O By Emma Trentini, Soprano, and Gino Martinez-Patti, Tenor (In Italian) *62067 lO-inch, .75 Alfred now bids her a tender farewell and takes his departure, and Violetta sings her great air, one of the most brilliant of all colorature numbers. f Ah, fors' e lui (The One of 'Whom I Dreamed) ( Sempre libera (The Round of Pleasure) By Luisa Tetrazzini, Soprano (In Italian) 88293 12-inch, $3.00 By Marcella Sembrich, Soprano (In Italian) 88O18 12-inch, 3.0O By Nellie Melba, Soprano (In Italian) 88O64 12-inch, 3.OO By Blanche Arral, Soprano (In French) 74132 12-inch, 1.5O By Giuseppina Huguet, Soprano (Part I) (In Italian) *62084 10-inch, .75 By Giuseppina Huguet, Soprano, and Pietro Lara, Tenor (Part II) (In Italian) *62084 10-inch, .75 The aria occurs at the close of the act. Violetta, wonderstruck at finding herself the object of a pure love, begins the soliloquy, E strano, saying : How wondrous! Shall I dare disdain it, His words deep within my heart are graven! And choose the empty follies that now surround No love of mortal yet hath moved me. me? She then sings the plaintive air, Ah, fors' e lui, and gives herself up to the spell of awakening love : VIOLETTA: Ah, was it he my heart foretold, when in the Strewing my way with flowers, throng of pleasure, Waking my heart to love! Oft have I joy'd to shadow forth one whom Ah, now I feel that 'tis love and love alone, alone I'd treasure. Sole breath of all in the life, the life universal, He who with watchful tenderness guarded my Mysterious power, guiding the fate of mortals, waning powers, Sorrow and sweetness of this poor earth. The animated last movement follows, as the unhappy woman shakes off the illusion and once more vows to devote her life to pleasure. *Doubk-Faced Record For title of opposite side see DOUBLE-FACED LA TRA VIA TA RECORDS, page 344. 340 VICTOR BOOK OF THE O P E R A- V E R D I ' S TRAVIATA VVhat folly! what folly! For me there's no returning! In ev'ry fierce and wild delight. I'll steep my sense and die! I'll fulfill the round of pleasure, Joying, toying from flower to flower, I will drain a brimming measure from the cup of rosy joy. Never weary, each dawning morrow Flies to bear me some new rapture Ever fresh delights I'll borrow, 1 will banish all annoy! The Victor owner has no fewer than five renditions of this great air to choose from and is likely to be embarrassed in his attempt to choose the best, but will probably compromise by selecting two or more of them. Melba's singing of this air, which is one of the supremely beautiful songs that stand out strongly among much that is commonplace in compositions of its class, is marked not only by great brilliancy, but by dramatic fervor, and she makes a marked contrast between the sadness of the prelude and the forced gayety of the finale. It is a fact -worthy of note in connection with Melba's rendition that both portions of the aria (formerly issued in two parts) now are included in one record. Mme. Tetrazzini chose this opera for her first appearance both in London and New York, and the MELBA AS VIOLETTA choice was an admirable one, as Verdi's work exhibits all the soprano's fine qualities not only her wonderful coloratura but the warmth and color which she possesses in a high degree. Many operatic sopranos regard the part of Violetta merely as a background for a vocal display. Tetrazzini on the other hand, while not neglecting the opportunities for coloratura, brings to the part a human tenderness and a pathos which are most affecting. Her render- ing of this familiar Ah, fors' I lui is a most musical one, with its astonishing feats of execution; and the ease with which she trills an E in alt can only be described as amazing. Mme. Sembrich in her turn fully realizes the composer's ideal in the presentation of this florid and ornamental air, and seldom has a more vital and satisfying rendition been heard than that of this mistress of vocal art. She sings it with such purity and mellowness of voice and such a brilliancy of vocalization that we can but wonder at the perfection of art which makes such a record possible. Other lower-priced, but nevertheless very fine renderings, are provided by Mme. Arral and Mme. Huguet these records, however, including only part of the air. ACT II SCENE Interior of a Country House near Paris Alfred enters and soliloquizes upon his new-found happiness. ALFRED: Three months have already flown Since my belov'd Yioletta Left for me her riches and admirers. Yet now contented in this retreat, so quiet She forgets all for me. He then sings his Dei miei bollenti. bollenti spiriti (Wild My Dream of CONSTANTINO AS ALFBED (ACT II, SCENE l) Dei miei Youth) By Aristodemo Giorgini. Tenor (In Italian) 76011 12-inch, $2.OO 341 VICTOR BOOK OF THE O P E R A VE R D I ' S TRAVIATA By Florencio Constantino, Tenor (In Italian) 74O83 12-inch, $1.5O By Emilio Perea, Tenor (In Italian) *68156 12-inch, 1.25 By Alberto Amadi, Tenor (In Italian) *63314 lO-inch, .75 ALFRED: Fever'd and wild my dream of youth, No star on high to guide me, She shone on me with ray benign, And trouble fled away! When low she whisper'd: "Live for me, on earth I love but thee," Ah, since that bright, that blessed day, In Heaven, 'mid joys celestial, In Heaven I seem to be! Alfred learns from Violetta's faithful maid that she has been obliged to sell her jewels for their support. He is much ashamed and leaves for Paris to secure some money. Violetta returns and is surprised at Alfred's sudden departure. A visitor is announced, who proves to be Germont, the father of Alfred. He has been greatly distressed at his son's entanglement, and comes to beg Violetta to release the young man from his promises. She is much moved, and her bearing makes a favorable impression on Germont, especially when he learns that she has sold her property for Alfred's sake. Pura siccome un angelo (Pure as an Angel) By G. Battaglioli, Soprano, and Ernesto Badini, Baritone (In Italian) *45OO1 lO-inch, $1.00 By Renzo Minolfi, Baritone (In Italian) *62415 lO-inch, .75 Non sapete (Ah, You Know Not) By Ernesto Badini, Baritone (In Italian) * 45028 lO-inch, $1.OO In this air Germont pleads for his own daughter, whose engagement to a youth of Provence will be broken if Alfred does not return home. Violetta at first refuses, saying that her love for Alfred is above all other considerations, but when Germont says : CONSTANTINO AS ALFRED (ACT ii, SCENE ii ) Be to my home and lov'd ones Our angel, good, consoling. Violetta, oh, consider well she finally yields, agreeing to leave Alfred forever, and they sing a melodious duet: While yet there may be time. "Tis Heav'n itself that bids me speak, These words in faith sublime! Dite alia giovine (Say to Thy Daughter) By Maria Galvany, Soprano, and Titta Ruffo, Baritone (In Italian) 925O3 12-inch, $4.00 Germont expresses his gratitude, embraces the weeping Violetta and departs, while the unhappy woman writes to Alfred of her decision and returns to Paris. When the young man returns he is driven to despair by Violetla's note, and repulses his father, who pleads with him to return. Germont then sings his most beautiful number, the Di Prooenza. Di Provenza il mar (Thy Home in Fair Provence) By G. Mario Sammarco, Baritone (In Italian) 88314 12-inch, $3.OO By Mario Ancona, Baritone (In Italian) 87006 lO-inch, 2.00 By Giuseppe Campanari, Baritone (In Italian) 81O71 10-inch, 2.0O By Ernesto Badini, Baritone (In Italian] i*45OOl lO-inch, 1.00 In this touching appeal he asks his son to return to his home in Provence and to his father's heart. Sammarco sings the number with a wealth of tenderness and expression, revealing a smooth, rich and resonant baritone which is good to hear, while a fine rendition by Ancona and a popular-priced record by Badini are also offered. *Doutle-Faced Record For title of opposite side see DOUBLE-FACED LA TRA VIA TA RECORDS, page 344. 342 VICTOR BOOK OF THE O P E R A V E R D I ' S TRAVIATA GERMONT: From fair Provence's soil and sea, Who hath won thy heart, away? From thy native sunny clime, What strange fate caus'd thee to stray? Oh, remember in thy woe All the joy that waits for thee, All the peace thy heart would know, Only there, stiil found may be. Ah, thy father old and worn, What he felt Ihou ne'er canst know, In thine absence, so forlorn Seem'd his home, with grief and woe. But I find thee now again. If my hope doth not mislead, If yet honor doth remain With its voice not mute or dead, Heav'n sends me aid! Alfred refuses to yield to his father's plea, and departs for Paris in search of Violetta. SCENE II A Richly Furnished Salon in Flora's Palace. On the Right a Gaming Table FARRAR AS VIOLETTA As the curtain rises Flora and her friends are discussing the separation of the lovers and Flora says she expects Violetta -will soon arrive with the Baron. Alfred enters, and remarking with assumed indifference that he knows nothing of Violetta's whereabouts, begins to gamble and wins heavily. The Baron appears, accompanied by Violetta, who is agitated at the sight of Alfred, but he pretends not to see her and challenges the Baron to a game, again winning large amounts. Supper is announced and all leave the room except Violelta and Alfred, who linger behind. He charges her with her falseness, and, in furtherance of the promise made to Germont, she pretends to him that she loves the Baron. Alfred then losea all control over himself, and throwing open the doors, he calls to the guests to re-enter. Questa donna conoscete (Know Ye All This Woman ?) By Alberto Amadi, Tenor Pointing to Violetta, Alfred cries wildly: ALFRED: All she possess' d, ihis woman here, Hath for my love expended. I, blindly, basely, wretchedly. This to accept, condescended. (In Italian) *63314 10-inch. $O.75 But there is time to purge me yet From stains that shame, confound me. Bear witness all around me That here I pay the debt! and completes the insult by throwing at her feet the money he had just won. At this moment Alfred's father, Germont, enters, and is horrified at the scene which con- fronts him. Then follows the splendid finale, one of the greatest of Verdi's concerted numbers. Alfredo, di questo core (Alfred, Thou Knowest Not) By Giuseppina Huguet. Soprano: G. Pini-Corsi, Tenor: Ernesto Badini, Baritone ; and Chorus (In Italian) *58392 12-inch. ll.OO The emotions of the various characters are expressed by the librettist as follows : ClUESTS: Oh, to what baseness thy passions have led To wound thus fatally one who has loved thee! GERMONT: Of scorn most worthy himself doth render Who wounds in anger a woman tender! My son, where is he? No more I see him; In thee, Alfred, I seek him; but in vain! ALFRED (aside) : Ah! yes, 'twas shameful! a deed abhorrent! A jealous fury love's madd'ning torrent. But now that fury is all expended. Remorse and horror to me remain. BARON: This shameful insult against this lady Offends all present; behold me ready To punish the outrage! VIOLETTA (reviving): Ah, lov'd Alfredo, this heart's devotion Thou canst not fathom yet its fond emotion! When, hereafter the truth comes o'er thee May Heaven in pity then spare thee remorse! (Germont goes out srpporting Alfred, who is almost in a state of collapse. The fainting Violetta is led ava\ by her friends, and the guests begin to disperse as the curtain falls.) * Doublc-Faced Record For title of opposite siJexc DOUBLE-FACED LA TRAVIATA RECORDS. t>age344. VICTOR BOOK OF THE O P E R A V E R D I ' S TR A VI AT A ACT III ( Violetta 's apartment. She is asleep on the couch, while her maid dozes by the fire) As the curtain rises the doctor's knock is heard, and Dr. Grenvil, Violeila 's physician, enters and attends his patient, after-wards telling the maid that she has not long to live. Left alone, Violetta reads again a letter she has received from Germont. " Thou hast k pt thy promise. The duel took place, and the Baron was wounded, but is improving. Alfredo is in foreign countries. Your sacrifice has been revealed to him by me, and he will return to you for pardon. Haste to recover ; thou deserveth a bright future. ' ' Georgio Germont "Alas, it is too late," she exclaims, and sings her beautiful and pathetic " Fare-well. " Addio del passato (Farewell to the Bright Visions) By Alice Nielsen, Soprano (In Italian) 64O68 lO-inch, $1.00 By Marie Michailowa, Soprano (In Russian) 61178 10-inch, 1.00 YIOLETTA: Farewell to the bright visions I once fondly Pity the stray one, and send her consolation, cherish'd, Oh, pardon her transgressions, and send her Already the roses that deck'd me have per- salvation. ish'd; The sorrows and enjoyments of life will soon The love of Alfredo is lost, past regaining, be over, That cheer'd me when fainting, my spirit sus- The dark tomb in oblivion this mortal form taining. will cover! Alfred now enters, filled with remorse, and asks forgiveness, which is freely granted ; and Violetta, forgetting her illness, plans -with Alfred to leave Paris forever. They sing this melodious duet, "Gay Paris We'll Leave With Gladness." Parigi o cara (Far from Gay Paris) By Alice Nielsen and Florencio Constantino (Italian) 74O75 12-inch, $1.50 By Amelia Rizzini, Soprano, and Emilio Perea, Tenor *62O67 10- inch, .75 At the close of the duet Violetta's overtaxed strength gives way, and she collapses in her lover's arms. He notices for the first time her paleness, and is much alarmed, sending the maid to call the doctor. Dr. Grenvil soon enters, accompanied by Germont, and after an affecting scene, in which Germont blames himself for all that has occurred, Violetta expires, and the curtain falls on a sorrowful tableau. DOUBLE-FACED AND MISCELLANEOUS TRAVIATA RECORDS /Prelude By La Scala Orchestral 68O2 7 12-inch $1 25 I L'j'Jfricana Marcia Indiana By La Scala Orchestra] JTraviata Selection By Pryor's Band\- n _, _ . , ( -r c i M- D D ' D jfj5O7o 12-inch, 1.25 \ I rovatore Selection tiy rryor s Hand} /Alfredo, di questo core By Huguet, Pini-Corsi and Badinil , Qr .__ , . u . , \ D DI n j i t jj D s~> j r u it i- >o8O7O 12-inch, 1.25 I Kuy tiLas U aolce volutta tiy C/nsi and Lara (In Italian, ) /Dei miei bollente (Wild My Dream) By Perea (In Italian)} , ai - , , . , , _, \ zr r j i D D /. /- ; j j T J-oolSo 12-incn, 1.25 \ tLrnani rerma crudele By Bernacchi, L-olazza ana ae Luna) /Non sapete (Ah, You Know Not) By Ernesto Badinil 4 e. n ~ a , n < , nn < u* ,~> i-, /-.. . u ,j i. ;. ^?45O2o lO-inch, l.OO I Manon Ljavolla Hy (jtusepptna nuguet (In Italian)) /Di Provenza il mar By Ernesto Badini (In Italian)} A u j T // ti i- N /-O2O84 lO-inch, .75 (oempre hbera By nuguet and Lara (In Italian)) IUn di felice, eterea ByTrentini and Martinez-Pattij Parigi o cara By Amelia Rizzini, Soprano, and S62O67 lO-inch, .75 Emilio Perea, Tenor (In Italian) | I Pura siccome un angelo By Renzo Minolfi (In Italian) 1 < Libiam nei lieti calici (A Bumper We'll Drain) ^62415 10-inch. .75 By Rizzini, Perea and Chorus (In Italian) } /Dei miei bollenti spiriti By Alberto Amadi (In Italian)} (L.J.JJ 4 lO-inch 75 \Questa donna conoscete By Alberto Amadi (In Italian)} * Double-Faced Record For title of opposite side see above list. 344 SCENES FROM TRISTAN (German) (Italian) TRISTAN UND ISOLDE TRISTANO E ISOTTA (Tris'-tahn oondt Ees-mt -deh) (Trees-lah' -noh cy Ees-sof -tah) TRISTAN E AND ISOLDE (Trh-lan and lu-ot -dih) OPERA IN THREE ACTS Words and music by Richard Wagner, the plot being derived from an old Celtic poem of the same name, -written by Gottfried of Strasburg, -who flourished in the thirteenth century though Wagner has changed the narrative sufficiently to make it his own. Tristan is one of the most popular of legendary heroes and has been treated of by numerous writers, among them Tennyson, Matthew Arnold and Swinburne. Wagner's Tristan and Isolde was first presented in Munich, June 10, 1865. First London production June 20, 1882. First American performance in New York, December 1, 1885. 345 VICTOR BOOK OF THE O PE R A TR I STAN AND ISOLDE Characters TRISTAN, a. Cornish knight, nephew of King Mark. .Tenor KING MARK of Cornwall Bass ISOLDE, Princess of Ireland Soprano KURVENAL, Tristan's devoted servant Baritone MELOT, (May -lot) one of King Mark's courtiers. . . .Tenor BRANGANE, (Bran-gay' -neh) Isolde's friend and attendant Soprano A SHEPHERD Tenor A STEERSMAN Baritone A SAILOR LAD Tenor Chorus of Sailors, Knights, Esquires and Men-at-Arms. ORIGINAL PROGRAM OF TRISTAN, MUNICH, 1865 Although completed in 1859, Tristan was not produced until six years later. Through the strenuous efforts of King Ludwig II of Bavaria, it was ultimately brought out in Munich with distinct artistic success Schnorr, the tenor, scoring brilliantly in the role of Tristan. Previous to this time, however, it had been underlined for performance in Vienna, but -was abandoned after fifty-seven rehearsals. The opera did not find its way to America until it was more than twenty years old, but since that time has grown steadily in popularity. Some notable prod actions occurred in 1895 with Sucher, Alvary, Brema and Fischer; in 18% with the De Reszkes, Nordica and Brema; in 1901 with Ternina and Van Dyke; and in 1910 with Fremstad, Knote, Homer and Van Rooy, this being Gustave Mah- ler's American d6but as a conductor. This great drama of love and hatred, with its wonderful music, is now quite generally ad- mitted to be the finest of the master's operas. Written at the time of Wagner's own love affair (with Mathilde Wesendonck), it is supposed that he sought to emphasize the fact that love cannot always be bound by conventions. This wonderful tragedy of love and fate re- quires for its adequate production artists who can- not only act with intelligence, but who are able to make the music itself express the tremendous tide of human passion, from fiercest hate to fiercest love, which sweeps through the opera. Such an artist is Gadski, whose Isolde is one of the great- est impersonations of recent years. She is in every way the embodiment of Wagner's heroine, and sings this wonderful music with great skill, making it express in turn tenderness, disdain, scorn and passion. Two numbers from the opera have been sung for the Victor by Mme. Gadski, and will be considered in their proper places in the story briefly sketched here. Tristan, a Cornish knight, has a quarrel with Morold, an Irish chieftain who had been sent to collect tribute, and kills him; and after the custom of the time, sends back his head, -which is given to his affianced, an Irish princess, Isolde. Tristan himself had received a dangerous wound which fails to heal, and he resolves to assume the name of Tantris and seek the assistance of Isolde, who is famed for her knowledge of the art of heal- ing. Isolde, however, recognizes him by a notch in his sword, which fits exactly a piece of metal she had extracted from the head of Morold. She plans to kill him, but falls in love instead, while he merely sees in her a good wife for his uncle, Kin 347 KURVENAL VICTOR BOOK OF THE O PE RA TR I STAN AND ISOLDE Preludio (Prelude) By La Scala Orchestra 6821O 12-inch, $1.25 VAN DYCK AS TRISTAN The first act shows the deck of the ship which is conveying Isolde and Tristan to Cornwall, she having accepted King Mark 's proposal, made through his nephew. During the voyage, however, the refusal of Tristan to see her, the exultation of the sailors over the killing of Morold (which freed Cornwall from its subjection to Isolde's royal father), and detestation of the loveless marriage she is about to con- tract, infuriate the Princess, and she resolves to die and drag Tristan down to death with her. She tells Tristan she is aware of his crime in killing her lover, and demands vengeance. He admits her right to kill him and offers his sword, but she bids her maid, Brangane, prepare two cups of poison from her casket. Brangane, unwilling to see her mistress die, secretly substitutes for the poison a love potion, the effect of which is immediate, and the lovers sink into each other's arms just as the ship approaches the shore and the King arrives to claim his bride. Act II takes place in the garden outside Isolde's chamber. The King has gone on a hunting expedition, but Brangane fears that it is merely a ruse, and thinks the King's courtier, Melot, suspects the true state of affairs. Brangane then confesses that she intentionally substituted the philtre for the poisoned cup intended for Tristan. BBAGANE: Had I been deaf and blind, Fatal folly! Thy work were then thy death! The fell pow'r of that potion! But thy distress, That I framed Thy distraction of grief, A fraud for once My work has contrived them, Thy orders to oppose! I own it! This confession meets with but faint reproaches from Isolde, who gives herself up wholly to the intoxication of the potion, and sings with growing exaltation : Dein Werk (Thy Act) By Johanna Gadski, Soprano (In German) 88165 12-inch, $3.00 ISOLDE: Thy act? foolish girl! Love's goddess dost thou not know? The witch whose will the world obeys; Life and death she holds in her hands, She waketh hate into love! The work of death 1 took into my own hands; Love's goddess saw And gave her good commands. Planning our fate in her own way. How she may bend it, how she may end it, Still hers am I solely; What she may make me, whereso'er take me So let me obey her wholly! Refusing to heed Brangdne's warning, Isolde gives the signal for Tristan's coming by extinguishing the torch. He appears, and a long love scene ensues, inter- rupted by the return of the King, who surprises the lovers in a fond embrace. Mark bitterly reproaches his nephew, and Melot, shouting " treason," stabs Tristan, inflicting a fatal wound. The third act shows Tristan dying of the wound at his castle in Bretagne, whither he has been carried by his faithful servant, Kurvenal, who has sent for Isolde, knowing that she alone can cure his master's wound by means of her healing arts. Despairing of her coming, Tristan in his delirium tears off his bandages and is at the point of death when Isolde arrives, and dies in her arms. King Mark and his courtiers, closely pursuing Isolde, now arrive and are attacked by Kurvenal, who kills Melot and is himself slain by Mark's soldiers. Mark, seeing Tristan dead and Isolde senseless on his 348 GADSKI AS ISOLDE VICTOR BOOK OF THE OP E R A TR I STAN AND ISOLDE body, repents his rage and gives way to grief. Isolde revives, and when she realizes that Tristan is dead, her grief bursts forth in the heartrending Love-Death motive: THE Lovi DEATH: Then she sings this wondrous death song, so full of touching sadness and inexpressible sweetness, and expires upon the body of Tristan. Isolde's Liebestod (Isolde's Love-Death) By Johanna Gadski, Soprano (In German) 88O58 12-inch. $3.OO By La Scala Orchestra (Double-faced See below) 682 1O 12-inch, 1.25 JEAN DE RESZKE AS TRISTAN ISOLDE S LIEBESTOD ISOLDE (unconscious of all around her, turning her eyes with rising inspira- tion on Tristan's body) : Mild and softly he is smiling; How his eyelids sweetly open! See, oh comrades, see you not How he beameth ever brighter How he rises ever radiant Steeped in starlight, borne above? See you not how his heart With lion zest, calmly happy Beats in his breast? From his lips in Heavenly rest, Sweetest breath he softly sends. Harken, friends! Hear and feel ye not? Is it I alone am hearing Strains so tender and endearing? Passion swelling, all things telling. Gently bounding, from him sounding, In me pushes, upward rushes Trumpet tone that round me gushes. Brighter growing, o'er me flowing, Are these breezes airy pillows? Are they balmy beauteous billows? How they rise and gleam and glisten! Shall I breathe them? Shall I listen? Shall I sip them, dive within them? To my panting breathing win them? In the breezes around, in the har- mony sound, In the world's driving whirlwind be drown'd And, sinking, be drinking In a kiss, highest bliss! (Isolde sinks, as if transfigured, in Brangane's anus upon Tristan's body. Profound emotion and grief of the bystanders. Mark invokes a blessing on the dead. Curtain.) DOUBLE-FACED TRISTAN AND ISOLDE RECORD fPrelude (Isolde's Love-Death By La Scala Orchestral By La Scala Orchestra] 349 t.8210 12-inch, $1.25 IL TROVATORE FIRST SCENE (Italian) (English) IL TROVATORE (Eel Troh-va-toh' -Teh) THE TROUBADOUR OPERA IN FOUR ACTS Words by Salvatore Cammanaro, the story being suggested by a Spanish drama of the same name. Music by Giuseppe Verdi. Produced at the Teatro Apollo, Rome, January 19, 1853; at the Thddtre des Italiens, Paris, December 23, 1854; at the Optra, Paris, as Le Trouvere, January 12, 1857; at Covent Garden, London, May 17, 1885; in English as The Gypsy's Vengeance, Drury Lane, March 24, 1856. First New York production May 17, 1855. Characters LEONORA,(Z,ee-oA-noA'-raA)a noble lady of the Court of an Aragon Princess . . Soprano AZUCENA, (Ahz-you-say -nah) a wandering Biscayan gypsy Mezzo-Soprano INEZ, (Ee'-nez) attendant of Leonora Soprano MANRICO, (Man-ree -koh) a young chieftain under the Prince of Biscay, of mysterious birth, and in reality a brother of Count di Luna Tenor COUNT DI LUNA, (dee Loo -nah) a powerful young noble of the Prince of Arragon Baritone FERRANDO, a captain of the guard and under di Luna Bass RUIZ, a soldier in Manrico's service Tenor AN OLD GYPSY Baritone Also a Messenger, a Jailer, Soldiers, Nuns, Gypsies, Attendants, etc. Scene and Period : Biscay and Aragon ; fifteenth century. ACT I SCENE I Vestibule in Aliaferia Palace As befits a tragic work, // Trooatore opens in an atmosphere of romance and mystery. The retainers of Count di Luna await the arrival of their master, and to beguile the time Fer- rando relates the history of the Count's childhood and the loss of his brother. 350 VICTOR BOOK OF THE OPERA IL TROVATORE Abbietta zingara (Swarthy and Threatening) By Torres de Luna, Bass, and La Scala Chorus (In Italian) "62416 10-inch, $0.75 The brother, as an infant, came under the evil eye of a witch, who was seized and con- demned to the stake. This witch had a daughter, who determined to avenge her mother's fate, with the result that the Count's younger son disappeared ; and after the witch's burning there was discovered upon the pile of charred embers the bones of a child. This story is told in the Abbietta to a fierce rhythmical tune, expressing all shades of horror. Horror profound seized the nurse at that dark vision ; And the dark intruder was soon expelled. Soon they found the child was failing, Coming darkness appall'd him, The hag's dark spell enthrall'd him! (All appear horrified.) Sought they the gypsy, on all sides turning, Seiz'd and condemn'd her to death by burning. One child, accursed, left she remaining, Quick to avenge her, no means disdaining. Thus she accomplished her dark retribution! Lost was the Count's child; search unavailing; But on the site of the hag's execution They found, 'mid the embers, The bones of a young infant, Half consumed and burning! FEUANDO: With two sons, heirs of fortune and affection, Liv'd the Count in enjoyment; Watching the younger for his safe protection A good nurse found employment. One morning, as the dawn's first rays were shining, Frofn her pillow she rose, Who was found, think ye, near the child reclining? (Impressively.) Sat there a gypsy-hag, witch-like appearing; Of her dark mysteries, strange symbols wearing. O'er the babe sleeping with fierce looks bending, Gaz'd she upon him, black deeds intending! In the second part Ferrando concludes his narrative, which is mingled with the comments of the listeners, who tell of the reputed appearance of the witch in ghostly shape. Suir orlo dei tetti (As a Vampire You "May See Her) By Torres de Luna, Bass, and La Scala Chorus (In Italian) * 1665 5 10-inch, $0.75 To the voice of the narrator is added the awe-stricken whispers of the chorus, which afterwards swell into a cry of fierce denunciation. The foreboding bell and an instru- mental diminuendo complete the picture, -which makes a fitting conclusion to a grue- some story. The clock strikes twelve, and with cries of "Cursed be the witch infernal ! " the retain- ers disperse. SCENE II The Gardens of the Palace The fair Leonora now ap- pears -with her faithful com- panion, Inez. She confides to Inez her interest in the un- known knight whom she had first seen at the Tournament, and sings her first number. Tacea la notte placida (My Heart is His AloneJ By Celestina Boninsegna. Soprano (In Italian) 92O26 12-inch, $3.OO By Gina Viafora, Soprano (In Italian) 74116 12-inch, 1.50 By Lucia Crestani, Soprano (In Italian) *16655 lO-inch, .75 In this wistful air, so unlike the weird music preceding it, she speaks of the Troubadour who serenades her nightly, and of the feelings which have been inspired in her breast by his song. *DoutkJ^aceJ Record For atk o/oppos/fc tiage360. 354 VICTOR BOOK OF THE OPERA IL TROVATORE COUNT: Triumphant hour impending, Thy moments urge with speed elating, The joy my heart's awaiting, Is not of mortal birth, In vain doth Heaven, contending With rival claims, oppose me, If once these arms enclose thee, , No power in heav'n or earth. No pow'r shall tear thee from me! FERRANDO AND RETAINERS: How bold! Let's go conceal ourselves Amid the shades in haste. How bold ! -Come on and silence keep, The prize he soon will hold! As the nuns appear, conducting the penitent, the Count's retainers rush out and seize Leonora. The calculations of di Luna are once more upset, for just as he irtterrupts the ceremony, Manrico unexpectedly appears. Leonora, overjoyed to find her lover still living, begins the great trio. E deggio e posso crederlo (Oh, Blessed Vision) By Maria Grisi, Soprano : Remo Sangiorgi, Tenor ; Francesco Cigada, Baritone; La Scala Chorus (In Italian) *35176 12-inch. $1.25 Leonora foregoes her religious vows, and the lovers, for the time united, make their escape, to the chagrin of the baffled Count, while his men are defeated by Manrico 's followers. ACT III SCENE I The Camp of di Luna Squilli echeggi la tromba (Soldiers' Chorus) By New York Grand Opera Chorus (In Italian) Act III opens with the chorus of di Luna's men called the Soldiers' Chorus. In spite of the wealth of melody already heard in this work, here is yet another marvelous number, which works up to a powerful climax, and then dies away softly, as these Trooatore choruses so frequently do. Giorni poveri vivea (In Despair I Seek My Son) By Ida Mamelli, Soprano : Ren zo Minolfi, Baritone ; Cesare Preve, Baritone: La Scala Chorus (In Italian) *35177 12-inch, $1.25 A scouting party from the Count's troops have fallen in with Azucena, and now bring her to the Count as a possible spy. Inquiries as to her past immediately connect her with the episode of the Count's childhood, and Ftrrando declares her to be the murderess of di Luna 's lost brother. Azucena in her extremity, cries out the name of Manrico, and the Count, finding she claims the Troubadour as her son, vows upon her a double vengeance, and she is bound and dragged away. The gypsy's pleading, the Count's threatening anger and triumph, with the accompanying chorus, combine to make a moving and dramatic ensemble. SCENE II Manrico's Castle The scene changes to the castle wherein Manrico and Leonora are at last enjoying a brief honeymoon, though in expectation of an attack from the baffled Count di Luna. Here Man- rico sings a tender and affectionate farewell to his beloved ere he departs to repel his rival's assault. Ah, si ben mio (The Vows We Fondly Plighted) By Enrico Caruso, Tenor (In Italian) 88121 12-inch, $3.OO By Charles Dalmores. Tenor (In Italian) 85123 12-inch. 3.OO By Giorgio Malesci. Tenor (In Italian) *168O9 lO-inch, .75 * Doubk-Faced Record For title of opposite side 3ee DOUBLE-FACED IL TROVATORE RECORDS, pagei 359 and360. 355 MARTIN AS MANRICO 64O5O 10-inch, $1.OO VICTOR BOOK OF THE OPERA IL TROVATORE SLEZAK AS MANRICO This beautiful lyrical number is a delightful relief after so much that is forcible and dramatic. MANRICO: "Pis love, sublime emotion, at such a moment liids thy heart still be hopeful. Ah! love; how blest our life will be Our fond desires attaining, My soul shall win fresh ardor, My arm new courage gaining. But, if, upon the fatal page Of destiny impending, I'm doom'd among the slain to fall, 'Gainst hostile arms contending, In life's last hour, with fainting breath, My thoughts will turn to thee. Preceding thee to Heaven, will death Alone appear to me! Quietness soon departs, for the news comes that the attacking party have captured Azucena, and are piling up faggots around the stake at which she is to be burnt. Maddened at the approach- ing outrage upon one whom he believes to be his mother, Manrico prepares to rush to her assistance. The air -with chorus which forms the climax to this scene is full of martial fire. Di quella pira (Tremble Ye Tyrants) By Francesco Tamagno, Tenor (In Italian) 95OO6 10-inch, $5.0O By Antonio Paoli, Tenor, and La Scala Chorus (In Italian) By Enrico Caruso, Tenor (In Italian) By Nicola Zerola, Tenor (In Italian) By Giovanni Vails, Tenor, and La Scala Chorus (In Italian) 92032 870O1 64170 12-inch, 10-inch, lO-inch, 3.OO 2.OO 1.00 *16809 lO-inch, .75 It is led up to by a very powerful introductory passage, and the high notes at the end, delivered in robust tones, never fail of their effect. MANRICO: Ah! sight of horror! See that pile blazing Demons of fury round it stand gazing! Madness inspiring, Hate now is raging Tremble, for vengeance on you shall fall. Oh! mother dearest, though love may claim me, Danger, too, threaten, yet will I save thee; From flames consuming thy form shall snatch'd be, Or with thee, mother, I too will fall! Caruso's singing of this number is absolutely electrifying in its effect on the listener, the two famous high C's being easily taken and with the full power of his great voice. Tamagno's Manrico was a figure of noble proportions, and he endowed it with all his splendid vitality. Such a high C had never before been heard, and it electrified the audiences. The record of Di quella pira is a faithful repro- duction of the great singer's rendition of the famous aria. Paoli, the famous Milan tenor, also gives a vigorous performance of this great air. Other fine renditions, at a lower price, are given by Zerola and by Signer Vails, assisted by La Scala Chorus. THE RAMPARTS OF ALIAFERIA *Double-Faced Record For title of opposite ,iJe see DOUBLE-FACED IL TROVATORE RECORDS, f>age3 60. 356 VICTOR BOOK OF THE OPERA IL TROVATORE ACT IV SCENE I Exterior of the Palace of Aliaferia The last act brings us outside the palace of Aliaferia, -wherein Manrico, defeated by di Luna 's men, and the gyspy, are confined in the dungeons. Hither Leonora has wended her way to be near her lover, and she now sings the plaintive D'amor. D'amor sull* ali rosee (Love, Fly on Rosy Pinions) By Lucia Crestani, Soprano (In Italian) *1681O lO-inch, $O.75 This sad but melodious air reveals her heartfelt grief for the sorrows which she cannot relieve. LEONORA: In this dark hour of midnight I hover round thee, my love! Ye moaning breezes round me playing, Is pity aid me, my sighs to him conveying! On rosy wings of love depart, Bearing my heart's sad wailing. Visit the prisoner's lonely cell, Console his spirit failing. Let hope's soft whispers wreathing Around him, comfort breathing, Recall to his fond remembrance Sweet visions of his love; But, let no accent reveal to him The sorrows, the griefs my heart doth move! 89O30 12-inch, $4.OO 58366 12-inch, l.OO 31703 12-inch, l.OO *16013 *16371 *16794 4513 lO-inch, 10-inch, lO-inch, lO-inch, .75 .75 .75 .60 And now comes Verdi's most famous operatic scene, the great Miserere. Miserere (I Have Sighed to Rest Me) By Enrico Caruso, Tenor: Frances Alda, Soprano; Chorus of the Metropolitan Opera (In Italian) By Ida Giacomelli, Soprano ; Gino Martinez-Patti, Tenor ; La Scala Chorus (In Italian) By Elise Stevenson, Soprano; Harry Macdonough, Tenor ; Victor Male Chorus (In English) By Elise Stevenson, Soprano; Harry Macdonough, Tenor; Victor Male Chorus (In English) By Arthur Pry or and Emile Keneke (Trombone-Cornet) By Walter Rogers and Arthur Pryor (Cornet- Trombone) By Walter Rogers and Arthur Pryor (Cornet-Trombone) Leonora is terror-stricken at the solemn tolling of a deep-toned bell and the mournful chorus of priests chanting for the soul of a doomed prisoner. PRIESTS: Pray that peace may attend a soul departing. Whither no care or thought of earth can follow; Heav'nly mercy allays the pangs of parting, Look up beyond this life s delusions hollow. Then follows an impressive series of chords in the orchestra, leading to a sobbing lament of Leonora. LEONORA: What voices of terror! For whom are they praying? With omens of fear unknown, they darken the air. New horrors assail me, my senses are straying, My vision is dim, is it death that is near? In upon this there breaks the beautiful air of the Troubadour, sung within the prison, followed by a joyful cry of devotion from his beloved. MANRICO: Ah! I have sighed to rest me; deep in the quiet grave Sighed to rest me, but all in vain I crave. Oh fare thee well, my Leonora, fare thee well! These fragments, first given separately, are next combined and heard together, forming a most impressive scene of touching beauty, for -which the opera of // Trovatore will ever be remembered. CAMPANINI AS MANRICO * Doubk-FaceJ Record For title o/oppw/te ,iJe xe DOUBLE-FACED IL TROVATORE RECORDS, fxige360. 357 VICTOR BOOK OF THE OPERA IL TROVATORE The entrance of di Luna brings from Leonora a prayer for mercy for the prisoner. The appeal is unheeded, or rather it appears to increase the triumph which belongs to the Count's vengeance. The appeal of the unhappy woman and the fierce joy of the gratified noble are powerfully expressed in this magnificent duet. Mira d'acerbe lagrime (Oh, Let My Tears Implore Thee) By Emma Eames, Soprano, and Emilio de Gogorza, Baritone (In Italian) 89022 12-inch, $4.00 By Celestina Boninsegna, Soprano, and Francesco Cigada, Baritone (In Italian) 91077 10-inch. 2.00 By Maria Bernacchi, Soprano, and Ernesto Caronna, Tenor (In Italian) *1681O 10-inch, .75 In the extremity of despair, Leonora makes one last effort. If the Count will spare the one she loves, she will consent to become di Luna's wife. She swears to perform her promise, at the same time intending to take poison as soon as Manrico is free. Di Luna 's wrath is now changed into joy, while Leonora, forgetting her own fate, is filled with happiness at the thought of the Troubadour's release. This situation gives opportunity for another wonderful duet of a most thrilling character. Vivra ! Contende il giubilo (Oh, Joy, He's Saved) By Celestina Boninsegna, Soprano, and Francesco Cigada. Baritone (In Italian) 91O71 10-inch, $2.OO By Angela de Angelis, Soprano, and Francesco Cigada, Baritone (In Italian) * 168 11 10-inch, .75 In this number the Count expresses his rapture at the success of his conquest, while Leonora exclaims, aside : " Thou shall possess but a lifeless bride." As the scene changes they enter the tower to secure the release of Manrico. SCENE II The Prison Cell of Manrico Yet a third duet the famous Home to Our Mountains. The scene has changed to the prison interior, where Azucena and Manrico are together, and the gypsy, -with 'the second- sight of her race, predicts her approaching end. Ai nostri monti (Home to Our Mountains) By Louise Homer, Contralto, and Enrico Caruso, Tenor (In Italian) 89O18 12-inch, $4.OO By Corinne Morgan, Contralto, and Harry Macdonough, Tenor (In English) *35118 12-inch, 1.25 By Corinne Morgan, Contralto, and Harry Macdonough, Tenor (In English) 31555 12-inch, 1.00 By Clotilde Esposito, Soprano, and Luigi Colazza, Tenor (In Italian) *16811 10-inch, .75 By Corinne Morgan, Contralto, and Harry Macdonough, Tenor (In English) * 1 64O 7 1 0-inch, .75 This familiar duet is considered by many to be the gem of Verdi's opera, and especially when given by such artists as Caruso and Homer, it is doubly enjoyable. Manrico is watching over the couch of Azucena, whose strength is exhausted, and who is full of vague terrors ; and he endeavors to soothe her fears. MANRICO: AZUCENA: If any love remains in thy bosom, Yes, I am grief-worn and fain would rest me. If thou art yet my mother, oh, hear me! But more than grief have sad dreams Seek thy terrors to number, oppressed me; And gain repose from thy sorrows in soothing Should that dread vision rise in slumber slumber. Rouse me! its horrors may then depart. MANRICO: Rest thee, oh mother! I'll watch o'er thee, Sleep may restore sweet peace to thy heart. A fierce and avenging gypsy no longer, but a broken woman whose consuming passions of remorse and revenge have died away, she dreams of the happy days gone by. * Double-Faced Record For title of opposite side see DOUBLE-FACED IL TROVATORE RECORDS', pages 359 and 360. 358 VICTOR BOOK OF THE OPERA IL TROVATORE AZUCENA (dreaming) : Home to our mountains, let us return, love, There in thy young days peace had its reign: There shall thy song fall on my slumbers, There shall thy lute, make me joyous again. MANRICO: Rest thee, my mother, kneeling beside thee, I will pour forth my troubadour lay. AZUCENA: O sing and wake now thy sweet lute's soft numbers, Lull me to rest, charm my sorrows away^ BOTH : Lull | t ^g J to rest ! Caruso sings this beautiful scene -with that tenderness of voice which he can assume when he will ; while Mme. Homer delivers Azucena 's music with exceptional purity and charm. Altogether one of the most beautiful records in the Red Seal List. Matters now move swiftly to a climax. Leonora arrives on the scene, bringing Manrico the news of his freedom. The joy of meeting is all too soon destroyed when the prisoner finds his liberty to have been purchased at the cost of a happiness which is to him dearer than life itself. He accuses Leonora of betraying his love. Ha quest' infame (Thou Hast Sold Thyself) By Ida Giacomelli, Soprano: Lina Mileri. Contralto; Gino Martinez-Patti, Tenor (In Italian) *35177 12-inch, $1.25 Here Azucena, who cares nothing for his passion, counsels flight. This gives the ele- ments of the closing trio : Manrico 's reproaches, Leonora 's ineffectual protestations, and the gypsy's voice through all, singing dreamily of her mountain home. With these mingled voices dying away into soft peaceful harmonies the musical portion of the opera draws to a close. MANRICO: Thou giv'st me life? No! I scorn it! 'Twas from my rival thou purchased thy Whence comes this power? what price has mission! bought it? Ah! thou hast sold him thy heart's affection! Thou wilt not speak? oh, dark suspicion! Barter'd a love once devoted to me! Leonora, who had already taken the poison, now sinks dying at Manrico's feet, and he pleads forgiveness as he learns the truth. Di Luna now enters, and furious at finding him- self cheated of his promised bride, orders the Troubadour to instant execution. Manrico is taken out by the guards and beheaded. At the moment of his death, the gypsy awakes, and not seeing Manrico, realizes that he has gone to his execution. She drags the Count to the window and cries to him : " You have killed your brother !" Di Luna utters a wild cry of remorse and falls senseless as the curtain slowly descends. DOUBLE-FACED AND MISCELLANEOUS TROVATORE RECORDS I Condotta ell'era in ceppi In Chains to Her Doom) By Lina Mileri, Contralto (In Italian) JE deggio e posso crederlo (Oh, Blessed Vision) By p5176 12-inch, $1.25 Maria Grisi, Soprano : Remo Sangiorgi, Tenor ; Francesco I Cigada, Baritone; La Scala Chorus (In Italian) (Giorni poveri vivea (In Despair I Seek My Son) By Ida Mamelli, Soprano; Renzo Minolfi, Baritone: Cesare Preve, Baritone ; La Scala Chorus (In Italian) 35177 12-inch, 1.25 I Ha quest' infame (Ah, Thou Hast Sold Thyself) By Ida Giacomelli. Soprano: Lina Mileri, Contralto: Gino I Martinez-Patti. Tenor (In Italian) IAi nostri monti (Home to Our Mountains) By Corinne 1 Morgan and Harry Macdonough (In English) >351 18 12-inch, 1.25 Huguenots Selection, Act IV By Sousa 's Band] /Trovatore Selection By Arthur Pry or's Band\_, fk _, . - . , ,- \ T i c / / D A-.L D D j/35O7o 12-inch, 1.25 I / raoiata Selection ay Arthur .rVj/or a oand) * Doubk-FaccJ Record For title of opposite aide tee above list 359 VICTOR BOOK OF THE OPERA IL TROVATORE [Abbietta zingara (Swarthy and Threatening) By Torres ~\ de Luna, Bass, and La Scala Chorus (In Italian) I iSull' orlo dei tetti (As a Vampire You May See Her) By Torres de Luna and La Scala Chorus In Italian)] (Sull' orlo dei tetti (As a Vampire You May See Her) 1 By Torres de Luna and La Scala Chorus (In Italian) I Tacea la notte placida (My Heart is His Alone) By Lucia Crestani, Soprano (In Italian)] Di geloso amor sprezzato (Now My Vengeance) By Bernacchi, Soprano; Colazza, Tenor; and Caronna, Baritone (In Italian) >168O8 Stride la vampa (Fierce Flames Are Soaring) By Lina Mileri, Contralto (In Italian)] I Mai reggendo all'aspro assalto (At My Mercy Lay the 1 Foe) By Clotilde Esposito and Luigi Colazza (In Italian) 1 1 , , , _ Ah! sele error t' ingombra ('Mid the Shades of Error) f 1 * By Francesco Cigada and Chorus (In Italian)] {II balen del suo sorriso (The Tempest of the Heart) By Francesco Cigada, Baritone (In Italian) > 168 12 Martha Porter Song By Carlos Francisco (In Italian) ] {II balen del suo sorriso (The Tempest of the Heart) By Alan Turner, Baritone (In English) H6521 Carmen Toreador Song By Alan Turner (In English) Per me ora fatale (This Passion That Inspires Me) By Ernesto Caronna, Baritone (In Italian) Pagliacci Opening Chorus, Son qua By La Scala Chorus (In Italian) Ah, si ben mio (The Vows We Fondly Plighted) By Georgio Malesci, Tenor (In Italian) IDi quella pira (Tremble Ye Tyrants) By Giovanni [ Vals, Tenor, and La Scala Chorus (In Italian) ID'amor sull ali rosee (Love, Fly on Rosy Pinions) By Lucia Crestani, Soprano (In Italian) Mira d'acerbi lagrime (Oh, Let My Tears Implore Thee) By Maria Bernacchi and Ernesto Caronna (In Italian) (Miserere By Elise Stevenson, Soprano, and Harry Mac- donough. Tenor (In English) I Would That My Love By Elise Stevenson, Soprano, and Harry Macdonough, Tenor (In English) /Miserere By Pryor and Keneke (Trombone-Cornet)} \ Spring Song (Mendelssohn) By Victor String Quartet) /Miserere By Rogers and Pryor (Cornet-Trombone)} .. , __ . \ Chant sans paroles (Tschaifcowslty) By Vienna String Quartet) fVivra ! contende il giubilo (Oh, Joy, He's Saved) By Angela de Angelis and Francesco Cigada (In Italian) I Ai nostri monti (Home to Our Mountains) By Clotilde Esposito, Soprano, and Luigi Colazza, Tenor (In Italian) Ai nostri monti (Home to Our Mountains) By Corinne Morgan, Contralto, and Harry Macdonough, Tenor (In English) Bohemian Girl Heart Bow 'd Dou>n By Alan Turner, Baritone (In English) Di geloso amor sprezzato (Now My Vengeance) 1 By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor ; and Ernesto Caronna, Baritone (In Italian) [624 1 8 La zingarella 'Anvil Chorus) By La Scala Chorus (In Italian) ] 360 lO-inch, $0.75 16655 10-inch, .75 10-inch, .75 10-inch, .75 10-inch, .75 10-inch, .75 16814 10-inch, .75 16809 10-inch, .75 16810 10-inch, .75 16013 10-inch, .75 10-inch, .75 10-inch, .75 16811 10-inch, .75 16407 lO-inch, .75 10-inch, .75 (German) DIE WALKURE (French^ LA VALKYRIE (Dee Vahl-keu'-ri) (English) THE VALKYRIE (Lah Val-kee'.ri) MUSIC-DRAMA IN THREE ACTS Text and music by Richard Wagner. First presented in Munich in 1870. York production at the Academy of Music, April 2, 1877. First New Characters SIEGMUND (Seeg'-moonJ) Tenor HUNDING (Hoond'-ing) Bass WOTAN (Voh'-tahn) Baritone SIEGLJNDE (Sceg-lin -duh) Soprano BRONNHILDE (Bnon-heet - i-np-mond, in nsome moon. In ail - dem Lich - te leucMet der Lenz. \ild at-cen-dance smilelh the Spring. VAN DYCK AS SIEGMUND He takes her hand, seats her beside him on the rude bench, and continues : SIEGMUND: With balmy breezes, soft and soothing, Wonders weaving, on he wends, Through wood and meadow wafts his breathing, Wide and lustrous Jaughs his eye; In songs of birds his silv'ry voice resounds, Wondrous fragrance he outbreathes; From his living blood the loveliest flowers are blooming Leaf and spray spring forth at his voice. With gentle sceptre s sway he ruleth the world; Winter and storm wane as his strength awakes: By dint of his hardy striving The stoutest doors he is cleaving, Which, stubborn and strong, once held us from him! To greet his sister swiftly he flies; Thus Love the spring hath allured. Within our bosoms Love lay asleep That now laughs out to the light The bride and the sister is freed by the brother; Destroyed the walls that held them apart; Joyous meet now the youthful pair; "Jnited are Love and Spring! tt COPYT OLIVER DITSOII CO SIEGMUND AND SIEGLINDE Although the true charm of this poetry can be realized best by those on intimate terms with the German tongue, this excellent translation from the Ditson Wagner Lyrics for Tenor will add to the enjoyment of the record. Sieglinde then tells Siegmund the story of the Sword how at her wedding a stranger had suddenly appeared and thrust into the trunk of the tree a magic sword which should belong only to him who could take it out. The stranger had secretly told Sieglinde that no one but Siegmund would have power to remove it. Siegmund rises eagerly, and going to the tree withdraws the sword with a mighty effort. The reunited brother and sister embrace each other and agree to fly from the power of 363 VICTOR BOOK OF THE OPERA WAGNER'S DIE WALKURE Hunding. The curtain falls as they pass out into the moonlit forest. The love scenes between Sieglinde and Siegmund should be considered in their allegorical and poetical sense, and not judged by modern ethical standards. Wagner intended this episode to represent the union of Love and Spring. ACT II SCENE I A Wild and Rocky Pass Wotan and his favorite Valkyrie daughter, Briinnhilde, are discovered in full armor. He tells her to go to the rescue of the Volsung (Siegmund), whom Hunding is pursuing. WOTAN: Make ready thy steed, warrior maid, Soon will come battle and strife; Briinnhilde. haste to the field, Give aid to Volsung to-day! The Valkyrie eagerly prepares for her flight, and sings her famous Battle Cry. Ho, yo, to, ho ! (Briinnhilde's Battle Cry) By Johanna Gadski, Soprano (In German) 870O2 10-inch, $2.00 Gadski is always a statuesquely beautiful Briinnhilde, and her voice glorifies this music, in which many persons, insensible to the poetic depth and power of the story, hear only noisy declamation. In this first scene especially, she brings into beautiful relief the joyful nature of the Valkyrie, and her cries are full of eager, happy vitality. Some idea of the difficult nature of BBCKNHH.DK. x-> ^> "lit this famous Battle Cry rjOty r | g JU7^E5^rdgdigat^ * . . I C g" J^ ^TZ3 may be had from these Ep H ^-p r ^ * , ^ * F -rizd few measures Ho - yo - to ho. . Ho yo to ho . . Ho yo to ho. . GADSKI AS BRUNNHILDE THE RESCUE OF SIEGLINDE Mme. Gadski, however, surmounts these difficul- ties with ease, and the aria is a really wonderful specimen of both singing and recording. BJU'NNHILDE: Ho-yo-to-ho! Ho-yo-to-ho! Hei-aha! But listen, father! care for thyself; For a storm o'er thee will break; Fricka, thy busy wife, approacheth in her ram-impelled car. Ha! how she swings her golden whip! The frighten'd goats are fainting with fear, Wheels rattling and rolling whirl her here to the fight. At such a time away I would be, Tho' my delight is in scenes of war! Take heed that defeat be not thine, For now I must leave thee to fate! Briinnhilde is right Wolan is in for a scolding, as Fricka now appears in an extremely bad humor. Hunding has appealed to her, the guardian of marriage, for help, and she insists that Siegmund be punished. IVotan protests that this true love romance should not be interfered with, but the wrathful wife reminds him that the whole difficulty is but the result of his own infidelity, and he is finally forced to swear that Siegmund shall be punished. Fricka then triumphantly calls to Briinnhilde that Wolan has further instructions for her. Briinn- hilde finds her father in deep dejection, and when 364 VICTOR BOOK OF THE OPERA WAGNER'S DIE WALKURE she questions him he confides to her his efforts to find a hero who shall banish the curse, but says his quest has been in vain. He bids her see that victory goes to Hunding. She protests, but he sternly commands obedience and leaves her. Siegmund and Sieglinde now appear, fleeing from the wrath of Hunding. Sieglinde 's strength has failed her, and she falls down exhausted. Briinnhilde comes to the lovers and tells Siegmund he must die. He scorns her prophecy and says his sword will not fail him. Hunding' s voice is now heard, and in a sudden wave of sympathy Briinnhilde resolves to defend the young lovers. Siegmund rushes to meet Hunding, and amid flashes of lightning the warriors can be seen in deadly combat, while Briinnhilde is visible flying above Siegmund and protecting him. Wotan, seeing the situation, then appears and causes Siegmund to fall by his opponent's sword. Briinnhilde retreats in terror from her father's wrath, and runs to protect Sieglinde. She lifts the helpless maiden on her horse and they disappear. ACT III SCENE I The Summit of a Rocky Mountain The act opens with the wonderful Ride of the Valkyries, one of the most striking of all the mas- ter's compositions. This is graphically pictured in the splendid Fantasia by Pryor's Band, and in the La Scala record. THE DEATH OF SIEGMUND Cavalcata (Ride of the Valkyries) By La Scala Orchestra (Double-faced, see page 369) Fantasie (Including Ride of the Valkyries) By Arthur Pryor's Band 62693 10-inch, $O.75 31333 12-inch, l.OO The Fantasie contains some of the finest portions of this second opera of the Niebelun- gen Ring. At first we hear the motive of The Sword by full band, followed by the tumultuous Ride of the Valkyries, one of the most tremendous compositions in existence. The wild shouts of the goddesses as they ride their winged steeds through the air to the Rock, the -warlike cries of Briinnhilde and the neighing of the war horses are splendidly portrayed. A skillful modulation brings us to the last act, and a part of the great scene between Wotan and Briinnhilde is given, beginning with the wonderful Siegfried, Guardian of the Sword theme I ft i FTT^-^J ^r-T-^ w i *T- on the trombone and -which is repeated magnificently by the basses in another key. The closing line of Wotan's Farewell, So k uss t er die Gottheit von dir ("-with a kiss I divest thee of godhead "), is heard on the cornet, followed by the Fire Music, an exquisite blending of the two fire motive with Briinnhilde 's Sleep. The Valkyries see Briinnhilde flying toward them, evidently in great distress. She alights 365 VICTOR BOOK OF THE OPERA WAGNER'S DIE WALKURE and asks her sisters to shield her from the -wrath of Wolan, \vho is riding in pursuit ; but they dare not help her. She then bids Sieglinde flee alone, telling her that she is destined to bear a son who shall be the hero Siegfried. _, a ana noia it ever: The highest hero of worlds hidest thou, O wife, In sheltering shrine! cm In sheltering shrine! {She produces the pieces of Siegmund's su'o from under her breastplate and hands the to Sieglinde.) For him keep these shreds of shattered sword- blade; From his father's death-field by fortune I saved them: Anon renewed this sword shall he swing; And now his name I declare Siegfried, of vict'ry the son! SIEGLINDE: COPY'T DUPON VAN ROOY AS WOTAN May my blessing frame future reward! Fare thee well! Be Sieglinde's sorrow thy weal! (She hastens away. The rocky peak is en- veloped in black thunder-clouds; a fearful tempest roars up from the back; between the peals of thunder Wotan's voice is heard.) The Valkyries hurriedly conceal Brtinnhilde in their midst as Wolan springs from his horse in a furious rage. WOTAN: Where is Brunnhilde? Where the rebellious Dare ye to veil her from Wotan's vengeance? (Brilnnnilde comes out from the group and faces her father, saying) : BRUNNHILDE: Here stand I, father, to suffer my sentence! WOTAN : I sentence thee not; thou hast shaped the stroke for thyself. Wish-maid art thou no more. One time a Valkyrie wert thou, Remain henceforth but merely thyself! BRI'-NNHILDE (violently startled): Thou disownest me? Thine aim I divine! WOTAN: From heavenly clans art thou excluded, Bann'd, degraded from thy blessed degree; For broken now is our bond; exiled for aye Art thou banished from bliss. He then tells her that she must be put in a deep sleep, and shall be -wakened by the first man -who passes. She pleads -with him in a beautiful appeal. Briinnhilde's Bitte (Briinnhilde's Appeal to Wotan) By Johanna Gadski, Soprano (In German) 88183 12-inch, $3.00 366 JOURNET AS WOTAN \Votan's Farewell VICTOR BOOK OF THE OPERA WAGNER'S DIE WALKURE WOTAN INVOKING THE FIRE GOD BRUNNHILDE: Was it so shameful, what I have done, That for my deed I so shamefully am scourged? Was it so base to warp thy command, that thou For me such debasement must shape? Was't such dishonor what I have wrought That it should rob me of honor for aye? O speak, father! see me before thee: soften thy wrath; Wreak not thine ire, but make to me clear the mortal Guilt that with cruel firmness compels thee to Cast off thy favorite child! Wotan, deeply moved, softens his stern decree, and consents that she shall be -won only by a great hero who can brave the flames -with which she is to be surrounded. He then bids her farewell in the splendid Abschied. Wotan's Farewell WOTAN : Farewell, my brave and beautiful child! Thou once the light and life of my heart! Farewell! Farewell! Farewell! Loth I must leave thee; no more in love May I grant thee my greeting; Henceforth my maid no more with me rideth, Nor waiteth wine to reach me! When I relinquish thee, my beloved one, Thou laughing delight of my eyes, Thy bed shall be lit with torches more brilliant Than ever for bridal have burned! Fiery gleams shall girdle the fell, With terrible scorchings scaring the timid, Who, cowed, may cross not Briinnhilde's couch For one alone freeth the bride; One freer than I; the God! Briinnhilde sinks, wrapt and transfigured, on Wolan's breast; he holds her in a long em- brace. She throws her head back again and gazes with solemn emotion into her father's eyes. WOTAN : Those eyes so lustrous and clear, Which oft in love I have kissed, When warlike longings won my lauding, Or when with lisping of heroes leal thy honied lips were inspired; Those effulgent, glorious eyes, Whose flash my gloom oft dispelled, When hopeless cravings my heart discouraged, Or when my wishes t'wart wordly pleasure from wild warfare were turning Their lustrous gaze lights on me now as my lips imprint this last farewell ! On happier mortal here shall they beam ; The grief-suffering god may never henceforth behold them! Now heart-torn, he pives thee his kiss, And taketh thy godhood away! He imprints a long kiss on her eyes ; she sinks back in his arms with closed eyes, her 368 VICTOR BOOK OF THE OPERA WAGNER'S DIE WALKURE powers gently departing. He tenderly helps her to lie upon a low mossy lounge, closes her helmet and completely covers her with the great steel shield of the Valkyrie. He slowly moves away, then directs the point of his spear toward a huge stone, and summons the God of Fire. WOTAN : Loki, hear! Listen and heed! Appear, wavering spirit, and spread me thy Fire round this fell! Loki! Loki! Appeal! A stream of fire issues from the stone, which swells to an ever brightening glow of flame; bright flames sur- round Wolan, leaping wildly. Magic Fire Spell (Feuerzailber) (Transcription by Brassin) By Alfred Griinfeld, Pianist 58006 12-inch, $1.00 The leave-taking and the breaking out of the flames are musically pictured in one of those marvelous bits of writing which only Wagner could produce, and this beautiful transcrip- tion is artistically played here by Herr Grtlnfeld. The record be- gins with the passage just preceding Wotan 's summons to Loge. A FAMOUS GROUP OF VALKYRIES AT BAYREUTH , n Then follows a long modulation ending in E major, when the fire motive (Briobt die Flaokerlohe tat.) ( TV Jlamet break out. ) MATERNA AS BRUNNHILDE (BAYREUTH, 1876) begins and continues with all its varied changes and modulations to the close of the opera. Wotan directs, with his spear, the fiery flood to encircle the rocks. WOTAN : He who my spear in spirit feareth, Ne'er springs through this fiery bar! He casts a last look on Brilnnhilde and disappears through the fire. ( The curtain falls. ) DOUBLE-FACED WALKURE RECORD /Cavalcata (Ride of the Valkyries) \ Lohengrin Prelude, Act III By La Scala prchestraj 62693 lo _ inch . By La Oca/a Orchestra) 369 GUILLAUME TELL (Jee-yaum Tell) (Italian) GUGLIELMO TELL (Cool-uel'-mo Tell) (English) WILLIAM TELL OPERA IN FOUR ACTS Words by Etienne Jouy, Hippolyte Bis and Armand Marast, taken from Schiller's drama of the same name. Music by Gioachino Rossini. First presented at the Academic, Paris, August 3, 1829. First London production, in English, at Drury Lane, 1830, and in Italian at Her Majesty's, 1839. 370 VICTOR BOOK OF THE OPERA- ROSSINI'S WILLIAM TELL <;i ILL ti HI: TELL, .7 I.I' LXTREES DE TA\tlH Ml\r SI >!! \r* I .-, . PROGRAM OF WILLIAM TELL PREMIERE, PARIS OPERA, l8^9 Characters WILLIAM TELL, I [ Bass ARNOLD, suitor of Matilda, [Swiss Patriots] Tenor WALTER FORST, ( Bass MELCTHAL, Arnold's father Bass GESSLER, Governor of Schwitz and Uri Bass RUDOLPH, Captain of Gessler's bodyguard . Tenor RUODI, a fisherman Tenor L.EUTHOLD, a shepherd Bass MATILDA, daughter of Gessler Soprano HEDWIGA, Tell's wife Soprano JEMMY, Tell's son Soprano Chorus of Peasants of the Three Cantons; Knights, Pages and Ladies of the train of Matilda; Hunters, Soldiers and Guards of Gessler. Scene and Period : Switzerland ; thirteenth century. THE PLOT The story of Tell, the distinguished patriot, and chief instrument of the revolution which delivered the Swiss cantons from the German yoke in 1207, has been taken by Rossini for the theme of one of his most admired operas, the dramatic interest being heightened by the introduction of love scenes and other episodes. In the libretto by Jouy and Marast Cessler is endowed with a beautiful and amiable daughter, Matilda, who has been saved from a watery grave by Arnold, son of Melcthal, the patriarch of the country, and a determined opponent of the tyrannies of Gessler. As a matter of course, mutual attachment ensues, and leads to the troubles which might have been expected from so ill-sorted a connection. At the opening of the opera we learn that an agent of Gessler's has attempted an out- rage on the daughter of a herdsman, and been slain by her father, Leuthold. Obliged to fly the country after this act of vengeance, it becomes necessary to cross Lake Lucerne while the weather is so adverse that none of the boatmen will row the old man across the tempestuous waters. William Tell finally undertakes the rescue, and by so doing incurs the mortal hatred of Gessler. As time progresses, the people become more and more disaffected ; and the father of Arnold, suspected of inciting them to acts of insubordination, is seized by Gessler and executed. The son's feelings are thus subjected to a severe conflict between his love for Matilda, Gessler's daughter, his duty to his country, and his desire to avenge his father's death. He, however, renounces his love, and joins the band of patriots now marshaled under William Tell. Events are brought to a climax by Gessler causing a cap to be elevated on a pole, and requiring all passers-by to bow to it. Tell firmly refuses to do so, and is thereupon subjected to the ordeal of the apple, being required, under pain of death, to shoot at an apple placed on the head of his son. Although the distance was consid- erable, he was able to strike the apple off -without injuring the child. The tyrant, perceiving another arrow concealed under Tell's cloak, asks him for what purpose it was in- tended. To which he boldly replies, "To have shot you to the heart, if 1 had killed my son ! " The enraged governor orders him to be hanged ; but the Swiss, animated by such fortitude and patriotism, flew to arms, attacked and vanquished Gessler, who was shot by Tell. Matilda and Arnold were united, and the independence of the country uu was assured. THE TYRANT GESSLER 371 VICTOR BOOK OF THE OPERA ROSSINI'S WILLIAM TELL OVERTURE This great overture, -which Berlioz has called a symphony in four parts, is a fitting prelude to such a noble and serious work, and is full of beautiful contrasts. The first movement is reposeful, expressing the solitude of Nature, and is followed by the contrasting Storm, a majestic and awe-inspiring tone picture. To the Storm succeeds a beautiful pastoral with a delicious melody for the English horn, and as Berlioz says, "with the gamboling of the flute above this calm chant producing a charming freshness and gayety." As the last notes of the melody die away, the trumpets enter with a brilliant fan- fare on the splendid finale, a fitting climax to a great work. Part I At Dawn By Pryor's Band Part II The Storm By Pryor's Band 31218 12-inch, $1.OO Part III The Calm By Pryor's Band Part IV Finale By Pryor's Band 31219 12-inch, l.OO 3122O 12-inch, l.OO 31221 12-inch, l.OO Note. This series is also issued in Double-Faced form. See page 375. ACT I SCENE A Village in the Canton of Uri The curtain rises on a peaceful scene, showing a charming village with the house of \Villiam Tell in the foreground. Tell and his family are engaged in rural occupations, and the fishermen, while they prepare to put out the boats, sing a lovely barcarolle. Accours dans ma nacelle (Come, Love, in My Boat) M. Regis, Tenor (In French) *45026 lO-inch, $1.0O FISHERMEN: Come hither, my dearest love! In my little boat embark; Ah! hither come, and with thy smile My loving heart rejoice. Though leave I must, Eliza, dear, Do not let me alone depart; See how the shining sky above A brilliant day doth augur. Gentle as the bending rosebud, Born in the morning's early dew, Heaven's threaten d tempests wild Will thy presence, love, appease; When by your side I'm seated, What new life my soul receives! There's a Providence above us Our heart's affections will pro- tect. A horn sounds as the sig- nal for the beginning of the an- nual Shepherds' Festival, at which three marriages are to be celebrated by Melcthal, the patriarch of the village. Arnold, Melcthal' s son, is saddened at the signal, thinking of his own love, Matilda, who is the daughter of the tyrant Gessler. Tell confides to Arnold some of his plans for overthrowing the power of Gessler, and asks Arnold to assist. * Double-Face J Record For title of opposite niJe see DOUBLE-FACED WILLIAM TELL RECORDS, page 375. 372 OPF'RA ARCH FIRST ACT SCENE VICTOR BOOK OF THE OPERA ROSSINI'S WILLIAM TELL Che finger tanto invano (Vain is the Attempt !) By Antonio Paoli, Tenor, and Francesco Cigada, Baritone (In Italian) 92048 12-inch, $3.OO ARNOLD: ARNOLD: (Ah: vain is all dissembling.) What power do we possess? While the tyrant's yoke continues, TELL: My heart is o'erwhelm'd with grief. Strength enough has he who doubts not. What dost thou desire? If our valor fail us not, TELL: The tyrant will surely fall. To recall you, Arnold, to your duty. ARNOLD: ARNOLD: But, if conquer'd, where our refuge? Ah! Matilda, dearly do I love thee; TELL: But from my heart the passion I must root, In the tomb! If my country and my honor so demand. ARNOLD: TELL (aside) : And who will avenge our fall? If to us unfaithful he has been, TELL: His grief his repentance doth attest. Heaven! (To Aviold): ARNOLD: We have no need for doubt or fear When the hour of danger comes, If true to ourselves, we must conquer. Faithfully I will stand by you. The young man hesitates between duty to his country and his love for the tyrant's daughter, but finally casts his lot with Tell, and goes to bid a last farewell to Matilda. The festival now begins, but is interrupted at intervals by the sound of hunting horns, showing that Gessler and his huntsmen are in the mountains near by. The young couples are wedded, and all are rejoicing in their happiness when the festival is rudely inter- rupted by Leuthold, a shepherd, who rushes in crying, " Save me from the tyrant." He explains that one of Gessler's officers had abducted his daughter, and to rescue her he had killed the villain. He begs the fishermen to row him across the lake to safety. They refuse, not daring to offend the tyrant, and because of the storm which is raging. Tell appears, rushes to the boat -with Leuthold and puts out on the raging lake just as the soldiers of Gessler appear. Baffled of their revenge, they burn the village, devastate the fields, and strike down the aged Melcthal. ACT II SCENE A deep Valley in the Alps. On the left the Lal^e of the Four Cantons. Twilight Matilda appears and muses upon her love for Arnold. Her lover now joins her, and an effective love scene ensues, which is interrupted by the approach of Tell and Walter, and Matilda departs. Tell has seen the young man talking to the daughter of his mortal enemy, and accuses him of being false to the Swiss. Arnold confesses that he loves Matilda, but says he will renounce her if his country demands the sacrifice. They then break to Arnold the news that Gessler has put his father to death, and feel- ings of vengeance drive from his mind all thought of Matilda. In a fine trio the three patriots call upon Heaven to aid their righteous cause. Troncar suoi di (His Life Basely Taken) By Antonio Paoli, Tenor ; Francesco Cigada, Baritone ; Aristodemo Sillich, Bass (In Italian) 92O51 12-inch, $3.OO ARNOLD: Our cause propitious Heaven will aid; His life the tyrant wickedly hath taken, The shade of your father our souls will And yet my sabre in its sheath reposeth; inspire! Alas! my father his son's aid was needing, Vengeance it calls for, and not lamentation; While I Helvetia was e'en then betraying. Although departed, he doth seem to say, Heavens! never again shall I behold him! Happy in his destiny hath he been; TRIO: His remains a martyr's tomb shall hallow, May glory our hearts with courage exalt Of virtue such as his the fit recompense. Berlioz writes of his attempt to analyze this great trio: "What! Analyze the awful despair of a son who learns his father is brutally slain ? Note the details of a flute or second violin passage! No, I can only cry, 'Wonderful, superb, heart-rending!*" The men of the cantons now assemble, and in a splendid finale swear to conquer or die. Domo, o ciel, da uno straniero (By a Vile Foreigner Subdued) By "Nestore Delia Torre, Baritone (In Italian) 76013 12-inch, $2.OO The curtain falls to a magnificent outburst of patriotism, "To arms! To arms!" 373 VICTOR BOOK OF THE OPERA ROSSINI'S WILLIAM TELL ACT III SCENE The Grand Square of Altorf Gessler's Castle in the background. In the Foreground a Pole surmounted by a Cap Gessler and his barons are seated on a throne at one side of the Square, while various amusements are given for their entertainment. It is here that the superb ballet, one of the most beautiful ever composed, is introduced. This has been recorded in three parts, by Pryor's Band. /"William Tell Ballet Music Parti By Pryor's BandU-,, _ ,_ . ,. . , .. -. tWilliam Tell Ballet Music Part II By Pryor's Band/ 35 42 12-mch, $1.25 "William Tell Ballet Music Part III By Pryor's Band * 165 78 10-inch, .75 The band, under Mr. Pryor's masterly baton, has played this brilliant music in a man- ner which brings out all its beauties. Gessler, who, with much satisfaction, has been watching the populace bow to the cap which he has had placed on a pole as a symbol of his authority, suddenly notices that Tell and his son fail to pay honor to the standard. He orders them seized and brought before him, and when he is told that Tell is the man who aided Leulhold to escape, his rage is intensified. He asks if the boy is Tell's son, and when Tell replies, "My only son," a fiend- ish idea strikes the tyrant. He orders Tell to shoot an apple from the boy's head on pain of instant death for both. Tell refuses, but Jemmy urges his father to obey, saying, " Father, remember your skill! Fear not, I will not move!" Tell embraces his boy, and selecting an arrow, manages to conceal another in his coat. He casts a fierce look at the tyrant, then aims with care and strikes the apple fairly in the centre. When he realizes Jemmy is safe, Tell faints and the concealed arrow is discovered. " For whom was the second arrow ? " de- mands Gessler. " For you, tyrant, if 1 had harmed my child ! " Gessler then orders both put to death, but Matilda, who has entered, demands the life of the boy and takes him under her protection. Tell is taken to prison amid the curses of the Swiss. ACT IV SCENE The Ruined Village of Act I. At the Right the partially burned Cottage of Melcthal Arnold, who knows nothing of the capture of Tell, has come to his native village to bid farewell to the home of his boyhood. He gazes at the desolate cottage and sings his charming and pathetic air, Ch, Blessed Abode. O muto asil (Oh, Blessed Abode) By Francesco Tamagno, Tenor (In Italian} 95009 lO-inch, $5.00 By M. Gautier, Tenor (In French) *45O07 lO-inch. 1.00 By Leon Beyle, Tenor (In French} *45026 lO-inch, l.OO This number is one of the most effective of those allotted to Arnold. It begins with the beautiful passage GOR1TZ AS WILLIAM TELL del plan with in w do vi- io sor ti - va il df. Oh ! blas'd a bode, with in whose walls mine eyes first saw the light. This aria is reposeful and offers a fine contrast to the tumult of the last scene. ARNOLD: Oh! bless'd abode, within whose walls In vain I call; no father's greeting, Mine eyes first saw the light, Which fancy now to me's repeating, Once so belov'd, yet now thy halls, Will e'er again these ears be meeting, Bring mis'ry to my aching sight. Then home once lov'd, forevermore, farewell ! Tamagno brought all his strength and vitality to the part of Arnold, singing it superbly, and this fine air is given with wonderfully truthful and impressive declamation. A company of Swiss patriots enter hurriedly and tell Arnold of the events at Altorf. He calls on them to follow him to the rescue of Tell, and departs in the direction of the capital. *Doubk.Faced Record For title of opposite side ser. DOUBLE-FACED WILLIAM TELL RECORDS, page 375. 374 VICTOR BOOK OF THE OPERA ROSSINI'S WILLIAM TELL WILLIAM TELL'S FLIGHT SCENE II Lake of Four Cantons. A Storm is Gathering Tell's wife is resting here on her way to demand of Gessler her husband and son. She hears her son's voice and is overjoyed to see him brought to her by Matilda. She clasps him in her arms, and anxiously in- quires for her husband. Matilda says that Tell has been removed from Altdorf Prison, and taken across the lake. She has no sooner spoken than Tell appears, having escaped from the boat and sent an arrow through the tyrant's heart. Arnold and the patriots appear, rejoicing that Gessler has been, slain and that the Swiss are free once more. The storm breaks, and as if to an- nounce liberty to Switzerland the sun bursts forth, revealing the glittering, snowy peaks of the Alps in all their dazzling beauty. An invocation to Freedom comes from every throat: TELL: Let us invoke, with hearts devout, Thee, oh Freedom, to sway each heart! Thou gav'st us pow'r to strike and conquer, Do thou ne'er depart ! ALL: Thou gav'st us pow'r to strike and conquer! We are free, do thou ne'er depart! DOUBLE-FACED AND MISCELLANEOUS WILLIAM TELL RECORDS By Pryor's Band\ 163g() By Pryor's Band/ By Pryor's Band) ,_ By Pryor's Band/ 1 ' /Overture, Part I At Dawn \Overture, Part II The Storm /Overture, Part III The Calm \Overture, Part IV Finale /Overture, Part I At Dawn (Overture, Part II The Storm /Overture, Part III The Calm \Overture, Part IV Finale /Ballet Music. Part I \Ballet Music, Part II /Ballet Music. Part III By Pryor's Band), ,._ \ Prof eta Re del cielo By Luigi Colazza, Tenor Asile hereditaire (Oh ! Blessed Abode) By M. Gautier, Tenor Les Huguenots Plus blanche (Meyerbeer) By M. Gautier, Tenor (In French) Accours dans ma nacelle Barcarola (Come, Love, In My Boat) By M. Regis, Tenor (In French) Asile hereditaire (Oh ! Blessed Abode; By Pryor's By Pryor's Band/ By Pryor's Band) - 121 By Pryor's Band/ By Pryor's BandU- , By Pryor's Band/ 35042 (In Italian) ( (In French) I lO-inch, $0.75 10-inch, .75 12-inch, 1.25 12-inch, 1.25 12-inch, 1.25 10-inch. .75 By Leon Beyle, Tenor (In French) 45007 10-inch, l.OO 45O26 lO-inch, l.OO 375