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of t^e 


Stories of Seventy 
Grand Operas withThree 
Hundred Illustrations 

Sl Descriptions of 

Seven Hundred Victor 
Opera Records r^uo.. 

VictorTalking Machine Co. 

Camden,New Jersey, U.S.A. 

Copyright 1912 


Camden. New Jersey, U. S. A. 

p^lVAJ O^^^ 

FUuto Ma^ico 189 

FlQte Enchaot<« 189 

Plyintf DuCeliman 115 

Force of Deatiny ...... 121 

Foczi del Deatino, La .... 121 

Freealiooter. The 126 

Preiichutz, Der I2fa 

Germsnia 129 

Giocooda, La 131 

Gotterdimmeruntf 138 

Guglielmo Tell 370 

Cuillaume Tell 310 

Hamlet 143 

Hansel and Gretel 147 

Hanicl uad Gretel 147 

Hernani 79 

H£rodiade 149 

Herodiaa 149 

Hoffinan's ErcShluneen . . ,319 

Huffuenou, Les 152 

Hueuenota. The 152 

Huffeaotten. Die 152 

I Patfliacci 252 

II Trovatore 350 

Kint; of Lahore. The 297 

L'Airicana 11 

L'Africaine 11 

Lakm< 159 

Linda di Chamouoix .... 163 
Loheaerin .164 


Lucia di Lammermoor . . . . 1 73 
Lucrezia Borgia 1 80 

Madama Butterfly 183 

Madame Butterfly 183 

Magic Flute, The 189 

Manon 193 

Manon Lescaut 202 

Marta 212 

Martha 212 

Mariage de Figaro 206 

Marriage of Figaro 206 

Masked Ball 218 

Mastersingers, The 230 

Meflstofele 224 

Meistersinger, Die 230 

Mephifltopheles 224 

Mignon 236 

Nino e Rita 147 

Norma 242 

Nozze di Figaro 206 

Orfeo ed Euridice 244 

Orpheus and Eurydice • . 244 

Otello 247 

Othello 247 

Pagliacci 252 

Pearl Fishers 266 

PScheurs de Perles, Les . . 266 
Pescatori di Perle .... 266 

Profeta, II 269 

Prophet, The 269 

Proph^te, Le 269 

Puritani, I 274 

Puritans, The . 274 

Queen of Sheha 277 

Regina di Saha 277 

Roi de Lahore, Le 29 7 

Rheingold, Das 278 

Rhinegold, The 278 

Rigoletto 282 

Robert le Diable .... 295 

Roberto il Diavolo 295 

Robert the Devil 295 

Romeo and Juliet 299 

Romeo et Juliette 299 

Rustic Chivalry 53 

Samson and Delilah 304 

Samson et Dalila 304 

Semiramide 307 

Siegfried 309 

Somnambulist, The 315 

Sonnambula, La 315 

Tales of Hoffman 319 

Tannhauser 322 

Tosca 331 

Traviata, La 339 

Tristan and Isolde 345 

Tristano e Isotta 345 

Tristan und Isolde 345 

Troubadour, The 350 

Trovatore, II 350 

Ugonotti, Gli 152 

Valkyrie, La 361 

Vascello Fantasma, II . . . .115 

Walkiire, Die 361 

W^illiam Tell 370 

have Bironged for occa*iona] performances. 

The Victor Responsible for Much of this 
Awakened Interest 

During the recent aciuon leveial hundred performancei of grand opera, 
at an ealimated com of milliona of dollar*, 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 distiibution 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 37X 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. 

Da 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 Sembtich, Farrat, Telrazr-'ni, Gadski, Ceivi, Schunuum-Heink, Homer 
or AmalO your favorite singer > The Victor makes it possible to heat these 
voices at any time, no matter where the artists may be singing. 

Voices of Absent Singers 

Do ]rou regret that Melba is in Australia i 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. iFonsorJ ainUnued on pax 9) 


The Victor an Excellent Substitute for the Opera 

For every person vrho can attend the opera there are a hundred "who 
cannot. However, many thousands of lovers of the^ opera in the latter 
class have discovered vrhat a satisfactory substitute tKc 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; .yith 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 w^hile there are many 

excellent books despribing the plots of the operas, w^e think that in no 

other book on opera can be found all of these features : 

4 Titles in various languages, with pronunciation of each. 

4 Date and place of original production. 

4 Date and place of first performance in America. 

4 Cast of characterff and pronunciation of the same when necessary. 

4 Brief and clearly stated 8}mop8i8 of plots of seventy difiFerent operas. 

4 Translations (all or pait) of the text of several hundred separate numbers. 

4 Every act and scene indicated, w^ith description of the stage setting. 

4 Every separate number mentioned in its proper place in the opera, and 
the numbers placed in the order in which they occur. 

4 More than three hundred portraits and pictures, making it the most 
completely illustrated book on opera ever published. 

NOTE— Acknowledsment murt be made to Oliver Ditson Co. and G. Schinner (or kind permisrioa 
to quote occaoonally from meir copjrzighted publicatioiM. Both these houses have set new standards with 
their operatic publications — Schinner with superbly printed opera scores and collections ci opera airs 
entitled " Operatic Anthology"; tuid Oitson with the Musidans* Library, masterpieces o( music typography. 



llnlitn) (French) 



(Dtc Ah-fitcJtah'-nt'-IIXt 


Text by Scribe; muaic by Meyerbeer. Fiiat produced at the jicad^mlt. Paris. Apnl 28. 
1865. Fir»t London production in Italian, under the French title, at Covent Garden, July 22. 
1865; and in English at the Royal English Opera, Covent Garden. October 21, 1865. First 
New York production December I, 1865. Revived in 1906 at the MeUopohlan, with Caruso, 
Fremstad, Plan^n and Joumet. 

Characters in the Opera 

SEUKA, {Sia-lec' -lislii a slave, formerly an African princess Soprano 

INEZ. (Ee'.iKi) daughter of Don Diego Soprano 

Anna, her attendant Contralto 

NELUSKO. {Nai-ha'-kt) a slave, formerly an African chief Basso 

DON Pedro. (Om Pa^Jn,) President of the Royal Council Basso 


Don DIECO, {Dm Dtt-m'-f) Member of the Council Basso 

High Priest of Brahma (Bn,h'.mah) Basso 

DON ALVAR. Member of the Council Tenor 

VASCO DI GAMA, ( ['oA.'-te -fa Gah'-mal,) an officer in the Portuguese Navy. Tenor 
Chorus of Counaellara, Inquisitors, Sailors. Indians and Attendant Ladies. 

The action occurs In Portugal, on Don Ptdio'i ship at lea, and In India, 



The first scene occurs at Portugal, in the King's Council Chamber, whither ^ Vasco di 
Gama has come to announce his discovery of a strange land, producing two of the native 
slaves, Selika and Neluskp, as proof. 

In this scene is given the noble and stately chorus 

Dio che la terra venera (Thou W^hom the Universe Adores) 

By La Scala Chorus {In Italian) *62614 10-inch, $0.75 

in which the voices of the famous male chorus of La Scala are heard to great advantage. 

Don Pedro, President of the Council, who w^ishes to marry Vasco's sweetheart, Inez, 
influences that body to discredit the explorer's tale and throw him into prison with his 
slaves. In the prison scene occurs this duet between Seliko and di Gama. 

Sei Tangiol diletto (Oh ! Guardian Angel !) 

By Tina Farelli, Soprano, and Gino Martinez-Patti, 
Tenor (In Italian) *62407 10-inch, $0.75 

The slave, seeing her master's grief over his inability to find 
the route to the unknown country, reveals to him the location of 
the coveted land. Vasco, overcome with gratitude, embraces her. 


Inez consents to marry Don Pedro in order to save Vasco, who 
is released, but too late to prevent his enemy from sailing in 
search of the unknown land, carrying w^ith him Vasco' s private 
papers and maps as well as the two slaves, Selika and Neluskq. 
The latter, who loves Seliko, has discovered her attachment for 
Vasco, and through jealousy offers to guide Don Pedro to his 
country. The young officer secures a ship and goes in pursuit. 


Preludio (Prelude to Act III) 

By La Scala Orchestra *62614 lO-inch, $0.75 

Act III shows the decks of Don Pedro's vessel. Neluskp, who 
is secretly plotting to destroy the ship, is brooding over his plans; 

and his gloomy bearing being noticed by the sailors, they ask him „^,.__ ^« „,,,,T«ifn .s^e 
ate the old legend or Adamastor, kmg or the seas. 

Adamastor, Re deir onde profonde (Ruler of Ocean) 

By G. Mario Sammarco, Baritone 
By Francesco Cigada, Baritone 


Adamastor, monarch of the pathless deep, 

Swift o'er foaming waves 

To sound of fierce winds tramping; 

When his dark steeds vex the jmist covered 

Beware, mariner! Beware, mariner! 

(In Italian) 88310 12-inch, $9.00 
(In Italian) *62407 lO-inch, .75 

When their breath on the gale rolls o'er the 

Then beware, then beware! 
See, the lightning's flash reveals to thine eye, 
How the dark waves seek the storm-laden sky. 
All hope now is lost. 
For the doomed wretch no tomb. 
None, none but a watery grave! 

A storm is threatened* and amid the preparations for resisting the elements a ship is 
seen, which proves to be di Gama's. He rashly comes on board, is promptly seized by Don 
Pedro and is about to be executed, when Seli^a draws her dagger and threatens to kill Inez 
unless her lover is released. The tyrant reluctantly yields, but afterward orders Selika to be 
flogged. The storm breaks, and in its midst the ship is boarded by Indians, fellow-country- 
men of Nelusko, and the entire ship's company are either killed or made prisoners. 


Act IV represents the Temple of Brahma in the country of Seliko and Nelusko-. The act 
opens with the weird and striking Indian March, played here by the Herbert Orchestra. 

Marcia Indiana (Indian March) 

By Victor Herbert*s Orchestra 70068 12-inch, $1.25 

By La Scala Orchestra *68027 12-inch, 1.25 

* Douhk-Fcczd Record— For i:th of opposite side see DOUBLE-FACED U AFRICAN A RECORDS, page 13. 



The priests, who have crowned Selika their Queen, announce 
the execution of all the prisoners except Vasco ; and he too is con- 
demned to die. The priests and people disperse and Vasco enters, 
guarded by soldiers. He is entranced with the beauty of this w^on- 
derful land, of which he had dreamed, and voices his admiration in 
the celebrated air, "O Paradiao. *' 

O Paradiso ! (Oh Paradise !) 

By Enrico Caruso, Tenor {In Italian) 88054 
By Florencio Constantino {In Italian) 74085 
By Evan ^^illiams {In English) 74148 

12-inch, $3.00 
12-inch, 1.50 
12-inch, 1.50 


Hail! fruitful land of plenty, beauteous gar- 

den, hail! 
An earthly paradise art thou! 
Oh Paradise on earth! 
Oh azure sky, oh fragrant air 
All enchant my heart; 
Thou fair new world art mine! 
Thee, a radiant gift. 
On my native land I'll bestow! 

Hail, priceless treasure! Wondrous marvels, hail! 
O beauteous country — mine thou art at last! 
Yes — land till now unknown, thou'rt mine! 
yes, mine! 


Caruso's singing of this famous air is a magnificent performance, 

AMATo AS NELusKo while two Other fine records are offered in both Italian and English. 

The soldiers are about to kill Vasco, but he is saved by Seliko, "who announces that he 

is her chosen husband. Nelus^ is forced to remain silent by threats that Selika will destroy 

herself. Di Gama, forgetting Inez, yields to the spell and weds the Queen by the native rites. 


At the beginning of the last act, Inez, who had escaped from the prison, is captured and 
brought before the Queen, who becomes convinced that di Gama still loves the Portuguese 
maiden. In a moment of generosity she sacrifices her own feelings and assists the lovers 
to escape. . 


The final scene shows a promontory from which Selil^a is watching the ship bearing 
Inez and di Gama toward Portugal. As the vessel disappears from view she advances 
toward the deadly mancanilla tree, the fumes of which are death. 

Thou leafy temple, thou vault of foliage dark. 
That ceaseless wav'st thy deadly branches in 

the wind, 
After life's weary tumult I now come 
To seek repose of thee, and find oblivion from 

my woes. 
Yes! thy shade eternal is like the darkness of 

the tomb! 


Aye! here I look upon the mighty sea — bound- 
less — infinite 

As is my woe! 

Its waves in angry fury break, and then anon 
their course renew. 

As doth my sorrowing heart! 

{Observing the mancanilla tree.) 

Gathering the fatal flowers, she inhales their perfume, sadly saying: 

Farewell, my Vasco, I forgive thee! 

(To the mancanilla tree) Which for a moment yields unearthly joy, 

'Tis said your dread perfume doth a joy inspire. And then doth cause a sleep eternal! 

She is overcome and sinks unconscious beneath the tree. Nelusl^, who has come in 

search of her, finds her dying ; and in a frenzy of grief, also inhales the deadly blossoms and 

falls lifeless by her side. 


/Marcia Indiana (Indian March) By La Scala Orchestral >.^^^ . 

\ Traviattt—Preludio By La Scala Orchestrar^^^^ 

Adamastor, Re dell onde profonde (Adamaster, Ruler of the 1 

Ocean) By Francesco Cigada, Baritone (In Italian) [^^j^^.^ 

Sei L'angiol di letto (Oh, Guardian Angel I ) By Tina i^^^^^ 

Far elli. Soprano; G. Martinez-Patti, Tenor {In Italian)] 

Dio che la terra venera By La Scala Chorus {In Italian)\g^^f^^ ^ 

Prcludio— Atto III By La Scala Orchestrar^*'^* 

12.inch, $1.25 

10-inch, .75 

10-inch, .75 





Text translated from the French of Locle by Antonio Ghislanzoni. Music by Giuseppe 
Verdi. First produced in Cairo, December 24, 1871 ; at La Scala, Milan, February 8, 1872; 
in Paris, April 22, 1876; at Covent Garden, June 22, 1876. First performance in America 
at the Academy of Music, New York, November 26, 1873, the cast including Torriani, Gary, 
Campanini and Maurel. 

Characters of the Drama 

Aid A, an Ethiopian slave Soprano 


AMNERIS, (Am-nar^-iss) his daughter Mezzo-Soprano 

RHADAMES, {Rahd'^h^maze) Captain of the Guard Tenor 

AMONASRO, (Am^h-nah^-roh) King of Ethiopia Baritone 

RAMFIS, (Rahn/.fi»8) High Priest Bass 

A Messenger Tenor 

Priests; Priestesses, Ministers, Captains, Soldiers, Officials, Ethiopian 

Slaves and Prisoners, Egsrptians, etc 

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


This opera was written by request of the Viceroy of Egypt, who wished to celebrate 
the opening of his new Opera House at Cairo by the production of a work upon an Eg3rptian 
subject from the pen of the most popular composer of the time. The story originated with 
Marietta Bey, the famous Egjrptologist, and seems to have inspired Verdi to unusual efforts. 

Aida, daughter of Amonasro, King of Ethiopia, has been 
captured by the Eg3rptians and is a slave at the Court of 
Memphis, where she and the young soldier Rhadames have 
fallen in love w^ith each other. Rhadames goes to the Egyptian 
war, and during his absence the King's daughter, Amneris, 
discovers his attachment and is furious, as she herself loves 

Rhadames returns, covered with glory and bringing many 
prisoners, among them Amonasro, Aida's father. The King 
releases all the prisoners except Amonasro, and bestows his 
daughter on the unwilling Rhadames, 

In the next scene Amonasro forces his daughter to persuade 
Rhadames to become a traitor. The latter's love for Aida and 
his distaste for the approaching union with Amneris lead him 
to consent. Amrteris, however, has overheard the plot, and 
after vainly trying to induce Rhadames to abandon Aida, she 
denounces him as a traitor, and he is condemned to be buried 
alive. When the vault is sealed he discovers Aida, who had 
concealed herself there that she might die with him ; and the 
lovers slowly suffocate in each other's arms. 


SCENE I— A Hall in the Palace, Through the grand gate at the 
back ma^ be seen the Pyramids and the Temples of Memphis 

The opera has no overture. The curtain rises, show^ing a 
hall in the palace of the King of Memphis, where Rhadames 
and the High Priest, Rarrrfis, are discussing the coming 





invasion of Ethiopia: and Rantfit hint* that some young and 
brave wanior may be choaen to ci>mmand the expedition. 
Rhadama, left alone, hopes that he hiniseK may gain the 
coveted honor, and promiiea to lay hia triumphs at the (eet ai 
his Alda. 

Celeste Aida (Heavenly Aida) 

By Enrico C»ruao. Tenor 

(/n Italian) 88I2I 12-inch. *3.00 
By Leo Slesik. Tenor 

(/nGrnnon) 64113 lO-iach. 1.00 
Then occur* the splendid gem of Act [, the Cefejfe AtJa, 

in which Rhadama chants the praises of the peeiless Aida. 
It is seldom enjoyed at the opera, especially in Ameiica, as il 
occurs almost immediately after the rise of the ctirtain, 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. slezh 

liHADAMEs: Would that thy bright skic) 

Heavenly Aida, beamy resplendent, ing, 

n_j;__. a ....._^ ^ bright; Breathing Ihe soft airs ol 

Queenljr thou reijnesi 

A fine trio, expressing the emotions of the characters in 
the scene, then follows. 

Ofaim^I di guerra fremere (Alas ! the 
Cry of War I Hear) 

By Elena Riuzcowska, Soprano ; Biancaldvin 
de Casis, Mezzo-Soprano ; Egidio Cu- 
netfo. Tenor (hllallan) 88261 12-inch. tS.OO 
The King't datighter, Aiantris, enters, and seeing the young 
warrior's glowing entliusiasm, delicately hints of her secret 
affection for him, saying: 

What unwonted fire in thy glance! 

Rhadama begins to explain his hope of securing the 
command of the expedition, when Aida enters, and the young 
soldier's expressive glance reveals to Amnerii his love for 
the Egyptian slave. 

The King and his guards enter and receivea messenger, who 
reports that Egypt has been invaded by the Ethiopian army, 
under the command of Amonasro. ("My falhcr!" exclaims 
Alda aside,) Amid great excitement Rhadama n appointed 
leader of the army, and is presented with a banner by 

The King begins another trio, urging the Egyptian forces 
to guard with their lives the sacred Nile. 

Su I del Nilo (Nilus' Sacred Shores !) 

By Eleni Ruizcon'ika. Sopcaao; MarU 

On! Rhadfmes, Ihy brow may laurels i^inwnl 
All depart to prepare (or the expedition, while Alda, 
left alone, givea way to her grief and sings the beautiful 
Rllama pincllor, expressing her conllictinB emotions. 

Ritoma vincitor (Return Victorious I) 

By Johaana Gadski, Soprano 

(/n Italian) B81S7 12-iitcb, fS.OO 

Return vieloHous! And from my lips 
Went forth Ihe impious word! Conqueror 
Of my falher—of him who lakes arms 

a.h on 

She gives way to her emotion for a brief moment, then sings the lovely and appealing 

I sacri nomi (The Sacred Names) 

Qy Celestma BoninseKna, Soprano 8B223 (/n Imllan) 12-iAch. »3.00 

Rousing herself, she colls on her gods for aid and goes 

■lowly out as the curtain falls. 

SCENE II— The Templtofyulaui—lnlhtcenlrtanallar, 
illuminated hy a m/zitttloat light from ahive 
Ramfia, the High Priest, and the priests and priest- 
esses have assembled to blesa the expedition. The chant in 
praise of Ptah is heard from an invisible choir. Rhadama 
enters and receives the consecrated veil. 

Mortal, -Del 

"S liA'i 


ly the gods, in 


>rt leader and i 

'Nume, custode e vindice (God. Guardian 

and Avenger) 

By Antonio PaoU. Tenor: PereUo 

de SefTurola, Bass: and Chorus c 

(/n Italian) 88266 I2-inch. *3.00 


Rainfii then sinea Ae doling invocation, in which Rhadamta joins. 

He is invested with the sacreil aimor, and as ihe piieslesses perform die myrtic dance 
the curtain slowly falls. 


SCENE 1 — A hall in Amnttit' apartmtnta 

The curtain rises, showing the Pcinceu and her slaves. who| 

are adorning her [or the triumphal festival in honor of Rhadan 

just letumed with his victorious army. Amncrit and the sla' 

sing the ode to the returned hero, 

Chi mai fra (His Glory Now Praiae) W^' 

By Maria Capiello, Mezzo-Soprsno. 

and Chorus {In llallan) *5500S 12-iiich, 11.50 
Seeing Alda approaching, the Princess dismisses her ilaveu^y' 
and prepares to enjoy her revenge. f*' 

This scene is expressed in a splendid duet, given here in two 
records by Mmes. Gadski and Homer, and also by Mmes. 
Ruszcowslia and Lavin de Casas, of the La Seals forces, 

Fu la sorte dell* armi (*Neath the Chances 
of Battle) 

By Johanna Gadski, Soprano, and Louise Homer. 

Contralto (In Italian) 89024 12-inoh. »4.O0 

By ElsDi Ruszcoivtka. Soprano, and Bianca 

Lavin de Casas, Mezzo-Soprano 

(In Italian) 88262 12-inch, 3.00 ., 

Alia pompa. che s'appreste {In the Pageant '.« 
Now Preparing) """" ** i«ne«is 

By Johanna Gadski, Soprano, and Louise Homer. CoAlralto 

(In Italian) 89025 12.inch, 14.00 

Ebben qual nuovo fremito (^^hat 
New Alarm ?) 

By Elena Ruszcon'ska, Soprano, and Bianca 
Lavin de Cuas. Meiio-Soprano 

(In Italian) 88263 12-inch. »3.00 
Amntria pretends to sympathize with the afflicted 
girl, saying: 


Tlie lale of arms was deadly (o Ihy people. 
Poor Aidal Th^ gri^f 
Which wciihs down Ihy heart I share! 
I am thy friend; 

rime will heal th? anxuish of thy heart, 
And more than lime— a powerful god— love, 
Amnerii, having thus by her pretended sympiathy 
gained AiJa'i confidence, determines to betray her into 
a declaration of her love for RhaJamea, and suddenly 
announces that he has been killed in battle. Alda, over. 
come with grief, reveals plainly that she loves the young 

l>la'inly^%veLl''th''e fever of fov™* *""* '""' 
.4mneria then throws off her mask of friendliness, and 

f^abely Ind that RhojJme^ivl'^" 

Then, stung to fury by Aida'a joy, she exclaims; 
xnfb ifife « DOUBLE-FACED AIDA RECORDS, pagt 25. 



Tremble I I read thy secret, 

Thou lov'st him! lie no longer! 

I love him too — dost thou hear? 

I am thy rival, daughter of kings Egyptian. 


Thou my rival ? 'tis well, so be it — 
*Ah, what have I said? forgive and pity, 
Ah, let this mv sorrow th^ warm heart move. 
'Tis true I adore him with boundless love — 
Thou art so happy, thou art so mighty, 
I cannot live hence from love apart! 


Tremble, vile minion! be ye heartbroken, 
Warrant of death this love shall betoken! 
In the pomp which approaches. 
With me, O slave, thou shall assist; 
Thou prostrate in the dust — 
I on tne throne beside the King; 
Come, follow me, and thou shalt learn 
If thou canst contend with me! 


Ah, pity! What more remains to me? 

My life is a desert; 

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 r6les — splendidly acted and vocally perfect ; while Mme. Homer's impersona- 
tion of the Eg3rptian Princess is always a thrillingly dramatic one. 

The rendition by the two La Scala artists is one of the finest which has come to U3 from 

SCENE W-Wilhout 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) : 
Saviour of our country, I salute thee. 
Come, and let my daughter with her own hand 
Place upon you the triumphal crown. 

(Rhadames bows before Amneris, who places 
the crown upon htm.) 

Now ask of me 

What thou most wishest. Nothing denied to 

On such a day shall be — I swear it 

By my crown, by the sacred gods I 

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

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 


I am her father. I went to war. 
Was conquered, and death I sought in vain. 
(Pointing to his uniform) 
This habit I wear may tell you 
That I have defended my long and my coun- 
Fate was hostile to our arms; 
Vain was the courage of the brave! 
At my feet, in the dust extended. 

Lay the King, transfixed by many wounds; 
If the love of country is a crime 
We are all criminals — all ready to die I 
(Turning to the King with a supplicating 

But thou. O King, thou powerful lord. 
Re merciful to these men. 
To-day we are stricken by Fate, 
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 hemd 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. 


SCENE I — A moonlight night on the hanks of the Nile — the Temple of Isis can be seen, 

half concealed b}f palm trees 

As the curtain rises on this beautiful scene, a chorus within the Temple is heard in a 
chant of praise. 


O tu cte eei d'Osiride (Oh, Thou Who Art Osiris) 

By Maria Cippiello. Soprano, and Chorui (/n Italian) *55005 12-inch. *1.90 
A boat approaches, bearing Rhadamtt and Amncri; who go into the Temple. Alda, 
veiled, cautioualy enters, hoping that Rkadama will come thithei. and 
»ings a tender and despairing song of that lovely land which «he may 
never see again. 

O patria mia (My Native Land) 

By Johanna Gadaki, Soprano 

{/n Italian) 68042 12-inch. »3XH) 
* By Enuny Deitinn, Soprano 

{In German) 9205B 12-lnch. 3.00 

'(/n Italian) 88239 12-inch. 3.00 

O native land, no more to Ihee 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 auiel dwelling. 
Promise of bappy days of love that bore. 
Now hope is hanish'd, love and yonder dream 


Three fine renditions of this air, one of tlie moat effective in the 
opera, are given here by three celebrated prima donnas, all of whom 
have been seen in America in the part ol Alda. 

Amonatto appear* and reproaches his daughter with her love for 
his enemy Rhadama, telling her with significant emphasis that ahe •in. >>••> 
may behold her native land again if she wishes. DiaiiHK as aida 

Rivedrai le foreste imbalsamate (Thou Shalt See Again the 
Balmy Forests) 

By Elena Ruszcowska. Soprano, and Ciuaeppe Masgi, Baritone 

(In Mian) 88267 12-iDch, *3.00 
He tells her that his people have risen 
again, and proposes that she shall influence 
Rhadama to betray the plans of his army in 
the new campaign. She at first refuses, but 
he bids her be true to hei country, and pictures 
the sufferings of ber people. 

Su, dunque I (Up. Then I) 

By Elena Rtiascoivska, Soprano, 
and Ernecto Bsdini. Baritone 
(hltalian) 8826» 12-inch. *3,00 
With growing excitement he describes the 
consequences of her refusal. 

■^uji^thenl"" "™'"' ""'** 
Rise Egyptian legions! _ . 

Spread terror, camaRe and death. 

To your fury there is no longer check! 

■ i>i,jriNK AKD scorn in aida Dost ihou call thyself? 

' Daubli.FaaJRtcBrd—FBHIIIcofiipfioiHciliciieDOUBLEJ'ACED AIDA RECORDS, Pi 


Aid* Uerrified and suf pliant): It is thy mother— recognize her— 

Pity! She curses thM! 

^WSii^^if rbrv.„<.„ish.d- Al^ilii''^??^" I'T ' 

S^Ch .hoa? From the black gulis r?^^"^„\:it'''""f ''4U.:.:, „„. „„ „ff._^„=_ 

TremlSe! Ihi fl 
Over Ihy head 

Thy daughter soain Ihnu canst ca 
Of my country 1 will be worthy; 

Courlgei ie comes— ther 

He finally conaenta, and levealc to her that th« BTiny 

will g;o by thepaaaof NapatB. Amonaaio, whohasoveiheard, 

49.1' Niiimi. j,(,^ enter*, and Rhadamta is horrified at the knovrledge that 

iEKOLA AS aHADAMEs ),e ha» bctTaved ihe army to the King of Ethiopia. Hi» 

sciuplea are finally overeotne, Amonaim «aybg: 


No; thou art not Kuilty— The hrave men devoted to us; 

It was the will of late. There the vows of thy heart 

Come; beyond the Nile await Shall be crowned with love. 

Amatrit, coming (torn the temple, paucea behind a pillar and overhears the final words. 
Med with jealousy, she ruahea in and denouncea the guil^ trio. AiJa and Amonaim escape 
but Rhadamei is taken in custody as a traitor. 

SCEINE I — A room In Iht Palace— on one )lde a door leading to Rhadamet' priaon cell 

rises, disclosing 

tude of despair. 

ween her Tove 
for Rhadamet and a desire for 
vengeance, and finally orders 
the prisoner brought before her. 

Guards, Rhadam 


Rbajama entCTS, and the first great duet of the net occuta. 

Gia i sacerdoti adunansi (The Priests Assemble) 

By Louiie Homer and Enrico Caruso (Iniiallan) 89090 12-inch. •4.00 

By PietracewRlc* and Barren [In Ilallan) 88269 12-inch. 3.00 

Aida a me togliesti (Aida Thou Hast Taken) 

By Louise Homer and Enrico Caruao (/n Italian) 89051 12-inch, f4.00 

Amnerts telU him that Amonaan ia dead, that Aida has disappeared, and offeri 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. 

The ensuing 

Ohime! Morit mi sento (Ah, me! Death Approaches!) 

By Lavin dc Casas. Mezzo- Soprano ; Rizzo Sant' Elia, 

Bass: and Chorus (In Italian) 88270 12-inch. I3.00 
Amnerii, seeing Rhajama taken out by the Priests, repents her harshness and sinks 
down desolate on a seat. 

AiitiEtiia {falling on a chair, Bveriome): Ah, let me not behold those while robed 

will''Mve bim? '" *''''™*'^ '^' " " "^ ((^i,e"'"li^r /ar» with ktr hands. Tlie vnvcr 

He is now in their po»er. of Ramfis can bt kiard wilkin.} 

His STOIence I have sealed— Oh, how I curse Rahfii: 

, 'S"**' ., , .K u I. - J J Hhadamcs, Rhadames: thou hast betrayed 

him"''' "••"'^'"- '"O" *'"' hast doomed of Ihy country the secrets to aid llie foeraan: 

To death, and me to everlasting sorrow! ^i^7'\, , „, 

(Turns c«d iffi Ramjis and Iht Pritsts. uiho D»fend thyself! 

cross Iht stage and enter Iht sublerraaean Rahfis: 

hall.') Rbadames, Rhadames; and Ibai wast absent 

What see I? Behold of death From the camp the very day before the 

Rhadames, Rhadames: and 

thou hast played 
The pan of a traitor to King, 

and to honor! 


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-mch, $3.00 

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, Amnesis: 

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 AiJa series. The despair of the 
wretched ^mneria', and the solemn reply of the unbending priests are wonderfully expressed 
by Verdi. 

SCENE U — Interior of the Temple of Vulcan — below a Subterranean Apartment 

**The work finishes in serenity and peace, and such terminations are the most beautiful. Abooe, 
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) 89028 12.inch, $4.00 
By Nicola Zerola, Tenor (Part of scene — - To die, so 

pure and lovely n (In Italian) 74225 12-inch, 1.50 

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 dav 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 

(Then suddenly in the shadows he sees a 
form — f* 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! 

My heart foreboded this, thy dreadful sen- 

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 bloommg. 

Fade thus forever! 

Thou, whom the gods alone for love created; 

Yet to destrov thee, was my love then fated! 

Thou shalt not die! so much I love thee, 

Thou art too lovely! 



tVhere only bliu and joy reside.' 

rhc bliss and toy o( never fading, endlen 

O terra addio (Farewell, Oh. Earth) 

By Joluniui C*d*ki, Soprano, ind Enrico CaruK). Tenor 

{In hailan) 89029 12-inch, *4.00 

AiDA AND Rrarakes: 

Farewell, eartb, See. brigbtly opens for ua, 

Farewell, thou dark vale of lorrow. Briebtly opens now Ihe sky, and endless mor- 

Brief dream of joy. row. 

Condemned to end in woe! Tbere. all unshadow'd, shall eternal glow! 

Chi mai fra (Hi* Glory Noiw Praiae) By Maria \ 

Cappiello. Mezzo-Soprano, and Chorua (/n llallajt) I 
O tu che sei d'Oairide (Oh. Thou ^A'ho Art Oiiria) |S5005 11-inch, *1.90 

By Maria Cappiello. Mezzo-Soprano, and Chorua I 
{In Italian)] 
fC«leMe Aida (Heavenly Aids) Trombone By Arthur Pryotl , . . 

til Guarany Overture By Pryor'a Band/' 12-""!h. 1.23 

{The Fatal Stone Comtl-Trombone I 

ByArchurPryor.EmilKenekeandPryor'aBanilbsi50 12-iiich, 1.29 
SmnaJe (Till) 'CtHo-Flale By Looli Htine and Daria, Lyora] 
/Aida Fantaaia By Police Band of Mexico! _. ,, :„„t , ~. 

1 Catcada of Ro», Walix By Pdicc Bond of Mt^cor^°*^ 12-inch, 1.25 

/Aida Selection By Pryor's Bandl,, , -, .> .--„(. i is 

t Altil<-~Grand Trio By Kn,Vt Bobmtan Band]^^^^^ 12-inch, IJ3 

Aida Selection (Finale, Act II) By Pryor** Orcheatra 31399 12-iiich, l.OO 

fMarcha Triunfal (Triumphal March) 1 

7- T ^,, , ,, ,, , By Card* Republioaine BandUjo9 lo-inch. .75 

1 Toko — Toaca dlolnal {In Italian) 
[ By Guilaoo BtTl-Rt>ky. Baribrnt] 


{Ed Bargee-sail' Jait Stc-amt -t/ahi 




Text by Sterbini, a Roman pact, founded on the celebrated trilogy of BeaumHrcliala. 
Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816. 
First London production March 10. 1516. First New York production November 29, 1825. 
The opera was at first called "AlmavivH. or th'; Useless Precaution," to distinguish it from 
Paisiello's "Barber of Seville," 


Count ALMAVIVA (AI-mah-m'-oA) Tenor 

BARTOLX^, (Bakf'.hUau) physician Ban 

ROSINA his ward Soprano 

BASIUO, (&.«.'-&«.*) music master Base 

MARCELUNE (Afo«IWJt'.na} Soprano 

FIGARO (Fa'-tak-foa) Bantone 

nORELLO, servant to the Count Tenol 

A Notary, Chorus of Musicians, Chorus of Soldiers 

Scene and Period ; SeBllle, tht aeeenttenth etnluTy. 

Itosaini'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 1616. the first of which was produced 
December 26. IB1 5, and on that day he was told that the second would be required on Jan- 
uary 20, 1616. He agreed to have It completed, although he did not even know what the 
subject wBsl 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' 
cesB, it gradually found favor with operB'lovera 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 StolUe is very simple. The Count Almacioa loves Roalna, the ward 
of Dr. Bartolo, a crusty old bachelor who secretly wishes to wed her himself. Almaoiea 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- 
teacher, who, he Bays, 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 
fiw/no a jealousy by pretend- 
ing that the Count loves 
another, and she promises to 
forget him and marry her 

Sardian. When the time for 
: elopement arrives she 
meets the Count, intending to 
reproach him, but he con- 
vinces her of the base plot setting of act t, scfne t, at la scala 
of Bartolo. and the lovers are wedded by o notary, just as Bartolo arrives with officers to 
arrest the Count. 



By La Scala Orcheitri 68010 12-iAch, 11^5 

SCENE l—A Slrat In SaHllt. Day It Breaking 

Tlie Count accompanied by hU servant Fiortllo and several musicians, enlers to serenade 
the beautiful Roslna, Accotnpanied by the mandolins, he singi his serenade, Ecco rlJtnte, 
consideied one of the most beautiful numbers in the opera. 

Ecco ridente (Dawn. 'With Her Rosy Mantle) 

By Feroaodo de Lucia, Tenor {Piano ace.) {In Italian) 76000 12-iDch, (2 00 
By Florencio Cofutantiao. Tenor (/n Italian) 74073 12-iiich, 1.50 


Lo! smiling in the Orient sky. Rut, hush 1—mf thinks I view thai 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 tbou not waking? And all my fears are banished. 

Arise, my heart's n*n 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. 

Even auch a lovely serenade as this (aits to bring a response from the window, and the 
Count retires discomitted. Elnter Figaro, the jack-irf-alUttades of the village and general 
factotum in the house of Barlolo, 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 Pisquale Amato, Baritone 

(In Italian) 88329 12-iiich. I3.00 
By Emilio de Gotforza. Baritone 

(In Italian) 88181 12-Ench. 3.00 
By Titta RufFo. Bantone 

{In Italian) 92039 12-inch, 3.00 
Figam is thoroughly aatiafied with himself, and gives a 
long list of his numerous accotnpliahments, of which the 
following ia a sample: 
Ftc*110: Room lor the city's faclolum here, 
La. la. la. la. la. la. 

i a barber of tiuality. 
:n, the happiest, sure, 

lernetually in bustle and mlitioo. What happier region of'delighl; what 
lohler lift for a barber than mine! Razors, corubs. lancets, scissors— behold 

ay damsels and cavaliers! Al'l call ine*"alf waJit"me ^^ames* and mli'iden'!!-! 
Id and young. My peruke! cries one— my beard! shouts another- bleed 
le! cries this— this billeldoux! whispers that Figaro, Kiiaro) heavens, 
that a crowd. Fiearo, Figaro! heavens, what a tumult! One at a time, 
or mercy sake! Figaro here; Figaro there: Figaro above: Figaro helow. 
am all aclivily: 1 am quick as liirhtnins: in a word—l am Ihe factotum 
if the town. Oh. what a happy life! but little fatigue— ah undant amuw- 
rienl— with a pncket that can always hoast a doubloon, the noble fruit of 


Three fine records of this great nir are given 
liere. Ruffo, in his rendition, proven 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 opira 
bouffe vein. The result is as fine a performance 
of the Largo as one would wish to hear. The ei. 
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. TTiia 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 ^vonderful execution to per- 

THE DISGUISED COUNT AND BAiiTOLo TTie CounI now retums 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 dc Lucix, Tenor (Pfono ace.) (/n Itallar,) 660O0 lO-inch, »l.SO 
Figaro consents to become his al!y. Rosina and her guardian come on the balcony, and 
Rosina, perceiving the Count, manages to drop a note, which he secures. Barlolo leaves the 
house and orders that no one be admitted. 

Figaro now says that he is expecting a mllitaiy 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 11—^ Room In Bartoio'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 S9ng. 

Una voce poco fa (A Little Voice I Hear) 

By Mircells Sembrich. Soprano 

(Inhalian) 880»r 12-inch, *3.00 
By Luisa Tetriczini. Soprano 

{In Italian) B8301 12-inch, 3.00 
By Maria Galvany. Soprano 

{In Ifallan) BTObO lO-ioch. 2.00 
By Alice Nielsen, Soprano 

(In Italian) 74074 12-incb, 1.50 
By Giuieppina Huifuet, Soprano 

{In Italian) *68144 12-inch, 1.29 

The number is in the form to which most Italian cotnpos- 

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 melb* as sosina 

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. 

ind Lindd 
i. Lindor, 

I hMrd JL _. ,_.. „... ... 

;hrill'd my vtry heart! But I must sharpen si] n 

am wounded sor»: Content at last, he will rel 



A bewildering array of aitiati have esoayed thi> chaiming 
song, and Victor audiences can choose whether (hey will have it 
■ung by an Italian, Polish, Spanijh or American prima donna. 

Rosina runs out aa hei guardian and Don Btulllo come in. 
Barloto a telling Baiillo that he wishei to marry his ward, either 
by love or force. Bailllo promises to help him, and says that the 
Count is trying to make Roaina's acquaintance. They decide to 
invent some story that will disgrace him. "A calumny I" says 
BoBlio. Bariolo asks what that is, and Bailllo, in a celebrated 
air gives his famous description, ivhich is a model of its kind. 

La calunnia (Slander's "Whisper) 
By Marcel Journet. Basa 

{In Ilallan) 74104 12-iach, «1.30 

Basilic: Oh! cilumny i> like the sigh 

Uf gentlest zephyrs brealhmE bv; 
How softly sweel alona the Rround. 
Its first shHll voice is heard around. 
Then passing on from tongue to tongue. 
It gains new strenglh, it swteps along 
In giddier whirl from place to place. 

Till, fike^he sounds of "tempeWdeep. 
That thro' the woods in murmurs sweep 
And howl amid (heir caverns drear 

T hus" caf umny. '™ iraii1e*breatli. 

Engenders ruin, wreck and death: 

Ana sinks the wretched man forlorn, C0...1 ou«.i 

Rosina and Figaro return, and the barber tells her that her guardian is planning to marry 
her. Sbe laughs at the idea, and tben aslu Figaro who the young man was she observed 
that morning. Figaro tells her hia name ia iJndor, and that he is tnadly in love with a certain 
young lady, whose name is Roilno. 

Dunque io son (What t I ?) 

Yes, Lindor loves you. lady. 

Oft he sighs for his Rosina. 

At what? Why really— may I indite? 

<As a foi she cunning seems. 

Haste, haste, your lover quick invite. 

Ah. by my faith, she sees thro' all). 

{Going to Ihe deik.) 


Still one word, sir— to my Lindor 

Ifow shall 1 contrive to speak? 

'"^w"!?^ s'hTgtWfim.} "°" '""" '"' ''""'"' 

Poor'man. he but awaits Bome sign 


Of your affection and assent; 

Already written! What a fool {otloiiislted^ 

A little note, a single line. 

And he himself will soon present. 

Was I to think Io be her ma'^ler! 

Much fitter that she me should school: 

To this, what say you? 

Her wiis. than mine, can flow much taster. 


I do not know. 

Or' trihom"' all°lha"s Tn ''lh™"mind? 

"S%™„. „ „.. 

(Exit Figaro.) 

Bariolo comes in and accuses Roalna of dropping a note from the balcony, and when 

she denies it he shows her ink marks on 


hnger and calls attention to a cut pen and a 

misring sheet of paper. She says she w 

ed up some sweetmeats to aend to a girl friend. 

and cut the pen to deusn b flower for 


embroidery. BaH(A> then denounces her in 

another famous air : 

Manca un foglio (Here's a Leaf Missing) 

By ArcBofelo Rossi. Bus 

(/n llalian) *681*4 12-iiich. (1.25 

That vDu bctier should invent. 
Why 15 thf paper missing? 
Thai I would wish to know. 
Useless, ma'sm. are aH your airs 
Be still, nor inlerrupt me so. 

When_ the docto* quits 'l^s^hEISU 

(He goei out in a rage, folhteed by RonHo, 
who is laiighing.) 

A loud knocking is 1)00711 at the street door.^it is the Count 
in his soldier disguise. He pushes his way in, and inaiats that the 
commandant has ordered him to put up in Barloio'a houac. A lonff 
scene followa, full of comedy, finaHy ending in the arrest of the 
Count, who, however, privately informs the officer who he is; and 
the aBtonished official salutea reapectfully sad takes his soldiers 
Fxgio jonmsi uit i»i away. Barlolo is in such a rage that he can hardly speak, and the 

NIELSEN AS KosiNA "<=* enjs With the famouB quartet : 

Guarda Don Bartolo (Look at Don Bartolo) ' 

By Cius^piDa Hufuet, Soprano; Antonio Pini-Corsi. Baritonei Gactano 

Pini-Corsi, Tenor: Ernesto Badini, Baritone '''631 71 10-inch. to. 73 


SCENE— .4 Room In Bartolo-, Houae 

Bartolo is discovered musing on the affair of the soldier, and aa 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 giola. 

Pace e gioia (Heaven Send You Peace and Joy) 

By Antonio Pini-Corsi, Baritone, and Emilio Perea. Tenor 

(Inhatian) *62105 10-inch, tO.75 
Barlolo 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 Roiina a lesson. He shows Barlolo the nOte Ro^na had written, saying he found 
it at the inn, and offers to make Roaino believe the Count has shown her note to another 
lady. Bartolo is pleased with the idea and calls Roitna. Then occurs the celebtateti 
"Lesson Scene" in which Rosina usually interpolates an air. Rossini wrote a trio for this 

Figaro now comes in to shave Barlolo, 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 Baiilio, 
who is supposed to be confined to his bed, Figaro sees that quick actitin 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 Baaillo partially compre- 
hends the situation, looks at the purse and departs. 

The shaving is renewed, and Roalna and the Count pretend to continue the lesson, but 
ate 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 
* Douik-Faad Record— For ink of BppoMlli ilJt icc doahlr-fcaJ Im on pcg€ 3 1 . 


the Count as an impostor. The three conspirators laugh at him, and go out, followed by 
Bartolo, who is purple with rage. This scene is amusingly pictured in a hresco in the Vienna 
Opera, which is reproduced on page 26. 

Bertha, the housekeeper, enters, and in her air, // vecchieiio, complains that she can no 
longer stand the turmoil, quarreling and scolding in this house. 

II vecchietto cerca tnoglie (The Old Fool Seeks a Wife) 

By Emma Zaccaria {DoubleJ^aced—See beloui) (In Italian) 62105 lO-inch, $0.75 

*' What kind of thing is this love which drives everybody crazy ? ** she asks. This air 
used to be called in Rome Aria di torbeito (sherbet), because the audience used to eat ices 
while it was being sung I 

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 t« 
marry Bartolo at once, telling him that he can have Lindor and Figaro arrested when they 
arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when 
Figaro and the Count enter by means of the key which the barber had secured. Rosina 
greets them with a storm of reproaches, accusing Lindor of pretending to love her in order to 
sacrifice her to the vile Count Almaviva. 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 Almaviva to the company. Bartolo 

philosophically decides to make the best of the matter. However, 

he inquires of Basilio : 

Bartolo: But you, you rascal — 

Even you to betray me and turn witness! 

Basilio: Ah! Doctor, 

The Count has certain persuasives 
And certain arguments in his pocket. 
Which there is no withstanding! 

Bartolo: Ay, ay! I understand you. 
Well, well, what matters it? 
Go; and may Heaven bless youl 

Figaro: Bravo, bravo, Doctor! 
Let me embrace you! 

Rosina: Oh, how happy we are! 

Count: Oh, propitious love! 

Figaro: Young love, triumphant smiling, 
All harsher thoughts exiling. 
All quarrels reconciling, 
Now waves his torch on high! 





farber of Seville Selection 
Prophete Fantasie 

By Pryof's Band\«--^- 
By Fryer's Bandr^^^^ 

12-.inch, $1.25 

f Overture By La Scala Orchestral ^g^^^ 

\ Don Pasquale — Sinfonia (Donizetti) By La Scala Orchestra) 

fManca un fo^lio (Here's a Leaf Out) By A. Rossi, ^^^^l^ai 4,4, 

\Una voce poco fa By Giuseppina Huffuet, Soprano/ 

Guarda Don Bartolo (Look at Bartolo) By Huffuet, A. and 

G. Pini-Corsi, and Badini (In Italian) 

Fra *Diavolo — Agnese la Zieiella By Pietro Lara (In Italian) 

(11 vecchietto cerca tnotflie By Emma Zaccaria (In Iialian)\ 

- - - - n)] 

\Pace e ^ioia 

By A. Pim-Corsi and Perea (/n Italian) 

12-inch, 1.25 
12-inch, 1.25 

63171 10-inch, .75 

62105 10-inch, .75 


(Ffcaeh) (Englith) 


(La Bvm~ha!fini 


Text byCiacoaa and lllica; music by Puccini. Firat produced at the Teat ro Reggio. 
Turin, February I, 18%. In Englieh, as " The Bohemians," at ManchcMet (Carl Roaa din. 
pany), April 22, 1897, and at Covent Garden with the Hme company, October 2d oE the aame 
year. In Italian at Coveot Garden. July I, 1899. First American production, November 28^ 


Rudolph, a poet Tenor 

Marcel, a painter Baritone 

COLLJNE. a philosopher Bau 

SCHAUNARD. a musician Baritone 

BENOIT, an importunate landlord Bass 

AIXINDORO. a state councilor and follower of MUSETTA Bass 


MUSETTA a grisette Soprano 

MIMI, a maker of embroidery Soprano 

Students, work-girU, citizens, shopkeepers; street vendo's, soldiers. 
It waiters, boys, pj\*, etc 

Scene andPaiod: Paris, about 1830. 

Pucuni's BohCme is an adaptation of part of Mtlrger^ La Vie Bohlme, which depicts 
life in the Qaariler Lalin, or the Students' Quarter, in 1S30. It being imposuble to weave a 
complete story from MUrger's novel, the librettists 
have merely taken four of the principal scenes and 
several of Murger'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 cheei^lness 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 (ascinaling. 

Rudolph, a poet; Marcd, a painter i CoUlnt, a 
philosopher ; and Schaunard. a musician, af e four 
friends who occupy an attic in the Qaaiiitr Latin, 
where they live and work together. Improvident, 
reckless and careless, these hapn'-go-lucky Bohe- 
mians Rnd a joy in merely living, being full of faith 
in themselves. 


SCENE— yl Garrti In the Quartitr Latin 
The opening scene shows the four friends with- 
out money or provisions, yet happy. Marcel is at 
THE fouit BOREuiANs woik On B 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 (T^is Red Sea) 

. Baritone 

12-iiich. 13.00 


Radolf/h lays that in order to keep them Erom (reez. 
ias he will «ocrifice the buSky manuacripl of hia tragedy. 
Mattel holds ihe landloid at bay until Schaunard arrives 
vHth an unexpected More of eatablei. Having dined 
and warmed themaelve*. Marcel, Colllne and Schaunard 
go out, leaving Rudolph writing. A timid knock at the 
door reveala the presence of Miml, a young girl who 
lives on the floor above. She has come to aak her 
neighbor for a light for the candle, which has gone out. 
They enter into conversation, and when Mlml artlessly 
asks RadiJph what his occupation is. he sings the lovely 
air usually termed the " Narrative." 

Racconto di Rodolfo (Rudolph's Nar- 

By Earico Caruso, Tenor 

(In Ilallan) 86002 12-inch. *3 .00 
By John McCormack, Tenor 

(hltallar,) 74222 12-tach. l.SO 
By Floreltcia Constantino, Tenor 

Un Ifallart) 74106 12-inch, l.SO 
I By George Hamlin. Tenor 

(InlloUart) I4I8S 12-inch, l.SO 
CAMPANAsi AS UABcEL By EvsH WiUisms, TcnoT 

(/n Engllih) 74129 12-inch. l.SO 
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 arousn the audience to a 
high pitch ol 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 js brilliantly taken. 

An entirely different interpretation, though also a very tine 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 wis beautiful air can find a record to suit his taste and purse 

Mi chiamano Mimi (My Name is Mimi) 

By Nellie Melba. Soprano 

(Inllalian) 86074 12-inch. *3.00 
By Alice Nielsen, Soprsno 

(/n Italian) 74062 12-inch, 1.90 
Then follows the charming Mi chiamano Mlml, in which 
the young girl tells Rudolph of her pitifully simple life ; of how 
she works all day making artificial flowers, which remind her of 
the blossoms and green meadows of the country; of the lonely 
existence she leads in her chamber up among the housetops. 

O soave fanciuUa— Duo and Finale. Act I 
(Thou Sweetest Maiden) 

By Nellie Melbs. Soprano, and 

Enrico Caruso, Tenor 99200 12-ioch, *S.OO 

" Miml'i dellcalt perfection enchanted Ihe young poel—eapeclallg 
her lIllU haniU, u)hlch In iplte o/ her menial work, 'he managed to 
keep at ahlle as trme. " — filOrger's La Vie de la Boheme. 

This lovely duet occurs just after the Ml chiamano Mlml. i 

71ie young girl having finished her story. Rudolph hears the 
shouts of his friends in the courtyard below. He opens the »-i', Dunur 
window to speak to them, letting in a flood of moonlight which skmbbich as uimi 


— brighteiu the room. The BohemUm* go off Binging. A« 

Rudolph turns to Mimt and aeu her in the moonlight, he is 
•truck with her beauty, and telli 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 Lfe. 

Mme. Melba's iinging in this scene is of exquisite beauty, 
while Caruso's delivery of the pauionate phrases of Rudolph 
i* superb. The beautiful motive with which the duet begins 
is associated throughout the opera with the presence of Miml, 
and is employed with touching effect in the death acene in 
Act 111. 

Miml consents to go to the Caft Momui, 
where his friends are' to dine, and after a 
tender scene at the door they go out, and 
the curtain slowly falls. 


SCENE— ..4 Stttdenb' Cufi In Parii 
This act represents the terraces of the 
Cafi Momiu, where the artisla are holding a 
carnival. Puccbi has pictured with mas- 
terly skill the noisy, bustling activity of this 
uii'T DU'DiT scene, and the boiiteroua merriment of the 

FAULU AS Hiui Say revclcrs. The Bohemians of Act I are 

seated at a table with Miml, when Mutetta, 
an old flame of Motctl't, appears with her latest conquest, a foolish and 
ancient beau named Alcindoro. Matctl pretends not to see her, but 
Muiella is determined on a reconciliation, and soon get* rid of her elderly 
admirer and joins her old friends. 

The gem of this gay scene is the charming waltz of Miuella, which 
Mme. Viafora ungs here with spirit and dehghtfut abandon. 

Musetta 'Waltz 

By Gins C. Viafora, Soprano 

(In Italian) 64065 10-inch. »1.00 "" "■ 

Mme. Viafora's light soprano is heard to advantage in this pretty '^'•"'^* *^ """ 
waltz, which ahe sings vnth fluency and skill. 

The fun now becomes 
fast and furious, and Muttllo is 
finally carried off on the shoul- 
ders of her friends, while the 
foolish old banker, Aldndoro, 
is left to pay the billa of the 
entire party. 


SCENE— A City Gale of Parb 
This act begins in the 
cheerless dawn of a cold 
morning at the city gates, the 
bleakness of the acene being 
well expressed in Puccini's 
music. The snow falls, work, 
men come and go, shivering 
and blowing on their cold 
fingera. Mind appears, and 
asks the officer at the gate if 


inn on the Orltant Rand and 
paintinK. not landscapei, but 
tavern sigiu, in order to keep 
body and aoul together. 
Marcel entera and is aurpmed 
to see Mimi, whom he sup- 
pose! to be in Poria. Noticing 
that she is melancholy t 
apparently ill, he kindly 

tly III. he kindly ques- 
r and leama her sad 

Mimi, lo son ! 
(Mimi, Thou Here!) 

By Geraldine Famr, So- 
prano, and Antonio 
Scotti, Baritone 

(/rt llQlian) 
B9016 12-inch. *A.QO 
By Dora Domir. So- 
^. .„ prano.aod BrneftoBa- 

88228 12-inch, 3.00 
By E. Boccolini. Soprano, and E. Badini. Baritone 

{DaaUt-/aad—Sapatt3/) {In Italian) 99020 12-inch, 1.90 

This duet is one of the finert numbers in Puccini's 
opera, and Min Farrar and Mr. Scotti have made a strikingly 
effective record of it, 
while other rendi- 

prices are fumished 
by La Scala artists. 
Mimi tells her 
friend that she can 
no longer bear the 
jealous Quarrels 
with RuMph, and 
thai they must sep- 
arate. Mated, much 
troubled, goes into 
the inn to summon 
RuJoiph, but before 
the latter comes, 
Miml secretes her- 
self, and when he 
enters she hears him 



Mimie una civetta 

(Coldhearted Mimi I) 

By Laura Mellcrio, Soprano : Gennaro 

de Tura. Tenor ; and Ernesto Ba- , 

dini. Baritone 

(In Italian) 88227 12-illch. *3.(K> 


Addio (Farewell) 

By KelUe Melbi, Soprano (InllaUan) 88072 12-ioch, *3X>0 

By Alma Gluck, Soprano (/n Italian) 64229 lO-inch. l.OO 

Most patheticnlly does the poor girl'a " Farewell, may you be happy " 

come from her almple heart, and she turns to go. Rudolph protests, somC' 

thing of hia old affection having returned at the sight of her pale cheeks. 

Mustlia now enters and is accused by Marcel of flirting. A furious 

quarrel follows, which contrasts strongly with the tender i._ 

between Miml and Rudolph as the lovers are partially reconciled. 

Quartet."Addio, dolce svegliare" 
(Farewell, Sweet Love) 

By GcrildineFarcar. Soprano: Giaa 
C. Viafbra, Soprano: Enrico 
Caruso. Tenor ; and Antonio 
Scotti. Baritone 
{In Italian) 96002 12-inch. f6.00 
By Dora Domar, Soprano; Annita 
Santoro. Soprano; Ida Giaco- 
melli. Soprano : and Ernesto 
""' """■" Badini. Baritone 

SAUMAKco AS UARCEL {In Ilolton) 8904B 12-mch. +.00 

By Sanipoli, Patsari, Ciccolini and Badini (DouMe- 

faad-Sa page S7) (In Italian) 5S020 12-inch. 1.50 
Like the IVgolelto Quartet, this number is used by the com- 
poser to express many different emotions: The sadness of Miml't 
farewell to Rudolph; his tender efiorts 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 Mustlla 
and Marcel, which Puccini has skillfully interwoven with the 
pathetic paasagea sung by the lovers. , „,„„, 

InMlm^Miss Farrar has added another rSle to the long list trebtin, ,s musetta 
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 

Mme. Viafora. who is al. 

ways a piquant, gay and inter- 
esting Muaelta: and Signor 
Scotti, whose admirable 
Marcel is one of his finest 
impersonations, both vocally 
and dramatically, round out 
an ensemble which could not 

Truly a brilliantly sung 
and perfect balanced rendi- 
tion of one of the greatest 
of concerted numbers. Two 
other versionsby famous artists 
»nTii» ■iiiiiiiiii jjjj DEATH OP MiMi of Lo Scsla are also offered. 



SCENE — Same as Act I 

"^t this time, the friends for rnrnf^ week» had Itfed a lonely and melancholy 
existence, . Musetia had tndde nqsj^, and Marcel had never met her, while no 
word of Mimi cdme to Ruifplph,Jm^h he often repeated her name to himself. 
Marcd treasured a little bunch ppriflfons which had been left behind by Musetta, 
and when one day he deteote^-'iRudSlph' gazing fondly at the pink bonnet Mimi 
had forgotten, he mutter^ed :' ' It seems I am not the only one I ' " — Murger. 

Act IV shows' the same garret in which the events of Act I took 

f>lace. , Bereft , of their sweethearts, the young men are living sad and 
onely 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 /^u^/o/pA,- apparendy 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 Italiav) 89006 12-.inch, $4.00 

ByMcCormackandSammarco (Italian) 89044 12-inch, 4.00 

By Da Gradi and Badini (In Italian) *A50\3 10-inch, 1.00 

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 10-inch, $1.00 

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 Gre^orio, Tenor 

(In Italian) *45013 10-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 I Mimi I** 




I Quartet, Act III By Sanipoli, Passari, Ciccolini and 

Badini (In Italian) 

C*e Rodolfo (Where is Rudolph ?) By Boccolini and 

Badini (In Italian) 

55020 12-inch, $1.50 

By Victor Sorlinl^-,^^ 
By Pryor's BandP^^^^ 

By Pryor's Band\«-^-- 
By Pryor's Bandj^^^^^ 

foh^me Fantasie (*Cello) 
Calm Sea and Happy Voyage — Overture 

{Boh^me Selection 
Jolly Robbers Overture (Supp^) 

Ah, Mimi, tu piu (Ah, Mimi, False One !) 1 

By Da Gradi and Badini (In Italian) [45013 
Sono andati ? By Bronzoni and de Gre^orio (In Italian) I 

* DoaMt-Faoed Record — For title of opposite side see ahoce list 


12-inch, 1.25 
12-inch, 1.25 

10-inch, 1.00 



Text by Meilhac and HaWvy, founded on the novel of Proaper Mitimiti. MuiJc by 
Bizet. First production at the Opera Comique, Paris. March 3, 1875. First London produc- 
tion June 22, 1676. First New York production October 23, 1879, with Minnie Hauk. 
Some notable revivals were in 1693, being Calv6*B iirat appearance; in 1905 with Caruso; 
and the Hammeritein revival of 1906, with Bressler-Gianoli, Dalmoies, Gilibert, Trentini and 


Don Jose. lOm Ho.W) a Brigadier Tenor 

ESCAMILLO, IMt-ca-mar-uo) a Toreador Bass 

DANCAIRO {DanJn/-riml \^ . j Baritone 

REMENDADO (fi™*nJoA'JM) / ™"^ *'' I Tenor 

ZUNIGA, <Z«M»'*iW a Captain Baas 

Morales. (Meh-nK-ki) a Brigadier Baas 

MICAELA, IMik^ajnlJah) a Peasant Girl Soprano 

FRASQUTTA (Fran.*rf-(<.A) t _ . j- . , r-*o,„K, / ■ ■ ■ Meno-Soprano 
MERCEDES (M.«W-*«) l^""'"' ^™'^' °' "^"^ I . . . Mezzo-Soprano 

Carmen, a Cigarette Girl, afterwards a Gypsy . Soprano 

An Innkeeper, Guide, Officera. Dragoons, Lads, Cigar Girls, Gypsies, Smugglers. 

Sttne and Period! SeoilU. Spain; ahout 1820. 



Georges Bizet was a native of Paris, -where he was bom on October 25, 1636. Like . 
Gounod and Berlioz, he won the Prix de Rome {Pree de Roam'); in this case in 1657, the year 
that his first opera, Docteur Miracle, was produced. Among other productions came Les Pecheurs 
de Perles, in 1663, an opera recently revived at Covent Garden with Mme. Tetrazzini as Leila. 
Carmen -was produced in 1675, 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 I Nevertheless, the supreme merits of Carmen have won 
it a place among the two or three most popular operas in the modem repertory. 

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



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 g3i>sy, 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 be-wildered at her beauty and the fascinating flash of 
her dark eyes. A moment later a stabbing atf ray -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 — thie soldier lets go his hold — and the bird has flown I 


Act II takes place in the tavern of Lillas Pastia, a resort of smugglers, gjrpsies and ques- 
tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of 
the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug- 
glers, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany 
them. But she is awaiting the return of the young soldier, who, as a punishment for allo-w- 
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. 


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 djring 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. |-<r 

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 ;t 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, 


rfo£i»8 ^ A^i^^m -^^^^ 

Prelude (Overture) 

By La Scala Orchestra 
By La Scala Orchcttra 

The Prelude to Caimen opens wilti 
quiet march in 2-4 tinr 
theme : 

The march ia of an exceedingly virile and fiery description and ie 
preceding the bull-fight in the lail act. Fonovrinu this stimulati 
"Toreador's Song," leading to the march themi 
themselves, are now followed by a short n ' 

ment in triple time indicating the tragic 
elusion of the drama. Here, the appealing ' 
of the brass, heard beneath the tremolo a 
strings, gives poignant expression to the pathos 

which lies in the jealous love of the forsaken /oie, and expresses tl 
death of Carmtn. This movement breaks off on a 
seventh as the curtain rises. 


SCENE— .4 Pahllc Square In SrolIU 
The curtain rises on a street in Seville, gay with an animated throng. In the fore- 
ground ate 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 

Among the crowd which 
throngs the sUge a young girl 
may be seen searching fat a 
familiar face, ft is Mlcatla, 
the maiden whom Jolt has left 
behind in his native village. 
The soldiers accost her, and 
from them she learha 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 
Cannot, who answers the 
salutations of her admirers 
a^,.,nv. uc «,., , among the men by singing the 

gay Hidianera. 

Habanera (Love is Like a \(^ood-bird) 

By Jeanne Gervillc-R^ache. Contralto (In French) BB27B 12-inch. *3,00 

By Emma Calv£, Soprano (In French) 88089 12-iach, 3.00 

By Maria Cay. Mezzo-Soprano (In Italian) »20S9 12-inch, 3.00 

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 Joae found 

it irresistible when sung by Conncn. 

Though often attributed to Bizet, the air was not original with him, but was taken 
from Yradier'a "Atbum da Chanson) Eipagnotei." The refrain. 

J JlJ.J'J■ , ^lJJJ>J^J | JJJJJ ^ 


HABANERA. -"Lova Ij Like ■ Woad-Bitd Wild." 

Threats and prayers alike unheeding; And if I love thee, now beware! 

Otl ardent homage Ihou'Lt refuse. If thou me loves! not, beware! 

WhiLst he who doth coldly slight Ihee, Bui if 1 love you, if I love you, beware! 

Thou for ihy master ofl IhoiTlt choose. beware! 

To a large numbec of opera-goers and miiaic-loveTB there a l»it one emotional aopraiio 
— but one exponent of such rCtes ai Comien and Sanlaiza, Calv^'* Carmen, opeually. ia almoat 
universally accepted at the greatest of all impeTaonatione c ' 

Gerville-R«ache's Carmen is a fine impenonation. 
oriKinal lines, her conception being based on a care 
of MtnTnte't story and on the teachings of her Spanisl 
Cannin, according to Mme. Gerville-Rtache, was a [ 
and fickle woman, but not a vulgar one. 

The men invite Carmtn 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 Ciuseppin: 
Huguet. Soprano {Piano ace.) 

{In ItaUan) 920S2 12-ini 
Nowjl/iciiefaretums, and finds the soldier she seeks, 
tells of the message of greeting she brings /oae from hi 
and with it a kiss. The innocence of Micatia U her 
the riper attractions of the gypsy, and the music allot 
maiden possesses the same simple charm; the cone 
Micaela'i ail being a broad sustained melody of muc 
/(ue takes up the strain, as the memories of his old hoi 
upon him, and the beautiful duel follows. 

Jose: Ah! tell me of her— my mother far away. 
ItficHAELA: Faithful messenger from her to Ihee, 
I brine a letter. 


And tbcn. lovingly, she kis» 
"My daughter, '"^ B»id sh», ' 

Not°*oiS''lhe journey. 
When arriwd in Seville, 
Thou wilt seek out Jo», my 
Tell him— Thou knowest thi 
By nijhi, hy day, thinks of 

(Micliaefa $laHdi on tip-toe ond kuies loit- 

d tne mother's kisl.—Joit is movid ax 

rcgardt Mifhaila ttndtrly.) 

My home in yonder valley. 

My mother lov'd shall T I'er see? 
Ah fondly in my heart 1 cherish 

McmVies so dear yet to uie. 

Micada leave* him after a tender 
farewell, and /oae begins to read hi* 
molker'a letter, but ii interrupted by a 
commotion within the fsictory. Carmen 
haa stabbed one of her companions, and 
ii arrested and placed under the guard 
of Don Joae. The soldiers drive away 
the crowd, and Carmen, left alone with 
Jose, brings her powers of fascination to 
bear on the young soldier, pan^ to facili- 
tate her escape, and partly because he 
has attracted her attention. Here she 
singe the Seguidilla, a form of Spanish 
country dance. 

Seguidilla (Near the Walls 
of Seville) 

By Maria Gay.Mezzo- 
Soprano (/n Italian) 

91085 10-inch. *2.00 

That yet again 
And thy dear n 

fascinating. Bizet has given us a brilliant 
example in this dainty number, which 
he has set to Michael Carre's words. 

Cabmek: Near by Ihe ramparts of Seville 

There shall I go to find Lillas Fasiia. 

And the wine-cup we'll share. 

We'll dance in llie gay seguidille. 

There I shall find Cillas Fastis. 


Although /oie says to himself that the girl is only amusing herteK, and whiling away 
the time wilh hsr gypsy songs, the words which fall on hia eai — of a meeting -place on the 
ramparts o( Seville —of a soldier she loves— a common soldier, all these play upon the feel- 
ings of Jote and rouge 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 aoldieis ate conducting her to prison she pushes /ose, 
who falls, and in the confusion she escapes. 

Between Acts I and II is usually played a charming entr'acte, 
which ha« been rendered for this Carmen series by Mr. Herbert. 

Intermezzo (ist Entr'acte) 

By Victor Herbert'* Orch. 60067 lO-ineli. •0.15 

SCENE— .4 Totem in the Suburbt of Seoitte 
The second act opens amid the Bohemian surroundings of the 
tavern of Ullas Pastia ; the wild lune 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 trincles des sistres (Gypay Son^) 

By Emma Calvi, Soprano 

(In French) 88124 12-inch, *3.00 
Carmen again leads them wilh her song, another lively gypsy 
tune, in the exulting refrain of which all join, a picture of reck- 
less merriment resulting. 

oHickly Vorth ofe gipLs" pHnging, 
To danef s merry, raaiy round. 
While lambourine^ the clanE probng, 
In rhrlhtn viilb Ihe muhic bEacing, 


But Carmen is thinking of the toldier who went to prison for 
her sake and who, now al liberty, will shortly be with her. Her 
musings are interrupted by the arrival of a proceasion in honor 
of Eacamillo, whose appearance is followed by the famous 
"Toreador Song," the most popular of all Carmen numbers. 

Cancion de Toreador (Toreador Song) 

By Titca Ruffo, Baritone, and La Scala Chorus 

(In Italian) 9iObi 12-iach. $3.00 
By Emilia de GogorEa, Baritoae. aad New York 

Opera Chorus {In Spanish) B81 78 12-iilcb. 3.00 
By Pasquale Amato, Baritone 

(/n Ilalian) 86327 12-inch. 3.00 
By Giuseppe Campanari. Baritone 

{In Ilalian) 85073 IZ-ioch. 3^0 
By Alan Turner, Baritone 

{In English) *\bb2\ 10-inch. .79 
By Francesco Cigada, Baritone: Giuseppina 
Hutjuet. Soprano: Inez Salvador, Mezzo- 
Soprano: and La Scala Chorus 

(In Italian) *62618 10-inch. .75 
By Carlos Francisco, Baritone 

{In Spanish) 4014 10-inch, .60 
, By Alan Turner. Baritone 

(InEngtiih) 5376 10-ineh. .60 '^""^ *'' ■"" '"^^ 
No less than seven renditions of this universal favorite are offered 
by the Victor for the choice of customers. 

After Escamlllo'a departure, Caimen'a 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 briljiiant quintet. 

Quintet -" Nous avons en tete une affaire" 
(We Have a Plan) 

By Mmes. Lejeune. Soprano; Duch£ne, Mezzo- 
Soprano: Dumesnil. Soprano: Mm. Leroux. 
Tenor: Carlos Cilibert, Baritone 

(In French) 88237 12-ineh. »3.00 

This is one of the favorite numbers in Bizet's opera, and at the 

same time one of the most difficult imaginable. When suna as the 

tempo indicates, it goes at break-neck speed, and it is only ie 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 Cilibert, himself the most famous of Remendados. 

Joie'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 
cj'ii »ii..ii. hears the bugle in the distance summonirig him to quarters. "Then 

DALuovE^s AS DON JOSE go> I hate you I " says CamMn, and mocks' him, singing 
Ah. this 13 loo morlifymg! 
AIL to please you, sir, I gaily sans and danced. 

Ta ra^la rai'^and'then off"e liss"'"^ 
^ Like a guesl to a feast! 

* Dautk-FoaJ RKorJ—Forlltk c/cwkHMc ilJc icc DOUBLE-FACED CARMEN RECORDS. poK 52. 

Air de la fleur (Flower Song) 

By Enrico Caruso. Tenor 

(In Fnnck) 88208 12-inch. *3.00 
By Enrico Caruio. Tenor 

(/n Italian) 8S209 12-uich. 3.00 
By Cbirlei Dilmoro. Tenor 

{In French) 85122 I2.inch. 3.00 
By Fernando De Lucia, Tenor 

(/n llallan) 76001 12-ulch. 2.00 
By Evan 'WilUanu. Tenor 

(In Engliih) T4122 12-inch, 1.90. 
By John McCorroick, Tenor 

(/n llaUan) T4216 12-inch, \A0 

Desperate at the thought of losing her forever, Oon 
/lue shows her the flowers she threw him at their first 
meeting, end which he had preserved, then sings this 
lovely romance, beginning: bbesslei-gianoli as caihen 

:J-j, jj|;: i T!>Jii:crci:''gc i | 

TkUJiiH/rjnmgmlamH.U-trtt-tfllUtrt-Bm will Put lufl lU fyd ■ t4 ' 

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 foi the beautiful but heartless gypsy. 

Dob Jose: 
This flower you gave lo me, deeraded 
■Mid prison ivalls, I've kepi, tho'^ faded; 
Tho' withered quite, the tender bloom 
Uotb yet retain ils sweet perfume. 
Niaht and day in darkness abiding, 
I tlie truth, Carmen, am conlidinE; 
Ils loved odor did I inhale. 
And wildlj- called Ihee without avail. 

binds me fast, 

Carmen. I lave thee! 

The number might have been written expressly for 
Caruso, so well does it suit his voice and style. One cim 
but marvel at the masterful ease of phrasing, and the 
warmth of vocal coloring imparted by the singer. The 
changing moods of the lover arc here indicated with dra- 
matic eipresaion — 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. 
niF.i MiaKi McCormack also nukes a fine impression in this rflle, 

DL LussAN AS cABUEN """^ ^" ""Bing of ihls (amous Flower Song is always 

greeted vrith 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 Jaae 'a, if he would desert 
his regiment and follow her. 

Las bas dans la montagne (A'way to Yonder Mountains) 

By Emma Cilvi. Soprioo, lod Carlos Dilmorea, Tenor 

{In French) 8»QI9 13-inch. »4.00 
The loldler listens with half-willing can, hit voice joining hers at the cloae, in a lovely 
duet pasiage. 


For roof, Ihe sky— a wandering life; Jose: 

However, in spite of Carmen 'i (aacinations, Jote ia about to return to his duty, when the 
appearance of his superior officer Zantga, who orders him back, decides the matter. 
Donjtat resents the overbearing tone his captain uses and defies him. Zaniga is finally 
ovetpowN'ed and bound by the gypsies, and the smuggien all depart on their expedition. 

Aragonaise (2d Entr'acte) 

By Victor Herbert's Orchestra 70061 12-inch, *1.2S 

By La Scala Orchestra (Douik-/actJ—Set p<v S2) 62102 10-inch. .15 

The retreat in the mountains is musically described by this pastoral intermezzo. A 

dreamy melody given to the flute, with a pizzlcalo accompaniment, is taken up by the other 

instruments in turn, the strings joining in the cods. 

i ^,.i„ r t rcfrffrfi'.giB^Stf nrf ^ 



SCENE— ^ fVlId and Rocks f "" '" '^ Moimlalna 
Ab the curtain rige*. the smugglers are seen enlering iheir rocky lair. Here occurs the 

famous sextette, a portion of which ia given in the "Gems from Carmen" (pagtSI). 

The Bmugglers prepare to camp for the night. It is evident that Jote is alteady repenting 

of his folly, and that dmien is tiring of her tateal lover. After a quarrel with/oic, she joini 

Fiaaqulta and M cedei, who are telling fortunes with cards. 

En vain pour eviter (Card Song) 

By Jeanne Gerville-R^che. Contralto {In TiencA) 87039 10-mch, »2.00 

ByLavmdeCa»s.Mezzo-Sopraao(Pr(inoacc.) {Inllallan) *62617 10-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 

This highly dramatic air. one of the most 
impressive numbers in Bizet's opera, is efecl. 
ively sung by Mme. Cerville-R^ache. 

The neighboring camp being ready, the 
smugglers retire, and ihc stB«e is once more 

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

By Emma Eames, Soprano 

(In French) 88036 12-iach, *3.00 
By Geraldine Farrar, Soprano 

(In French) 8B144 12-mch. 3.00 
By Alma Gluck. Soprano 

(In French) 742*3 12-inch. 1.50 
Into this strange and wild scene now enters 
Micaela, the peasant sweetheart of Don Jox, 
who has forgotten her in his fascination for the 
wayward CanrKn. Micaela has braved the 
dangers of the road to the smugglers' retreat, 
whither Don /o» has followed Carmen, to carry 
THE c*>Ds PMDiCT cABUtu's DEATH to the soldier a mcssBge from his dying mother. 

The innoceni girl is frightened by the vast and 


lonely mouDtBiiu, anil in her aria appeals to Heaven lo protect her, 
inBeniiousty conf easing her love for Donjoae and her detestation of the 
woman who has led him away fiom his duty. 

Tlie young g!il. heating a shot fired, runs into a cave in fright. 
Jose, who IB guarding the smugglers' effects, has seen a stranger and 
fires at him. It proves lo be Eatainillo, the toreador, who has come conianKn- 

Je suis Escamillo (I am Escamillo I) 

By Charles Dalmorei and Marcel Joumet {InFrench) B9114 12-iiich. *3.00 
By L£on Beyle, Tenor, and Hector Dufranne, Baritone 

(Do«Ue./a™i-S«jM»<52) {InFrench) 62T90 10-inch, .rS 
The two men compare notes, and learning that they are rivals, ]oa challenges the other 
to a due! 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-Joumet record is ol especial interesl because of the brilliant success 
Mr. Dalmores has achieved in the part of Don }o>e. Joumet sings Etcamllto'a music splen- 
didly, with that full resonant voice always pleasant to hear. A popular priced rendition 
by Beyle and Dufranne, of the Opira, is also listed above. 

Finale— "Mia tu sei" (You Command Me to Leave You) 

By Antonio Paoli, Tenor; Giuseppina Hu^et. Soprano; 

Inez Salvador, and Francesco Cigada {In Italian) 9203S 12-inch, tS.OO 

A dramatic scene between Carmen and Jose a interrupted by Micatta, who begs/oie 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. 

Cabuen (10 Jos^j: Be not deaf lo my prajers; 

r.o. and go quickly; stay not here; Thy mother waits Ihec there. 

This way of life is not for Ihee! The chain that hinds Ihee. Jo?e. 

JnSB (lo Carmen): Death will hreak. 

No, Camien, I will not depart I And eubmit to the fate 

That both our lives unites! 
The message from his dying mother, however, decides him; he will go, but vo 
return. In this wild and tumultuous number the jealous anger of yoie gives rise to 
highly dramatic singing, delivered with extreme intensity and power by Paoli, the 
theme at the close being introduced with meaning efiecl. The Toreador chorus ind 
the triumph of Escamltlo in the gypsy's attentions, and this with the orchestra] close s 
sinking to rest brings the powerful act lo a finish. 



(A S<!aare In Scviitt, loith thtiOalh of lU 
Bull Bins shown at the back) 


By Victor Herbert** Orchestra 

70066 12-inch, tl.25 
The fourth act opens with a 
momeDtary brightnew. Outaide the 
Plaza dt Toroi. in Seville, an animated 
crowd awaits the procescion about to 
enlei the ring. This ihort movement 
isa quick bustling one, only the plaint- 
ive oboe tolo indicating the tragedy 
which is soon to occur. The playing 
of this striting prelude is on the same 
artistic level which marks each of the 
renditions by this famous oichestra. 

This scene, as the orange sellers, 

hawkers of fans, ices and the rest, 

pieas their wares on the waiting crowd, 

JOSE rLEADiNG WITH cABHEN — ACT IV is extremely gay. and afords welcome 

relief from the intensity of the drama. 

EacamlUo, 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 

(0«ilfc./a«rf— 5« post 5J) (In Italian) 62J02 10-inch, »0.r5 

EKomllio lakes farewell of Carmen before entering the arena. He promises to fight the 

better for her presence, and she, half conscious of what it 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 aeries. 

As the procession passes on, the warning comes to Carmen that Joac is here, to which 
she replies that she (ears him not 

Duetto e Finale (Duet and Finale) 

By Maria Paascri. Mceeo- Soprano ; 
Antonio Paolii Tenor ; and L> Scila 
Chorus 92050 12-inch. *3.00 

Joie now enters and maku a last appeal, which is dramatic 
in its inlenBily. It takea the (orm 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. 

Jo3E (is desperalion) : 

Now thou refiisesi my prayers. 
Inhuman girl! For thy sake am I lost! 
And then lo know th« shameless, infimaus! 
Laughing, in his arms, at my despair! 
■ li^shaU noi^he^by Hf? " 


Cea« then.— or let me pass! 
Chokus (IB bull riMg): 


Again I beseech thee, Carmen, 

Wilt thou with me depart? „„., ou«.i 

Carmen J last refusal, as she flings him back hii ring, rouses uaitin as don jose 

the soldier's jealousy to madness and he stabs her to the heart. 

Aa 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 Joae 
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. 

Carmen Selection By Pryor's Band 31562 12-inch. *1.00 

(Carmen Selection By Souaa's Ban<II..,^-~ ,. , < , _, 

/■«taJaI=-a»a.™ fl, S..,a'. S.»J/""°° 12-mol,. 1.25 

{Carmen Selection 
Manon — ^h I fu^ez Jouce hnage I 
The selection begins With the brilliant and animated Prelude, the first part of which is 
given, including the refrain of the famous ^^^S^^"^ 
" Toreador Song." Then is heard (as a comet r ■''"■" *" 

solo) the quaint "Habanera." Z^~ Z, Z 7 — '^•'^7 S— Z. ~ Z'ii,^'i^ 

with its curiously varied rhjrthm, 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 , « .. n ■= — -,- i if "~ . f «;— r'-Vr r 
appiin ■« JJml, the wi,d .u.m from Au IV whm 1 ' " ' ', :^^Vl "■ ■ . i. ^-^'^^ 
Cnmen hurls at Don /oje her last defiance. <«-.—— •- *. . ..a _ 

The spirited introductoty strain returns, closing the selection. A fine record nai splen- 
didly played. 

Gems from Carmen 

By Victor Lifht Opera Company (In Englhh) 31843 12-incb, *1.00 

Chonu. '- Here They Ace "—Solo sad Chorut. " Hibsners " (Love u Like ■ Bird)— Duet. "A|ain 
He Set! Hii Village Home"-Se»etce. - Our Choien Trade " — Solo and Chorui. " ToreUloc 
8one "-Finale. 

into this attractively arranged potpourri, which shows both the skill of Mr. Rogers and the 
remarkable talent of the Opera Company. 


Only Bucli an organization as thai of the Victor, which ilanda absolutely alone amonB 
record-making hodiei. could auccesafully cope with the diflicultiea of Bixel'a score. The 
lecord 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 Hahanaa, the lovely Joat-Mlcatla duet, the Sextette 
from the Smuggler Scene, the popular Toreador Song and the brilliant finisS lo Act III. 

By CuidoCialdiAil,.,,, ,_ . 
^ Peter U.alnr*'^" '"■"' 

[Toreador Son( By Alan Turner, Baritone (/n English)] 

i Troealort— Tanpat of the Heart \ 1 652 1 1 0-inch. 

I Bjj jilan TurrKr. Batilont (In Engll'h)] 

(Prelude (Overture) By La Scala Orchestral, on* t n ■_ u 

\ Damnalion of Faa>(-Hur>garlcr, March Bi, Sou«r > Ba„dr^°^^ 12-inch. 

{Prelude (Overture) By La Seals Orchestral 

Scena delle carte (CardSoof) By Lavin de Casas, Mcezo- >62617 lO-inch. 
Soprano (Rono occ.) (In llallan)] 

ICanzone del Toreador (Toreador Song) By F. Cifada, Bari- ) 
tone; G.Huifuet. Soprano: I.Salvador, Me«o-Soprano; j ^ 

La Seals Chorus (In llallan) 

CaoalUno Rasllcarta—lnlermezzo By Pr^r'a OrcAejIroJ 

ilntcrmczEO — Acto III By La Scala Orchestra] 

Se tu m'ami (If You Love Me) By Inez Salvador. Mezzo. [62102 IQ.inch. 
Soprano: F. Cicada, Bantone (/n IlaUar(]\ 

iJe suis Escamillo (I Am Escamalol) By Uon Beyle, Tenor: 1 

{ Hector Dufranne. Baritone (In Frtnch)\(,2750 lO-inch, 

I VaUJaHoia (MiUa) Bs Mile. Konoff. Soprano (In French)] 
fPreludio. Acto IV By La Scala Orchestral 

\ Norma— Mita o Norma—By Ida Qiacomelll, Soprano; Una MiUri. U2IOI lO-inch. 
[ Contralto (In Italian)] 





Libretto adapted from the book of Veiga by Targioni-Toizetli and Menasci; mutic by 
Maacagni. First production in Rome, May 17, 1890, the opera having won the fitat prize 
offered by a music publisher (or 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. 


SANTTJZZA, (SonJoo/'.ioA) a village girl .Soprano 

LOLA. (Low'.hh) wife of Alfio Mezzo-Soprano 

TURIDDU, (T»-rM'-Joo) a young soldier Tenor 

ALFIO, (At .frt-tli) a teamster Baritone 

LUGA (i«>-:W.aA) mother of Turiddu Contralto 

ChoruB of Peasants and Villagers. Chorus behind the scenes. 

The Ktne U laid In a Sicilian village. 
Time— The Present. 

NpT^Tht molaliajB from lalanJ music of CovalUrla RaiUaina a,t given ha klrrd mmtulBfi afC. Sdilrnicr. 


Pielro Mucagni, aon o( a baker in Leghorn. wa> born December 7. 1863. Destined by 
his father lo succeed him in business, the young man rebelled, and secretly entered the 
Chenibini Conservatory. He began composing at an early age. but none of his works at- 
tracled attention until 1690, 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 at this opera in 
eight days, producing a work full of dramatic lire and 
ridi 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 

Taridda, a young Sicilian peasant, returns from the 
war and finds his sweetheart, Loia, has wedded A(fh, 
a carter. For consolation he pays court to Santuzza, who 
loves him not wisely but loo well. Tiring of her, he turns 
again to Lola, who seems to encourage him. 


By La Seals Orchestra "35104 12-inch, *1.25 
By Vesselb's lulian Band 

31831 12-inch, 1.00 
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 
ceruinly the best record of the Prelude we have heard. The 
La Seals Orchestra record is also a most interesting one. 

e is heard in the charming Siciliana, in which he tells 

Siciliana (Thy Lips Like Crimson Berries) 

By Enrico Caruso, Tenor ^Harp ace.) (In Ilallan) 87072 10-incb, $2.00 

By Enrico Caruso, Tenor (Piano ace.) (In Ilallan) 81030 10-inch, 2.00 

By Leo Slezsk, Tenor (/n German) 61202 10-inch. l.OO 

By Carlo Caffetto. Tenor (Piano ace.) (In Italian) *b2f>20 10-inch, .75 

It is sung behind the scenes, before the rise of the curtain, making it peculiarly effective. 

At the close of the number Turiddu'a voice is heard dying away in the distance. This 

dtcractndo passage is exquisitely sung by Caruso. Tliis 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 1691) is given here. 

O Lola, wilh thy lips like crimson berries. ........ 

Eyes wilh the glow of love deepening in Yet tho' I difd and found Heav'n on me 

Cheeks of the hut of wild, blossoming cherries. Wen Ihaii not there lo greet me, grief I 

Fortunate he who first finds favor to win should cherish! 

A fine rendition in German by Slezak and one by Caffetto in Italian, at a lower price, 
are also offered. 

SCENE— /4 SqiiaK In a Sicilian VlUagt 

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, wilh the church at one side 
and the cottage of Tatiddu'i mother on the other. 

'Do4Mcfaa J Record— For tlllt of oopulft ilJe n Jtuik-facti Hn, patt 58. 


Gli aranci olezzano (Blossoms of Oranges) 

By New York Grand Opera Chorus (In Italian) 64048 10-inch. $1.00 

By La Scala Chorus (In Italian). '"esaiS 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 Aliio 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 A(fio has entered the church, the Easter music is 
heard "within and all kneel and join in the singing. 

Regina Coeli (Queen of the Heavens) 

By La Scala Chorus 

(In Italian) *68218 12-inch, $1.25 

This great number, given by La Scala Chorus, has been combined with the opening 
chorus noted above on one double-faced record. 

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



ifii 1 1 ' 1 1' .III i;.^ iii^i 

Vol I* w 

P*- *fi* 

*• • 'Nr 

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 Calv^, Soprano (In Italian) 88086 12-inch, $3.00 

By Johanna Gadski. Soprano (In Italian) 88136 12-inch. 3.00 

By Emma Eames, Soprano (In Italian) 88037 12-inch. 3.00 

Stung with the remembrance of her great wrong she sings of vengeance, but love over- 
powers revenge, and in spite of herself, she cries 

!•• ■• • I. 

# M99tw otMSiT 

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 vrretched "woman. 

*Double^ticeJ Record — For tUk o/oppasUe tide see doabk-faced list, page 58 



Well do you know, good mother. 

Tunddu plighI*d^o^£o^a*his troth. 

Three fine renditions of this dramatic number, by three famous 
■OpianoB, are offered to music lovers. 

Lacio tries to comfort her and passes into the church just as 
TariJJu appears. He asks Sanluxza why she does not go to mass. 
She says she cannot, and accuses him of treachery, which puta him 
in B rage, and he tells her bruully 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, Beutlft. Soprano, and C. Ciccolini, Tenor 

{In Italian) *S5022 12-inch. * 1.90 

No. No. Turiddu 

OADSKi AS SAHTUizA By B. Bcsalil. Soprano, and G. Ciccolini. Tenor 

(in Italian) *55022 ]2-inch. ' 1.90 
This scene is now interrupted by Lola'a voice, heard behind the scenes. 

Lola (beliifid llie 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 [ 
church with her. Frantic with jealousy, Santuzza turns ti 
him that his wife is false. 

Two records are required to present this powerful scene, and of the 
versions are offered for a choice. 

Turiddu tni tolse (Turiddu 
Forsakes Me E) 

By B. Besalil. Soprano, and E. Badini. 

(/n Italian) *35021 12-inch, »1.50 
By Clara Joanna. Soprano, and 
Renzo Minolfi, Baritone 

(In Italian) *49002 10-inch. 1.00 

Ad essi non perdono ('Tis They 
^^ho Are Shameful) 

By Clara Joanna. Soprano, and 
Renzo Minolfi. Baritone 
(In Italian) *49002 10-inch, *1.0D 
Alfio swears vengeance, while Santuzza already 
regrets her disclosure, but is powerless to prevent 
the coruequences of her revelation. They go out. 
leaving the stage empty, and the beautiful Inter- 
mezzo follows. 


By Pryor's Orchestra 

*62618 10-inch. *0.79 
By Victor Orchestra santuzza pi.eading with 
4164 10-ineh. .60 (destisn and ca 

'Doubk-Faad Record— For Ulk a{ Bpnosllc il<k ik Joatlt/aaJ Hit. page 58 


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 (Noiv Homeivafd) 

By La Scala Chorus (In Italian) *450l4 lO-inch, $1.00 

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 Brindin, 

Brindisi (Drinking Song) 

By Enrico Caruso, Tenor (In Italian) *81062 10-inch, $2.00 

In striking contrast to the prevailing tragic tone of Mascagni*8 opera comes this merry 

drinking song, which Turiddu sings as 

gaily as if he had not a care in the world, i ^l f iP'ff f " g i * r'- i Hr m 
although at that moment the culminating | gi^ ^ | ^ ' ^ ' 1 1 ^X=^ If"" 
tragedy of the duel was close at hand. 
Turiddu calls to the crowd about the inn : 


then sings the 
Brindisi, which 
has a most fas- 
cinating swing: 

At the close of the song occurs a C natural, which is taken by Caruso with consummate ease. 


Hail the red wine richly flowing, Hail the wine that flows and bubbles, 

In the beaker, sparkling, glowing, ^ Kills care, banishes all troubles. 

I ike young love, with smiles bestowing, Brings peace, pleasure it redoubles. 

Now our holiday 'twill bless. Causes sweet forgetfulness! 

Affio now enters, and when Turiddu offers him a cup 
refuses, sajring: 

Thank you! but wine to drink with you 

I fear now, 
Poison I might be drinking, ere I was 


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^i 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 witliout her lover — 

{Suddenly changing his tone) 

Yet will I drive my dagger 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. 



Addio alia madfe (Turiddu' s Farewell to His Mother) 

By Riccardo Martin, Tenor 

By Gennaro de Tura, Tenor 

By G. Ciccolini, Tenor 

By Leo Slezak, Tenor 

By Giorgio Malesci, Tenor (Piano ace.) 

(In Italian) 88277 

(In Italian) 76015 

(In Italian) *55021 

(In German) 61205 

(In Italian) *62620 

12.inch. $3.00 
12.inch, 2.00 
12.inch, 1.50 
10-inch, 1.00 
10-inch, .75 

*Doubk-Faced Record— For title of opposite side see double-faced list, page 58. 



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. 

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, ^ezzo~ 

Soprano ; znd 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 I ** Santuzza and Lucia sink down 
senseless, and the curtain slowly falls. 




Selection— Part I By Victor Orchestra 31057 

Selection— Part II By Victor Orchestra 31058 

fTuriddu, mi tolse (Turiddu Forsakes "Me !) By 1 

I B. Besalu, Soprano, and E. Badini, Baritone ^^^ ^'^^'^"H55021 

I Mamma, quel vino k generoso (Mother I the 'Wine 
I Cup too Freely Passes) By G. Coccolini, Tenor (In Italian) 
Tu qui Santuzza (Thou Here, Santuzza) By B. Besalii, 

Soprano, and G. Ciccolini, Tenor (In Italian) 

No, No, Turiddu By B. Besalu, Soprano, and 

G. Ciccolini, Tenor (In Italian) 

(Prelude By La Scala Orchestra 

* Selection By Pryor*8 Band 

Opening of Act, " Alfio*s Sontf,** ** Easter Chorale,** ** Intermezzo.*' 

Coro d* Introduzione By La Scala Chorus (In ^'a^^<'")\ao218 

Regina Coeli By La Scala Chorus (In Italian) 

Turiddu, mi tolse Tonore (Turiddu Forsakes Me !) 
By Clara Joanna, Soprano, and Renzo Minolfi, 
Baritone (In Italian) 

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 Home-ward !) 

By La Scala Chorus (In Italian) 
Guglielmo Ratclijf — Padre Nostra By A, Mussini, Soprano, 
and E. Molinari, Bass (In Italian) 

Intermezzo By Pryor's Orchestral 

Carmen — Toreador (Bizet) By Francesco Cigada, Baritone; 162618 

Giuseppina Huguet, Soprano; Inez Salvador, Mezzo- | 

Soprano ; and Chorus (In Italian)} 

Addio alia madre (Piano ace.) 
.Siciliana (Piano ace.) 



12-inch, 1.50 

55022 12-inch, 1.50 


By Giorgio Malesci,Tenor\>. ^,«^ 
By Carlo Caffctto, Tcnorr^^^" 


45002 10-inch, 1.00 

45003 10-inch, l.OO 

45014 10-inch, 1.00 

lO-inch, .75 
10-inch, .75 




{Lah DBn-nahtce-on' dth FomI) 


Hectoi 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. Fint performed 
December 6. 1846. at the Opdra Comlqat, Paris, in concert form, and in New York under 
Dr. Leopold Damrosch in 1660. It was given at Monte Carlo ai an opera in 1903. First 
American performance of the opera. 


Marguerite (Mahr-gua^) Soprano 

Faust (F«m) Tenor 

MEPHISTOPHELES (Mi/-Ih^^^.Ib^) Baritone or Bass 


Pfocs .- A Gtrman Blllagt, 

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 at Fatal, 
his best known work, originally written as an oratorio, but which has aince been adapted 
for the stage, waa first produced in 1846 and met with a cold reception. Ten years after 
his death, however, what a change began I 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. 


In Kis "Faumt" Berlioz haa 
([iven us H musicaUeEend which 
hai all the pictureaqueneu ol 
the otiginal work. 

Whatever severe crLtlcs may 
aay of its merits in the highest 

a wonderful work. Strange 
eccentricities and tare beauties 
are found side by lidel c 
the wild orgie of flend> called 

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 Margutrlte. How- 
ever, the most striking numbers 

in the opera are those written by Berhoz for Mephitlephela, three of which have been 
most effectively rendered for the Victor by Planfon. 


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 1 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 Gunabourg, 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 Match. Here 
Faail 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-iiich. *].00 

This is Berlioz's treatment of the famous "Rakoczy Match." 
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 Hungaiy 
in order that he might make use of this wild and pulse-quickening 
melody. HU treatment of it U brilliant in the extreme, and il 
remains one of the most effective portions of his "Faust." 

In this connection it is interesting to remember that Liszt. 
although a warm friend of Berlioz, considered himself aggrieved 
and wrote to Mme. Tardieu in 1882: "My transcription of the 
Rakoczy March * * * is twice as long as the well-known version 
of Berhoz. and it was written *e/ore his. Delicate sentiments of 
friendship for the illusttious 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 

Scene II shows Fauil 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. 
Mtpktiophdts then appears and suggests that they go forth and 
see the world together, to which Fauit consents. 

hi the third scene Faatt and Mephhtophela go to a beer cellar in 
Leipsic. where students and soldiers are carousing. Btander siam 
his song of the rat, which as in the Gounod opera, meets wiUi 


Chanson de la puce (Sonf of the Flea) 

By Pol Plao;on. Bass 

{In French) 81067 10-inch, »3.00 
Gounod's Mephhlophttes U mild and innocent by the side 
of the strange utteranccB of the Devil as portrayed by Berlioz. 
This is one of the most interesting numbers in the 
work, (or 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 il noted, had a tine and Iu9ty flsa. 
And on this flea he doled, cheriah'd him tenderly. 

Voici dea roses ('Mid Banks of Roses) 

By Pol PUn^on. Bass 

(In French) SSI 1 7 12-iach. *3.00 
By Mattio Batlistini, Baritone 

{hSpanlth) 92023 12-inch, 3.00 ■■^..■.■.■■ 

We next discover Faual asleep in a lonely forest on the banks of the Elbe, where th. 
demon murmurs a softly penetrating melody into his ear, lulling him to slumber with thes> 
seductive words — 

'Mid banks of rose?, softly the light reposes. 
On this fair, fragtanl bed, rest, O Faust, rest thy head- 
Here siumber, whiie lovely visions haonl thy dream 
Of radiant tonns, rare lips and eyes that fondly beam! 
while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seei 
for the l^rst time. 

The neit scene corresponds to the Garden Scene of Gounod, and shows a roor 
in Marguerite's cottage. u>ai. »«. 
The demon now sum- m ..ff i l*' FFPP - p T^ 

Then follows the beautiful dance of the will-o'-the-wisps, after which Mtphittophtla sings — 

"To Ibis lute, I'll sing a serenade . . . 
One that shall please the lady .... 
It IS moral, bcr lasles to suit:" 


By Pol Planfon. Bass (In Fttnch) 81034 10-loeh. »2.00 

Mephhtopheles then warbles in his scoliinB voice this mocking serenade : 



Dear Kalberine. why to the 
door of thy Lover, 
Urawcil Ibou nigh I* 
Why there timidly hover? why 

art Iheref 
Oh, sweet maiden, bewaie; 

Ic'wiTt'^t^L IgTenlur"' 

Refrain, nor enter there! 
Ah, heed thee well, fair lass. 
Lest thy lover betray thee; 
Then good night, alas! 

Berlioz's Mephialophtlei ia 

„... ,., „ „„.. „, a muck more »ardonic and 

leas gentlemanly devil than [he 
one we are accuslomed to lee in Counod'e opera. Plangon interprela this difficult character 
admirably, and delivers this sneering serenade with gteat effectiveness. 

While the sprites dance MatguaiU apparently sleeps, but soon comes from the house in 
a kind ol trance. She tries to enter the church, but the influence of Mephiilophela prevents, 
and she returns to the house and (alls into the arms of Faual. 

Margaerite sings her lament. This changes to a rocky pass where Mcfihlilophclca informs 
Fauif that Aforguerife is about to be executed for the murder of her mother. Ffliu/demandsthat 
she be saved, but is first required by Mcphialopheta to sign the fatal contract which pledges 
h» soul to the Devil. Summoning the infernal steeds fo-fer and Giaour, the wild Ride to 
Hell commences, shown by a striking moving panorama, while at the close the angels ate 
seen hovering above the town to lescue the soul of the pardoned Margaerite. 



Ubratto by Barbier and Cant. Music byGiacomo Meyerbeer. Fitrt produc 

1859. First London ptoduclion July 26. 1859. - -■ ' 

1864, with Cordier, BrignoU and Amodio. 

iacomo Meyerbeer. Fitrt p 
First New York production 

HO£L, a Boatherd 

CORENTINO. bag-piper 

DiNORAH. betrothed to Ho«I . . 

Haa: Brelon iHllage o/Hcirmel. 

Although the name of is usually as- 
sociated with Robert U Diahle, Prophilc and Huguenots, 
his opera. Pardon de Plotrmcl (afterwards revised and 
ned Dlnorah), was at one time a favorite work with 


'al of Meyerbeer's sparkling opera during 
the last Manhattan season was most welcome, not only 
(or its tunefulness, but because it was an ideal medium 
(or the exhibition of Mme. Tetrazzinl's marvelous gifts 
of vocalism. 

Old opers-goers in America will remember the 
productions of the past — that arranged (or Marie Van 
Zandt in 1892; Patti's (amous performance a dozen 
years before; and the fine Impersonations of Gerster, 
dl Murska and Marimon. But it is safe to say that no 
exponent of the part of the wandering Breton shepherd- 
us has ever excelled Mme. Tetrazzinj in the rale. 

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. ZJfnoraA, amaldenof he 
:o be wedded to Hotl. a goat^herd, when a storm destroys 
HoUt resolves to rebuild it, and goes off to seek treasure 
orah. thinking herself deserted, loses her reason, and wanders 
r faithful goat, seeking the absent Hofl. 

rah enters in her bridal garments, seeking her pel goat, and 
him. So lovely an air Is worthy of a better 

village of PloSrmel. is about 
the house of the bride's fathe' 
in a haunted region, while Dii 
through the country with he 

As the curtain rises, Dinorah enters in hi 
lindlng the animal asleep, sings this lullaby tc 

Si, carina caprettina (Yes, My Beloved One) 

By Giuseppina Huguet, Soprano (In llalian) *351S0 12-inch, *1.2S 

■-. Huguet has sung this pretty air with charming fluency, and the record is one of 


sweetly alumbsi, 
I one, sleep! 
brceie is playing. 

n (oUov 

*DvMi-FaaJ RtcBid~On ofxisiNe tl. 

I. Ik Med Sam from Hamld. hy Mm. 


Connlino, a bag-piper, entera and is terrified at the sight of Dlnoiah, 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 rum 
away laughing. 

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

The second act begins with the famous shadow dance, for 
furnished some most beautiful music. Dinorah enters, and seei 
moonlight, imagines it is a friend and sings and dances to it. 

~ Ombra leggiera (Shadow Sotig) 

ByLuisaTetraizini. Soprano 88298 12-inch. *3.00 
By Maria Galvany. Soprano B8222 12-inch, 3XH> 
Ombn Lcnicn 

(Light FlilHitB Shadoa/) 

t t£ou wilt sU: 

Love well hsih known 
Our two hearts ta unite! 
(.4 cloud passes aver l/ie maon-lhe shaJoif dis^ffears.) 
This dance is accompanied by a waltz, which is full 
of the most brilliant vocal effects, including a florid cadenza 
(or voice and flute, as in Lucia. 

The act closes with the rescue of Dlnoiah by Hoil 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. B»»b (Piano ace. ) 

(In French) 81065 10-inch, *2.00 

The frei^h mornmE biecze 
f beast or bird. Plays light in the trees. 

, jolly, when night i^ 

Sei vendicata assai (Thou art Avenged !) 

By Mario An* 


Ihllallan) 88169 12-inch. *3.00 

at bel^eie*?! 


(Hi amlously waUltes Dix„ral: «-ha gradn- 

fireal' hMven "my pray'r halh ri=en nnlo Iher! 
Yes! she brealheii again: her eye? she opens! 
nut why thus fixedly they gaze upon int? 

Dinorah now opens her eyes and recognize* Hotl, her reason having been restored 
by the shock. The reunited lovers go to the village, ore greeted by their friends, and the 
curtain falls on preparations for the wedding. 

(luliu) (haah) 


{Danjtc^h^h^-ec) (Dot IfdAn') 


Libretto by Lorenzo da Ponle. Music by Wolfgang Amadeus Mozatt. First produced 
at Prague, October 29. 1787. iind at Vienna. May 7. 1766. Fir.t London production Aptil 
12, 1817; produced in New York May 29. IS26. Some notable revivaU occurred in 1698 
with Sembrich. Nordica. ELames and Plans;on. and in 1909 with Russ. Donelda. Bonci and 


Don OOVANNl. a licentious young nobleman Baritone 

Don OCTAVIO, (CtWoA'-we-oA) betrothed to Donna Anna Tenor 

LEPORELLO, (Ltp^-rcf -low) servant of Don Giovanni Baas 

Don Pedro, (Paw- Jro) the Commandant Bass 

Donna anna, his daughter Soprano 

MASETTO, (/Wa«t/A>) a peasant Bass 

ZERUNA, (Zcr-ht-nahj betrothed to Masetto Soprano 

Don Elvira, a lady of Burgot Soprano 

Peasants, Musicians. Dancers, Demons. 

Scene and Period : SeMe, In Ihe middle of the aepenleenih eenlury. 

Mozart's Don Giovanni was written in 1787 and produced during the same year at 
Prague. Da Ponte, the librettist, was a Viennese Court dramatist, who had also written Le 
No2ze di Figaro. The plot of the opera was probably founded upon a play entitled El 
Burlador de Seeilla s Comirada de piedra, attributed to Tirso de Molina, a Spanish monk 
and prior of a monastery at Madrid. This had also served as a basis for numerous other 
"Don Juan" plays and operas by Fabriizi. Gardi. Raimondi, CamiceT and latterly Dargo- 
mysiky, the Russian composer, 

SCENE \—Tht Courtyard of iht Commandant', Palaa at 
Scoilte. U ii Night 
The vHcked Don Giovanni, ever pursuing his gay 
conquests, attempts to enter £)onna yJnna 'i apartments. 
She cries (or help and he tries to escape, but is pursued 
by the angry girl, who endeavors to penetrate his dis- 
guise. Her lather comes to the rescue and is mortally 
wounded by the Don, who makes his escape, followed 
by Ltportllo, his servant. Donna Anna is overcome with 
grief, and charges her betrothed. Don Oclaola, to avenge 
her father's death. 

SCENE II— ^n Inn fn a Daerttd Spot OuUlde StodU 
Don Ciooaniti and Ltportllo enter and conceal them, 
selves as a lady approaches in a carriage. f-[oping for 
a new conquest, the Don comes forward, hat in hand. 
but is surprised to find that it is Donna Eloira, a young 
woman whom he has lately deceived and deserted. 
She denounces him for his baseness and he makes his 
escape, leaving Ltportllo to explain as best he can. 
Ltportllo rather enjoj™ the situation, produces his diary, 
and adds to the lady's anger by reading a list of the 
mistresses of the Don. This list is recited by Ltpoiella co..-t dupsit 
in the famous II calalogo. scotti as don giovabbi 



Madamina, il catalogo (Gentle Lady, this List) 

By Marcel Journel. BaM {In Lallan) 641»0 10-inch. *1.00 

By Arcangelo RoMi. (D-xibk-faaJ-Sa paft 69) {Italian) 62623 lO-inch. .79 

Nellabionda (The Fair One) 

By Mirce! Journet. BiM (In Jlaban) 74191 12-mch. 1.50 

^rmany. — double fifty seem plenty; 
1 Spam hen,— we count thouianilii 

Wamenfolk of all conditions, 
Ev'ry form and ev'ry slate! 
Joumet's Leporello ii a unique performance 
of its kind, and his chsracterizatton always stands 
forth as an admirable foil to the polished villainies 
of the suave and distinguished Don, This gieat 
buifo number, usually called the Cataiogut Song. 
is [u)I of the broadest humor, and is given by this 
artist with all the sly hutnor. gaiety, irony and 
sentiment which it requires. 

Donna Eloira is horrilied and drives off, 
■wearing vengeance. 

SCENE Hi— /n IhtSahatb, of Seville. Don 
Giovannf) Palace VUlhle on the Right 
A rustic wedding party comprising Zerllna, Maietto and a company of peasants are enjoy- 
ing an outing. Don Ciooannl and Leporello appear, and the Don is charmed at the sight of so 
much youthful beauty. He bids Leporello conduct (he party to his palace and give them re- 
freshments, contriving, however, to detain Zerllna. 
Maietto protests, hut the Don points significantly to 
his sword and the bridegroom follows the peasants. 

The Don then proceeds to flatter the young girl 
and tells her she is too beautiful for such a clown as 
Maaetto. She is impressed and coquettes with him in 
melodious duet, La cl darem, the witty phrases and 
' r 1 - 1 1 ■- ^ ijj jIj^ gems 

L^ ci darem la mano (Thy Little 
Hand, Love !) 

By Geraldioe Farrar. Soprano, and 
Antonio Scocti, Baritone 

(In Italian) 89013 12-.inch, »4.00 
By Emma Eames, Soprano, and Emilio 
de Gofforza. Baritone 

{In Italian) 69003 12-inch, 4.O0 
By GrazieUaPareto,Soprano,andTitta 
RufFo. Baritone 

(/n Italian) 92303 12-inch. 4-00 
By Matcia Battistinj, Baritone, and 

Emilia Corsi, Soprano ••■sn. Lonsgi 

{h Italian) 92024 12->nch. 3.00 ncelsen as zekuma 


This celebrated numbei, which haa been >ung by many 
famous artists during the one hundred and twenty years since 
its &rst hearinSi is one of the best ezamplci of the many spark- 
ling concerted numben which Mozart has written. Always 
inlerestins, it is wholly delightful when sung by such artists as 
those who have rendered it for the Victor. Not less than four 
versions, by famous exponents of the characters of Zerlina and 
Don Giovanni, are presented here. 
Don Giovabni: 
Ny. bid me not rtsLgn, love, coldly Ihe hand 

Oh! say thou will be mine, love, breathe but 

Zeklina:'* ^ * 

I »oDld and yel I would not. I feel niy heart 

Shmllsl'thou prove false, I could not, bei:oine 
Ihy scorn and live. 
Dr>H (fmVANNi: 
Come then, oh come then, dcareai. 

"ershould thy fondness alter. 
Don Giovanni: 

Nay. love, in vain thou fearesl. 

Yes, hand and heart uniting, each other's 

Our"i^y"o"w*'ds shall know! 
Miss Fairar's Zerllna is a dainty and fascinating character, 
'"°" '"""■ ■■""'■ and she aings the music brilliantly. It is hardly necessary to 

^VASN?^ "E5IKE AS DON oio- ^y anything about Scotli's Dan Giovanni, as it ia quite familiar to 
BAiiTUNE (LONDON, iStjI'^ opcra-goeTS, ranking among his best impersonations. The 
rendition by Mme. Eames and Mr. de Gogorza is a most delight- 
ful one, while two other records by famous European artists are also offered. 

GloBannI is about to lead Zerllna away, when Donna Eicira, who has been watching, 
rescues the young girl and carries her off, to the chagrin 
of the Don. Donna Anna now enters with Octaoto, 
who asks the help of his friend Don Giovanni In tracing 
the murderer of Donna Anna'i father. The Don assures 
them of his devotion, and goes to his palace, while 
Donna Anna tells her lover that she recognizes by his 
voice that Don Giovanni is the one who slew her father. 
They depart, and Leporcllo and the Don enter. ' The serv. 
ant tells his master that when ZJonria Eielra and Zerllna 
arrived at the palace, and Elvira attempted to tell the 
peasants the truth about the Don, he led her gently out- 
side the gate and then lacked it. He is complimented 
by his master, who bids him prepare for the feaat of the 
evening. Left alone, the gay Don sings his brilliant 
Drinlfing Song, famous in every land. 

Fin ch' han dal vino CWine, Flow a 

By Antonio Scotti. Baritone {Piano ace.) 

Unllahan) B503I I2-iDch. »3.O0 
The scene changes to Don Giovanni's garden. Zerllna 
is endeavoring to make her peace with Masello, but he 
is sulky. She then sings her lovely Baltl, tatti. 

Batti, batti, o bel Masetto (Scold Me, 
dear Masetto) '■"' """ 

By Gerildine Farrar. Soprano pun <,iuvanni 

(In Italian) 88126 12-inch. >3.00 
By MircelU Sembrich. Soprano {In Ilalian) 86026 12-inch. *3.00 



Mattlto is only half appeased, but goes in to dance with 
hia bride. Doima Anna. Donna Elvira and Don Oclaolo, diggu'ied 
and miuked, enter and sing a trio, in which they pledge them- 
selves to have revenge on the traitor. 

The scene changes to the interior of the palace, where 
the ball ia in progress. Don Gloeaimi continues his cfloita to 
get Zetllna away from her jealous and watchful lover, and 
finally succeeds, but Zerllna calls for help and Maaello and the 
three conapiratora rush to her assistance. They denounce Don 
CiaeannI, who defies them with drawn sword, and makes his 
escape from the palace. 

ACT n 

SCENE l^A Square In ScoilU. Donna Ho/ra's Raldence on ibt 

Ltfl. It 13 a Moonlight Nlghl uaurel as 

Don Giovanni, followed by hia servant, enters, wrapped in a mantle i -..-,. 

mandolin. He has heard of a pretty servant whom Donna Hur'ra poaaeaacs, and ia plottin_ 
to get the mistress out of the way. As Elvira sits at her window, he addresses her, pretending 
to be repentant, but when she comes out he pushes Leporelto forward to impersonate him. 
While they are conversing, the Don makes a great outcry and the pair run off in fright. 
The coast clear, the Don sings his famous Strtnade to the fair waiting maid. 

Serenata, "Deh vieni alia finestra" 
(Open Thy "Window, Love) 

By Antonio Scotti. Baritone 

(Inllatian) 88194 12-mch. »3.00 
By M. Hector Dufranae. Baritone 

{In French) *430I 1 lO-inch, l.OO 
By Giuseppi de Luck. Baritone (Piano 

ace.) Un Italian) *62623 10-inch. .15 
Don Giovanni: 
Ope, ope thy dseement. dearest, 

Ah I wooltlsl Ihou see me dying 

Despairinv. at thy feet? 
Thy Up outvies Hymetti an -honied bowers; 

Virtue worthy an aniet, thy heart diilli 

Thy sigh were balm amid a heav'n of flowers; 
6. for one kiss, one ivord, lhi= soul ivonl.J 

Scotti'a impersonation of Don Giocanni a admir- 
able in every respect He is the ptofiigale nobleman 
and irresistible wooer to the life, and sings the 
difficult score with ease. This famous serenade la 
given by the baritone with the grace and ease which 



His amours nre rudely interrupted by Maiello, who appears 
with a company of villagers, all armed with muskets, seeking 
the villain. The Don, pretending to be Leportllo, offers to put 
them on the right track. Then follows a series of amusing 
situations, ending with the capture of the supposed Don by the 
three cimspiralors, but it proves to be Leporelio, who takes ad- 
vantage of the situation to make bis escape. 

At the close of this scene cKcurs the beautiful airof Donna 
Elvira, in which she reproaches the Don for deserting her. 

In quali eccessi (Aria of Donna Elvira) 

By Johanna Gadski. Soprano 

(/n Ilallanj 86253 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 feeling, 
who must possess not only voice 
but intelligence and laste. 

That Cadski possesses these 

qualifications in ample measure 

EoouAED DE BEsiKE AS LEPOiiEiLo '' ("'ly apparent to all who listen 

to this superb reproduction. \ 

The next scene shows the Cathedral Square, with the statue 
of the murdered Commandant in the centre. The Don and 
Lepottllc enter, and are discussing the events of the evening, 
when the statue speaks to them. Leporelio is terrified, but the 
Don defies alt spirits and boldly invites the statue to supper 
at hispalace. 

The scene changes to the banquet hall in the palace at 
the Dort. [n the midst of the festivities a loud knocking is 
heard. The guests ilee in terror, the lights go out. and the 
gigantic figure of the Commandant appears at the door. 
Leporelio cowers in terror under the table, but Don Giovanni is 
defiant until the ghost seizes his hand, when he feels for the 
first time a terrible fear. The statue sinks, flames appear on 
all sides, and demons rise and seize the guilty libertine, who 
utters a fearful cry of agony as he is carried down into the fiery 


(Minuet By Victor Dance Orchestral _,ni_ i-i;„„l ., ,. 

\ Forward Morch—Tao Slep By Victor Donee Orcheilral^^°*^ 13-.ncll. »1.2a 

iS^enade By M. Hector Dufrannc. Baritone (In French] I 

SiJ'aals Roi—Un regard de teiseaxl [4501 1 lO-iach. l.OO 

Bg Leon Beyle, Tenor {In French) ] 
~ 'adamina. il catalofo (Gentle Lady. This List) ] 

By Aicanffelo Rossi. Bass (In Italian) 
Secenata— Deh I vieiii alia fenestra (Open Thy [62623 10-inch, .75 

Window. Love) By Giuaeppi dc Luca. Baritone 

iPlaraacc.) (/n Anflan J 


(Don Pa.jtnwA'.Ios) 


Text and music by Gaetano Donizetti. Libretto adapted from the older Italian opera, 
Str Marc' Anionio, by CamerBno. First presented at the Th«atre des Italiens. Paris, on 
January 4, 1843. Flrit London production June 3a 1843. First New York production March 
9. I&46. 

Recently revived at the Metropolitan with Sembrich. Scotti and Roa«! and at the Bos- 
ton Opera House with Nielsen, Bourrillon. Antonio Pini-Comi and Fomari. 


Don PaSQUALE. an old bachelor. Bau 

Dr. MALATESTA, his friend, a physician , Baritone 

Ernesto, nephew of Don Posquale Tenor 

NOR[NA beloved of Erneato Soprano 

A Notary Baritone 

Chorus of Valets and ChambeririBidB, Majordomo, Dressmaker and Hsirdreaser. 

Scene and Ptriod : Rome ; iht beginning of the nineteenth centary. 

This brighlcBl of genuine lyric comedies always appeals to that clans of opera-goers who 
lind the present-day comic opera or musical comedy to be cheap, gaudy and lacking in 

Cuine humor. Don Paaquale is pure entertainment, nothing else, the true spirit of comedy 
<K found in the music as well as the plot; and both are delightFul when the opera ia 
presented by such artists as the Victor has assembled for this series. 


SCENE — A Room in Don PasquaWs House 

The Don is eagerly awaiting the arrival of Dr. Malaiesia, who has promised to obtain 
for him a young and lovely bride. 

Son nov'ore CTis Nine O'Clock !) 

By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone 

{In Italian) *68273 12-inch, $1.25 

The Doctor enters, declares he has found the bride, and proceeds to describe the 
charmer. The Don is overjoyed, and insists on seeing the lady at once. When the Doctor 
leaves, Pasquale gives vent to his feelings in an amusing air. 

Un foco insolito (A Fire All Unfelt Before) 

By Antonio Pini-Corsi, Baritone, and Ernesto Badini, Baritone 

(In Italian) *62104 10-inch, $0.75 


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 v\ridow. 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 


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, v\rho he thought v\ras 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 

By Giuseppina Huguet, Soprano 


"Glances so soft revealing 
The flame of truest love. 

(In Italian) 74087 12.inch, $1.50 
(In Italian) *68272 12.inch, 1.25 

To that sweet maiden kneeling 
lie swore he'd faithful prove!" 

Cavatina— So anch^io la virtu magica (I, Too, Thy Magic 
Powers Know) 

By Amelia Pollini, Soprano (In Italian) *62103 

She then declares that she too knows the value of a glance and smile. 

10-inch, $0.75 


I, too, thy magic virtues know, 
Of glance well tim'd and tender, 
A gentle smile, born to beguile, 
I know — an old offender! 
A hidden tear, a languor near. 

I know the mode, oh, dear. 
Of love's bewitching wiles. 
His facile arts and guiles. 
To lure with wanton smiles, 
I know the modes, oh, dear ! 

*Double-Faccd Record— For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 75. 



A servant gives Ker 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 

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 rdle. This takes the form of a charming 
duet, which ends the first act and which is always greatly admired. Two records of this 
sprightly duet, at widely varying prices, are cataloged here. 

Pronta io son (My Part I'll Play) 

By Marcella Sembrich, Soprano, and Antonio Scotti, Baritone 

{In Italian) 89002 12-inch, $4.00 
By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone 

{In Italian) *68272 12-inch, 1.25 

Norina: Doctor: 

My part I'll play, if not offending Bravo, bravo, capital ! 

Against my lover's repose and quiet; It can't be better — all goes well I 

Well the plot with me will fare! Norina: 

Doctor: Head turned aside — "Oh fie! oh fie!" 

Our plot but tends, you may believe, Doctor: 

Don Pasquale to deceive. Pursed-up mouth — "Ashamed am I." 

Norina: Norina: 

We're quite agreed, and I'm enlisted. "I'm quite confus'd, my thoughts take wing — " 

Would you have me gay or tearful? Doctor: 

Doctor: Oh, clever creature! Just the thing! 

Listen, and you'll all be told; — Both: 

You must play simplicity. Of this old fool, all sense who spurn'd; — 

Norina: This time the head will be quite turn'dl 

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, v\rhich closes the act. 

Vado corro (Haste We !) 

By Giuseppina Huguet and Ernesto Badini {Italian) *62097 10- inch, $0.75 


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 nianner changes, and w^hen 
Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- 
ished and Ernesto laughs, v\rhich enrages the old man so that he orders his nephev\r from the 
room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a 
young v\rife, 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 w^ords are not sufficient to keep him in his place she w^ill beat him I This is the last 
straw, and the bewildered old man stands in a daze, his brain refusing to comprehend w^hat 
has happened! 

This tableau is followed by the quartet, E rimasio. 

* Double-Face J Record— For titk of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 75, 



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 1? 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 

that mean? 
We shall see what's coming next I 
I, Don Pasquale, she'd think meet 
To trample underneath her feet I 


He stands petrified, and seems — 
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 

{In Italian) *62097 10-inch, $0.75 

No drop of blood runs in his veins. 

Take heart, Pasquale, my old buck. 

Don't be discouraged, use your brains. 

Now then, at least, my worthy friend, 
■ You must begin to comprehend. 

Pasquale : 

I am betray'd, trod down and beat, 
A laughing stock to all I meet; 
Oh! with mingled rage and spite 
] am suffocating quite! 

Norina {to Ernesto): 

Now you see, ungrateful heart. 
How unjust was your suspicion: 
Love, to bring him to suomission, 
Counsell'd me to play this part. 

Ernesto {to Norina): 

You are justified, dear heart; 
Momentary my suspicion. 
Love, to bring him to submission, 
Counsell'd thee to play this part. 

All (pointing to Don Pasquale) : 

Don Pasquale, poor, dear wi^ht, 

Is nearly suffocated quite! 
Malatesta (to Pasquale): 

You're a little heated, really — 

Do go to bed, dear Don Pasquale. 

(To Norina. in a tone of reproof.) 

On my brother-in-law to play 

Thus, I'll not endure. I say! 

(To the lovers, who are embracing behind Don 
Pasquale' s back.) 

Silly ones, for Heaven's sake, pray, 

Don't, I beg, yourselves betray! 


{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 dov\rn 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.) 

Why, you impertinent! 

But there — take what you well deserve, sir! 

(Boxes his ears.) 


(It is all over with you, Don Pasquale! 

All that now remains for you to do 

Is quietly to go and drown yourself!) 

(I must confess, 'tis rather hard a lesson; 

Yet was required to have its due effect.) 

(To Don Pasquale): 

I'm going now, then — 

Oh. yes, certainly! 

But do not take the trouble to return. 

Oh. we shall see each other in the morning. 
A face of wood — a closed door, you will find. 

*DoubkJ^aoed Record— For title o/ot>oo$Ue aide see DOUBLE-FACED DON PASQUALE RECORDS, page 75. 

Prithee, where are you running: in such haste, 
Young lady, may I beg you will inform me? 


Oh! that's a thing that very soon is told: 
I'm going to the theatre to divert me. 


But the husband, with your leave — excuse me 
Saying so — may perchance object to it. 


The husband sees, and wisely holds his tongue: 
For when he speaks there's no one listens to 

Pasquale (with rising warmth) : 

Not to put me to the trial. Madame, — 
It is for your own good that I advise you — 
You'll to your chamber go, this very instant — 
Remain content at home — stay in the house. 

Norina (ironically) : 
Oh, really! 



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 

I shall be at the bottom of the garden — 

B^ 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 Malatcsla, 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. 

PtuquaU returns, and going solemnly up to the Doctor, exclaims: 


Brother-in-law, in me, alas, you see 
A dead man, walking upright! 

and tells him of the contents of the note. Malatesta pretends to sympathize and proposes 
that they lie in wait for the guilty lovers that evening and teach them a severe lesson. 
Pasquale gloats over his coming triumph, and begins the duet. 

Aspetta aspetta cara esposina (Wait, Wait, Dear Little Wife) 

By Antonio Pini-Corsi, Baritone, and Giovanni Polese, Baritone 

{Ehuhk-Faced—See pagfi 75) {In Italian) 62103 10-inch, $0.75 


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 thv tender smiles. 
Sighs, and tears — and wiles — 
All I have now at stake, 
Conquer'd, again I'll take! 

Malatesta (aside) : 
Oh, the poor fellow! 
Vengeance he's prating; 
Let the dolt bellow — 
He knows not what's waiting! 
He knows not he is building rare 
Castles in the empty air: 
He sees not, the simpleton — 
That in the trap, poor elf, 
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) 

By Aristodemo Giorgini, Tenor, and La Scala Chorus 

(In Italian) 


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, 

85048 12-inch, $3.00 
76010 12-inch, 2.00 

And none are nigh, with curious eye; 
Then why, my love, oh, why delay? 
Your lattice open to the starry night. 
And with your presence make the world more 

T\>ro 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, 

Norina joins Ernesto, and they are reconciled in a duet, Tell Me Again. Pasquale and the 
Doctor, with dark lanterns, enter softly and hide behind the trees, but the irate old man can 
contain himself no longer and rushes out to denounce the lovers. Ernesto vanishes and 
Norina calmly declares there was no one with her, that she had merely come out to get 
fresh air. Pasquale is so beside himself with rage and chagrin that Malatesta considers it 
time to end the farce, and proposes to rid Pasquale of his bride by marrying her to Ernesto, 
revealing that the first marriage was not a real one, and that the lady was not his sister but 
Norina. Pasquale is so glad to be rid of such an extravagant termagant that he pardons the 
deception, consents to the union, and settles an income on the happy pair. 




Sienorina in tanti fretU (My Lady. W^hy This Haste T) I 

By Emilia Corsi and Antonio Pini-Corsi {In /(aftan) L ____ ,_ . , ., _, 

By Antonio Pini-Corsi and Erneato Badini (/n Italian)) 
a guardo, un sorriictto (G lances So Soft) ) 

By Giuseppina Hueuet. Soprano (In Italian) [^b,,, , i-inch 1 25 
ProntaioKin (My Part 111 Play) |68272 12 inch. 1.25 

By Giuaeppina Hufuet and Erneato Badini (In Italian)] 
Overture By La Scala OrcheftraUH^,- i»i„i, i i< 

BaAlacdlSlVtgUa-Mancaan/oglio ^ La Sco/a On:Aafra/ 12 mch. 1.25 

Ua foco inaolito (A Fire All Unfelt Before) I 

By Antonio Pini-Corsi and Erneato Badini (In llaUon) I . , , _ . , - - .i -, 

Vado.corro (Ha.teWe!) By Emilia Cor.i. Soprano.and r^'*** lO-meh. .rs 

Erneato Badini, Baritone (In Italian)] 

E rimaato la impietrato [He Stands Immovable) I 

Qy Linda Brambilla, Soprano; Antonio Pini-Corai, 

Baritone! Piai-Corai. Tenor; Scipioni, Baaa {]nlialian)\lbibb lO-inch. .19 

EUsIr d'omOK—Io tonno licco (I Haot Richa) By Paaarl, 

Soprano; A. PfnI-ConI, Barilom; and Ckorui (In Italian)) 

Cavatina — So anch'io lo virtd magica (I, Too. Thy Magic I 

Virtuei Know) I 

By Amelia PoUini. Soprano (/n/(iiftan]L-,„~ lo-ineh 79 
Aapetta aapctta eaca eapoain. (Wait. Wait. Dear Little f^*"^ lO-inch. .15 
Wife) By Antonio Pini-Corai. Baritone, and Giovanni 
Poleac. Baritone (In Italian) ) 

Sogno Boave e casto (Fond Dream of Love) I 

By Giuseppe Acerfai. Tenor (In Italian) 162624 lO-inch, .75 
Faail—Com dc atdadoi (Soldlcn ' CAono) La Scaia Choms] 

Vadocorro (Haste W^e) By Giuseppina Huguet. Soprano. 

and Erneato Badini, Baritone (In Italian) 

Son tradito By Giuseppina Huguet, Soprano; Antonio 62097 10-inch, .75 
Pini-Corsi. Baritone; Gaetano Pini-Corsi. Tenor; Erneato 
Badini. Baritone (In liatian) 



{Ltnfl-ieez -ea/ Jahm-oh' -ray) 



Text by Romani. Music by Gaetano Donizetti. First produced in Milan in 1832. First 
London production December 10, 1836. First New York production in 1838. 


ADINA, a wealthy and independent young woman Soprano 

NEIMORINO, a young peasant, in love with Adina Tenor 

BELC0RE» sergeant of the village garrison Bass 

Doctor Dulcamara, a quack doctor Buffo 

GlANNETTA a peasant girl Soprano 

A Landlord, a Notary, Peasants, Soldiers, Villagers. 

Scene and Period : A little Italian village ; the nineteenth century. 

This delightful example of Donizetti's work is a real opira bouffe, and while simple and 
unconventional in plot, it has always been a favorite because of the lovely songs with which 
it abounds. 

Adina, a lively village beauty and heiress, is loved by a young peasant, Nemorino, who 
although handsome and manly, is afraid to press his suit ; but while the beauty treats him 
rather coolly she is by no means indifferent to him. 


SCEINE — The Homestead of Adina' s Farm 

Adina and her companion are seated under a tree reading. Nemorino is near, pensively 
observing his innamorata, and sings his first Cavatina, 

Quant'e bella ! (Ah ! How Lovely) 

By Emilio Perea, Tenor (In Italian) *62626 10- inch, $0.75 


Ah! how lovely! ah! how dear to me! 
While I gaze I adore more deeply; 
Ah! what rapture that soft bosom 
With a mutual flame to move. 
Rut while reading, studyinj?, improving. 
She hath learning and every attainment. 
While I can nothing do but love! 

Adina then reads to her friends a legend of a cruel lady who coldly treated a knight 
who loved her, and only smiled on him when he gave her a love potion. Nemorino wishes 
he could find the receipt for this potent elixir. 

Martial music is heard and Belcore, a dashing sergeant stationed near the village, 
appears with a bouquet for Adina, She has but few smiles for the military man, which 
cheers Nemorino somewhat, and when Belcore departs he renews his suit, but the fair one 
tell^ him that it is useless. 

A commotion among the villagers is heard, and Dulcamara, a quack doctor, comes on 
the scene, riding in a splendid carriage. He announces his wonderful medicines in a famous 
song, Udite, udite o rustici, the delight of buffos for more than eighty years. 

Udite« udite o rustic! (Give Ear« Ye Rustics) 

By Antonio Pini-Corsi, Baritone {In Italian) *68 152 1 2-inch, $ 1 .25 

By Emilio Perea, Tenor {In Italian) *62626 10-inch, .75 

~ ^ Douhie-Faced RecorJ-For title of opposite aide aee DOUBLE-FACED ELIXIR OF LOVE RECORDS, 
page 78. 



After the Doctor has recited the wonderful effects of his medicines, 8a3ring: 


I cure the apoplectical, 

The asthmatical, the paralytica!, 

The dropsical, the diuretical. 

Consumption, deafness, too. 

The rickets and the scrofula — 

All evils are at once upset 

By this new and fashionable mode! 

Nemorino exclaims, " Heaven itself must have sent this miraculous doctor to our village I ** 
He draws the quack aside, and asks him if he has an elixir that can awaken love. The 
Doctor, of course, says that he is the original inventor of the liquid, and soon has Nemorino *s 
last coin in exchange for the coveted potion, w^hich is in reality a bottle of strong wine. 

This scene is in the form of an amusing duet, Ohhligaio. 

Obbligato, obbligato (Thank You Kindly) 

By Fernando de Lucia, Tenor, and Ernesto Badini, Baritone 

{In Italian) 91079 10-inch, $2.00 

As soon as the Doctor has departed Nemorino drinks the elixir, and at once feels a new 
courage in his veins. He begins to sing and dance, and Adina, coming in, is astonished to 
see her love-sick swain so merry. Feeling sure that the potion will bring the lady to his feet, 
he pays no attention to her, which piques her so much that when the sergeant arrives and 
renews his suit, she consents to wed him in three days. Nemorino laughs loudly at this, 
which further enrages the lady, and she sets the wedding for that very day. This sobers 
Nemorino, who fears that the marriage may take place before the potion works, and he 
pleads for delay. Adina and Belcore laugh at him, and the curtain falls as preparations for 
the wedding are begun. 


SCEINE 1 — Interior of the Farmhouse 

The wedding feast is in progress, but the notary has not arrived. Dulcamara is present, 
and produces the latest duet from Venice, which he asks Adina to sing with him. 

lo sono ricco e tu sei bella (I Have Riches, Thou Hast Beauty) 

By Mme. Passari, Soprano ; Antonio Pini-Corsi, Baritone ; La Scala Chorus 

(In Italian) 16566 10-inch, $0.60 

This amusing dialogue, supposed to occur between a rich old man and a young girl, is 
given here by two well-known singers of La Scala, supported by the chorus. 

The company now goes to an adjoining room to dance ; all but the Doctor, who says he 
doesn*t know w^hen another free dinner w^ill come his way, and therefore remains at the 
feast. Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken 

"Take another bottle," says the Doctor, "only twenty crowns." Nemorino says he has no 
money, so the Doctor promptly pockets the bottle and goes in to the dancers, telling the 
unhappy youth to go out and raise the amount. 

Belcore, the sefgeant, comes in, and learning that Nemorino* s distress is caused by lack 
of money, suggests that he enlist as a soldier and be richer the fee of twenty crow^ns. 
Nemorino jumps at the chance, signs the articles, runs in search of the Doctor, and drinks 
the second bottle! 

The peasant girls, having heard that the death of Nemorino*s uncle has just made him 
rich, begin to pay him attentions. The Doctor tells Nemorino that this popularity is the 
result of the elixir he has just sold him. Adina, woman-like, when she sees her lover in 
such demand, promptly regrets having treated him so coldly, and runs out on the verge of 
tears. Nemorino, noting her downcast looks, feels compassion for her, and gazing after her 
sadly, sings the lovely romanza, famous in every land. 

Una furtiva lagrima (Down Her Cheek a Pearly Tear) 

By Enrico Caruso, Tenor (Piano ace.) (In Italian) 81027 10-inch, $2.00 

By John McCormack, Tenor (In Italian) 742 19 1 2-inch, 1 .50 

By Florencio Constantino, Tenor (In Italian) 74065 12-inch, 1.50 

By Evan ^Williams. Tenor (In English) 74150 12.inch, 1.50 



Donizetti's delightful little comedy, in spite of the beauty of its music and the oppor- 
tunities it offers for a colorature soprano, is really a tenor opera, and requires a great artist 
in the rdle of Nemorino; and it was the advent of Caruso which made the revival of this 
sparkling opira houffe possible. 

Neglected as the opera, as a whole, has been for many years, this lovely romanza, Una 
fufiiva lagrima, has proved meanwhile an always welcome contribution to the concert stage, 
and as a test for tenors is comparable to the G>m e gentil in Don Pasquale. All but four of 
Donizetti's fifty operas have lost their popularity, but the song which Nemorino sings to the 
tear that stood in his Adina's eye will alw^ays keep the opera from being forgotten. This is 
one of the most famous of the Caruso records, and his exquisite singing of this beautiful 
number is something to be long remembered. 

Down her soft cheek a pearly tear 

Stole from her eyelids dark. 
Telling their gay and festive cheer, 

It pained her soul to mark; 
Why then her dear presence fly? 

When all her love she is showing? 
Could I but feel her beating heart 

Pressing against mine own; 
Could I my feeling soft impart, and mingle sigh 
with sigh. 

But feel her heart against mine own. 
Gladly I then would die, all her love knowing! 

Mr. McCormack's rendition is also a most attractive one. Very few English singers are 
able to sing an Italian aria in a manner that would be acceptable to Italian audiences, but 
McCormack is one of these, and his rendering of Donizetti's exquisite air is an example of 
this mastery of the old school of vocalization. Other renderings, by Constantino in Italian, 
and a fine one in English by Williams, are also offered. 

The crafty Dulcamara now suggests to Adini that she try the wonderful elixir in ordei;^ 
to win back her lover, but she says she needs not such aids. 


With respect to your elixir. 
One more potent, sir, have I — 
Through whose virtues Nemorino, 
Leaving all, to me will fly! 

Dulcamara (aside) : 

Oh! she's far too wise and cunning; 
These girls know even more than I. 


a tender look I'll charm him- 
a modest smile invite him — 
.. .-_ a tear or sigh alarm him — 
With a fond caress excite him. 
Never yet was man so mulish, 
That I could not make him yield. 
Nemorino's fate's decided! 

When Nemorino has sung his air Adina comes on with the soldier's contract, which she 
has bought back, and tells him that he must not go away. All misunderstandings are now 
cleared away, and Belcore arrives to find his bride-to-be embracing another. However, 
he is philosophical and saying, " There are other women I " marches off, while the villagers 
tell Adina and Nemorino of the latter*s good fortune. The Doctor claims credit for the 
reconciliation, and the curtain falls as he is relieving the peasants of their w^ages in return for 
bottles of his wonderful Elixir of Love I 


{In Italian) 
(In Italian) 

(In Italian) 
(In Italian) 

Udite, udite o rustici (Give Ear, Rustics!) 

By A. Pini-Corsi, Baritone 
Una furtiva lagrima (A Furtive Tear) 

By Emilio Perea, Tenor 

Quant*e bella ! (Ah, How Lovely !) 

By Emilio Perea, Tenor 
Udite, udite o rustici — By Arcangelo Rossi, Bass 

lo sono ricco e tu sei bella (I Have Riches, Thou Hast 
Beauty) By Maria Passari, Soprano ; Pini-Corsi and 
Chorus (In Italian) 

Don Pasquale — Quartet, Act I By Linda Brambilla, Soprano ; 
Antonio Pini-Corsi, Baritone; Gaetano Pini-Corsi, 
Tenor; and Augusto Scipioni, Baritone (In Italian) ^ 

68152 12-inch, $1.25 

62626 10-inch, .75 

16566 10-inch, .75 




Libretto adapted by Maria Piave; from Victor Hugo'* drama "Hemani;'' mu»ic by 
Giuseppe Verdi. First production in Venice, Maick 9, 1844. Fint London production at 
Her Majesty's Theatre. March B. 1845. First New York production, 1646. 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 II Prtacritto. 

Cast of Characters 

Don Carlos. King of Spain. Baritone 

DON RUY GOMEZ DE SlLVA. a Grandee of Spain Bass 

EBNANI, a bandit chief Tenor 

Don RICCARDO. an esquire of the King Tenor 

lAGO. (fiMA'.ggl an esquire of Don Silva Bass 

Elvira, (£f-i«'.raW betrothed to Don Silva Soprano 

GlOVANNA, (Gtc^hjiaW ^ah) in attendance upon her Mezzo-Soprano 

Chorus of mountaineers and bandits, followers of Don Siha, ladies of Elvira, followers of 
the King. Spanish and German nobles and ladies, electors and pages. 

Sane anJ Period : Aragon; about t5l9. 




SCENE 1 — 7%c Mountains of Aragon 

Eloira, 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 Eloira and resolves to prevent this unwelcome 
marriage. The first scene shoves a mountain pass w^here Emani's men are encamped. 

Beviatn, beviam (Comrades, Let^s Drink and Play) 

By La Scala Chorus (In Italian) f'SSldS 12.inch, $1.25 

The opera opens with this spirited chorus of bandits and mountaineers, v\rho 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 I" 

Emani, 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 Eloira 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 Eloira 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 

Emani, 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 iny arms adoring, Thy smile my heart entrances, 

Death at thy feet were pleasure, Most blessed he of mortals 

The joy of heav'n is mme where'er thou art. To whom thou gav'st thy heart I 

Ernani and his men depart in the direction of Siloa 's castle 
and the scene changes. 

SCENE II— Boira's Apartment in the Castle 

Ehira is discovered alone, brooding over the prospect of 

the sacrifice, which she seems powerless to prevent. 


'Tis near the dawning, and Silva yet returns not! Ah I would 
he came no more — with odious words of loving, more deeply 
confirming my love for Ernani! 

Ernani involami (Ernani, Fly with Me) 

By Marcella Sembrich 88022 12.inch, $3.00 

By Celestina Boninsegna 91074 10-inch, 2.00 
By Maria Grisi *63173 10-inch, .75 

In this beautiful but despairing number she calls on her 
lover to save her, singing : 

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

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. 

Eloira* s ladies-in-waiting now enter, bringing her wedding 
gifts, and in the graceful chorus with which this record begins, 
congratulate her. 



* Doubk'Faccd Record— For title of opposite aid: see DOUBLE-FACED ERNANI RECORDS, pane 85, 



Quante d'Iberia giovani (Noble His- 
pania's Blood; 

By Ida Giacomelli and Li Scali Chorus 

1/n Italian) *lb567 lO-inch. »0.75 
She ihanksthem. saying: "Each kindly wi»h awakes 
» response in my own heart;" then sings, aside, a second 
number, -Tutlo iprazo cht d'Ernanl. " in which she tells 
of her hope of rescue. The chorus joins in the con. 

Da quel di che t'ho veduta (From 
the Day when First Thy Beauty ) 

By Aa^ela de Angelis, Soprano: 
Francesco Cigada. Baritone 

(In Italian) *39168 12-mcb, J1.2S 
We come now to one of the srestest scenes in the 
opem. Etoira, who has left (he 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; 

The record begins with ihe dramatic dialogue 
^ between Carlm and Eieira. Carlos then declares his 
love in (he aria "Da quel dl" leading up to a dramatic 
THE Kim: PLEAns his love duel, which concludes this sixth number. 

Tu se' Eraani ! (Thou Art Ernani!) 

By Giacomelli. Martinei-Patti and Pisnatoro (Ilalian) '16568 10-inoh, •O.IS 
The King, maddened by Etolra'a resistance, is about to carry her away by force. She 
snatches a dagger from Ccio, ' belt and cries : *■ Go, or with this dagger I will slay us both 1" 
1 he King is about to summon his guard, when suddenly a secret panel door opens and 
tman/ appears. Cir/oj recognizes him and eitclaims: "Thou art Ernani, the assassin and 
bandit, and m the spirited trio which follows the rival, declare ihelr hatred, while Ekira. 
almost distracted, endeavors to protect her lover. 

Infelice e tu credevi (Unhappy One !) 

By Marcel Journet. Bass (In Ilalian) 74008 12-inch. »1,50 

By Perello de Sejurola. Bass (/n Ilalian) SSOOr 12-inch. 1.30 

By Marcel Journet, Bass (/„ Italian) 64077 10-inch. 1.00 

By Arjstodemo Salich, Bas. (In Ilalian) *63421 10-inch. .76 

In the midat of this thrilling tableau now appears Sitca, who does not recognize the 

King and who « naturally astounded to find two rivals in the apartments of his future 

bride, quarrelmg for her possession. He summons his squires and soldiers, then addresses 

himself to Elvira and reproaches her In this well-known and impressive In/clict. one of the 

most beautiful of baas arias. Four records of this favorile number are available— by 

Journet (in both 10 and I2.inch), by de Segurola and by Sillich. 

The editor regrets that he >s unable to give satisfactory English translations for the ma- 
jority of the Ernani airs, but most of the available translations of Ernani are so distorted as 
to be almost meaningleaa. 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 apecimen Iranalalion of the text of this very air of Ii^elicc. 

Wlritlr |"hs i7"1lhii? (his''niy''bM!^. Fl'"'eongMnni! Sr'conJ^a'ling to the core, 

* Doatk-Facai Rcaijd—For lllk ofopiyulb tiJc h DOUBLE-FACED ERNANI RECORDS. pa::t: 85. 


Now anyone who can tell just what this means is certainly a highly gifted individual I 
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. 

Vcdi cotne il buon vegliardo (Well I Kne'w My Trusty Vassal) 

By Maria Grisi, Soprano; Carlo Ottoboni, Bass; Retno Sangiorgi, Tenor; 

and Giuseppi Sala, Baritone (In Italian) *35169 12-inch, $1.25 

Having reproached his bride for her supposed treachery, Siha 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 
Siha, though secretly enraged, kneels to his King, saying : ** Duty to my King cancels all 
offences." The great finale then begins with Carlos' solo, sung asid^ to his squires: 

"Well 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 ; Retno 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 Silva): 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 Eloira *s pleadings and in the confusion makes his escape. The curtain 
falls on an impressive tableau. 


SCENE— y4 Hall in Siha *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 Siha. 

Esultiam (Day of Gladness) 

By La Scala Chorus (In Italian) *16569 10-inch, $0.75 

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 Eloira sing the opening chorus in 
praise of the noble Siha and his peerless bride. 

Oro quant^ oro (I atn the Bandit Ernani) 

By Maria Bernacchi, Soprano ; Luisi Colazza, Tenor ; and Torres de Luna, 

Bass (In Italian) *16569 10-inch, $0.75 

Siha, attired as a Grandee, enters. His squire, /ago, announces a holy man, who craves 

the hospitality of the castle. Ernani, disguised as a pilgrim, enters, then throws off his disguise 

and exclaims, beginning this fine trio : 

**I am the bandit Ernani . . . My men are dead or in chains . . . My 
enemies are without the castle . . . Seize me and deliver me up, for I am 
weary of life!" 

Siha, 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. 

* Doubk-FaceJ Record— For title of opposite side see DOUBLE-FACED ERNANI RECORDS, pages 84 and 85. 



La vedretno, o veglio audace (I W^ill Prove. Audacious 


By Mattia Battiatini, Biritoae, antl Aristodemo Sillich, Bass 

{In llatlan) 92007 12-i(ich, *3.00 
By Ernesto Caronna, Baritone, and Torres de Luna, Bass 

(/n IlaUan) *lbiZO 10-inch, .75 
The retaineis bring news that the King and his warriors are without the castle. Sf/vn 
hides EmanI in a secret psuage and orders that the King be admitted. Don Corlai inquires, 
with irony, why Sitoa'i castle is so well guarded, and demands thai he surrender ErnanI or 
lose his own life. Siloa refuses. The soldiers are ordered to search the castle. This duet 
then occurs, beginning ; 

Cailos: I win prove, audacious greybeard. 
If thou-Vt loyfil to >hy King! 
In my wrath I will deslioy thee! 
Silva: Oh King, be jusi; I cannot yield! 

Vicni meco (Come, Thou Dearest Maiden) 

By Emilia Corsi. Soprano: Mattia Baltistini, Baritone; and La Scala 

Chorus {In Italian) 92008 12'inch. *3,00 

By Maria Grisi, Soprano : Fraaceico Citfada. Baritone: Carlo Ottoboni. 

Bass; and La Scala Chorus [Inhalian) "ibblO 10-inch. .79 

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 Sf/oo into revealing the secret, when Eloira 
rushes in and begs the mercy oE his Majesty. Car/os turns to her, and sings consolingly al 
the bright future before her as his Queen, and in the great trio which follows the con- 
flicting emolioni of those in the scene ore expressed in Verdi's fiery music. 

A te scegli, se^uitni (Choose Thy S'word, and FoUo'w I) 

By Luitfi ColiEza. Tenor, and Torres de Luna, Bass 

(/n Ilattan) *3916» 12-inch. 11.25 
The King, hi. (ollowere, and the Lady Elvira having retired, Siha exclaims : " Hell cannot 
hate with the hatred 1 bear thee, vile KingI " He then takes down two swords from the 
armory, and releasing EmanI from his hiding place, challenges him to 
combat. EmanI refuses, saying that his life belongs to Siha, who has 
saved it. Sllva taunts him with cowardice arid EmanI consents Co 
fight, but asks for one look at Elvira. Siha replies that the King has 
taken her away. "Fooll" cries EmanI to the astonished Grandee, 
"the King ■> our rival!" and agrees to combine with Sllva against 
their mutual foe. Once their revenge is accomplished, EmanI agrees 
to yield his life at Sllvo'i calL and gives him a hunting horn which 
shall be the signal for his {Emanl't) death. For this magnificent num- 
ber Verdi has written some of his most dramatic music. 

In arcjon. cavalieri (To Horse. Ye W^arriors) 

By Giuscppi Sala, Tenor: Cesare Preve, Baritone: 

and La Scala Chorus {llalian) *16S71 10-inch, *0.73 
The act closes with the spirited duet and chorus by EmanI. Siloa 
and the warriors of the Don, who prepare to pursue the King to the 

SCENE— ^ Vaall In Alx-la-ChapelU Ctmelay 

O de' verd' anni miei (Oh Bright and Fleeting 


By Giuseppi Campanari, Baritone 

(In Italian) 85087 12-inch. »3.00 
ByMarioAncona.Baritone(/W/an)88062 12-lncb, 3.O0 van dvck as ebnahe 
• DwMcFarcJ PtcorJ—Fo, mk afappoilU Mtdt « DOUBLE-FACED ERNANI RECORDS, pata 84 and fiS. 


The third act occurs in the Tomb of Charlemagne at Aix-la-Chapelle. Carlos con- 
ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who 
are plotting against him. He is depressed and melancholy, and sings this famous O de oerd, 
in which he pledges himself to better deeds should the Electors, then in session, proclaim 
him Emperor. 

Si ridesti il leon di Castiglia (Rouse the Lion of Castile) 

By La Scala Chorus {In Italian) *16571 10-inch, $0.75 

The conspirators, among whom are Emani and Siha, assemble at the tomb. Emani is 
chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father 
w^ill 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: Aristodetno Sillich, Bass ; and La Scala Chorus 

{In Italian) 92046 12-inch, $3.00 

By Maria Grisi, Soprano; Remo Sangiorgi, Tenor; Francesco Cigada. 

Baritone; and La Scala Chorus {In Italian) *35170 12-inch, 1.25 

The booming of cannon having announced that Carlos is proclaimed Emperor, he comes 
from the tomb and surprises the conspirators. At the same time the Electors and the King's 
courtiers enter from a secret door. Carlos condemns the plotters to death, when Elvira rushes 
to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Elvira 
and Emani. In this great finale all glorify the Emperor except Silva, who still secretly cries 
for vengeance. 


SCENE — Terrace of a Palace in Aragon 

Festa da ballo (Hail, Bright Hour of Gladness) 

By La Scala Chorus {In Italian) *16572 10-inch, $0.75 

The lovers are now happily united, and this scene shows them at Emani 's palace, which, 
with his estates, has been restored to him. A chorus of ladies, masks and pages greets the 
happy pair. 

Fema crudel, esting[uere (Stay Thee, My Lord f) 

By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor; and Torres de Luna, 

Baritone {In Italian) *35170 12-inch, $1.25 

Elvira and Emani are alone on the terrace, oblivious to all but each other, when a blast 
from a horn is heard. Emani awakes from his dream of bliss and recognizes the sound of 
tis own hunting horn, which he had given to Silva as a pledge to die when the revengeful 
Don should demand his life. The distracted Eloira pleads with Silva for her husband, but 
in vain. After an affecting farewell Emani 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. 


flnfelice e tu credevi By Perello de Segurola, Bassl^^^^^ 12-inch, $1.50 

\ Puritani— Sorgea la notte By Perelldde Segurola, Bass {In Italian) ( 
Ferna, crudel By Maria Bernacchi, Soprano ; Luigi 

Colazza, Tenor ; and Torres de Luna. Bass {In Italian) 

O sommo Carlo By Maria Grisi, Soprano; Remo Sangiorgi, 

Tenor; Francesco Cigada, Baritone; and Chorus {Italian) 
fErnani Selection By Pryor's Band\«gj , , 1 2-inch, 1.25 

Meistersinger — Prize Song By Victor Sorlin, 'Cellisif ' *"' 

A te scegli, seguimt By Luigi Colazza, Tenor, and 

Torres de Luna, Bass {In Italian) 

Vedt come il buon vegliardo By Maria Grisi, 

Soprano; Remo Sangiorgi, Tenor ; GiuseppiSala, Tenor; 

and Carlo Ottoboni, Bass {In Italian) 

35170 12-inch, 1.25 

35169 12-inch, 1.25 

* Double-Faced Record— For iitle of opposite side xe DOUBLE-FACED ERNANl RECORDS, pages 84 and 85. 



IBeviam, beviam By L« Scala Chorus (In /fii//an)| 

Da quel di che t'ho veduta ByAatfela de Aotfelii. p5168 12-iiich, fl.25 

Sopraan. and Franceaco Cigada. Baritone {In Italian) \ 

IO tu che Talma adora By Martmei-Patli, Tenor, ] 

and Chorus (In Italian) I 

Quante d'Iberia giovaoi By Ida Giacoroelli. Soprano, | 
and Chorus {In llalian}] 

IFinale. ActI By Maria Griii. Soprano : Carlo Ottoboni. ^ 
Basa: Remo Santfiorfi. Tenor; and Giuaeppi Sala, Ten< 
Tu te' Eraaat By Ida Giacomelli. Soprano : Martinei- 

Patti.Teaor; and Enrico Pigoataro. Baritone (/n Ilailan}] 
[Ecultiaml By La Scala Chorus (In ltaltan)\ 

-(Oro quaol' oro By Maria Bernacchi. Soprano; >l 

I Luigi Colazza. Tenor: and Torres de Luna, Bass (Inllalian)] 

I La vedremo By Ernesto Caronna, Baritone, and I 

Torres de Luna. Bass (In Italian) , 

Vieni meco By Maria Grisi.Soprano: Francesco Ctf ad a, | 
Baritone : Carlo Ottoboni. Bass ; and Chorus (In llailan)] 
I In arcion, cavalierit By Giiueppi Sals, Tenor; | 

Cesare Preve. ftass; and Chorus {In ltaHan)\lb57l 

Siridestiil leon di Castiflia By Ls Scala Chorus (Ilatian)] 
(Fcsta da hallo "O come felici" By La Scala Chorus 1 


16567 lO-ioch. 

16568 lO-inch. 

U6569 10-inch. 

'>16570 10-inch, 

r la Irlsleiza 

By Francaco Ggada. Barllont. and Oorui (In llalian)] 

involami (Ernani. Fly ^fith Me) I 

J By Maria Crisi. Soprano (In llallan)\.-, ,~ 

1 Ballo In Maichcra—0 Figlio <f Inghillcrra *"■" '^ 

I By Huguet. Salvador, OgaJa, Silllch, and Chonu (In llalian)} 

llnfelice e tu credcvi (Unhappy One!) ] 

By Aristodemo Sillich, Bass (In Italian)] .2^ 

By Giorgio Malacl. Tenor (Inllalian)] 

{Come rugiada at cespite By Luitfi CoUm (In Italian) I 

O tu che I'alma adora >6262r 

By Martinez-Patti. Tenor, and Chorus (In Italian)] 

Manon — Oh, Man 



FLEty-two years have elapaed since the firsi production 
of this masterpiece by Gounod: and it is to-day lung 
throughout the world more than any other five operas 
combined. At the Paris Opira alone il has been given 
more than 1300 times, and the new letting recently pro- 
vided for it there coat not ten than 150.000 francs, a sum 
which would not be risked on any other opera whatever. 

It seems strange now, in view of the overwhelming 
success of FauBt, to recall that it was received with indif- 
ference in Paris, and all but failed in Milan. The London 
production, however, with Titiens, Ciuglini, Ttebelli, 
Gassier and Santley. was quite successful; and in the 
following June Patti sang Marguerite tor the first time, the 

The story is fainiliar to almost every one and will be 
but briefly sketched here. The libretto by Barbier and 
Carre does not attempt to follow the Goethe drama, but 
merely makes use of the Faall- Marguerite incident. This 
is sufficient, however, to provide an intensely interesting 
1 subject for Gounod's lovely music. 


By L'Orchestre Symphonique. Paris 58016 12-inch. *1.00 

The prelude to Faust is a short one, merely giving a clue to the drama which is to 

follow. The fateful single note of the full, , ^^;-. 

orchestra with which it opens and the mysteri- »££■'■ t. L^ e 
OUB chromatic chords stealing in f"--"" ih- r J 

at such unusual portent. 

The tempo is then accelerated ai 
sage suggesting Faust't mental struggles leadsi 

to the lovely melody in F major (DiopoMen/e). ■_ 

The prelude closes with sustained chords, solemn and impressive. 

This number is rarely heard apart from the opera, and bo excellent a reproduc 
this one hy the orchestra will be highly appreciated. 

ACT I— The Compact 

The first act reveals the studio of FausI, an aged philosopher and alchemist, who ib 
seen surrounded by musty parchment rolls and the rude scientific apparatus of the fifteenth 
century. The fitful light of the expiring lamp is a symbol of the despair in the heart of the 
aged Faasl, as after a lifetime spent in the pursuit of learning, he realizes that he knows 
but little of true knowledge. Tired of the struggle, he resolves to end it with a poisonous 
draught, and raises the goblet to his lips; but pauses as the songs of the happy peasants 
float through the open window. He goes to the window, and filled with rage at the sight 
of human happiness, he curses all earthly things and calls on Satan to aid him. 

This scene is given in a most impressive record by De Tura and the La Scala Chorus. 

La va(;a pupilla 

By Gennaro De Tura and La Scala Chorus f/n Halian) 76019 12-inch, $2.00 

Chorus of Peasant Girls ipassmg a,ilho„l the 

aindnw): _ Chorus or Rf.m'crb Iwilhouli: 

Whttcfare^it'eami^e'stlu? The earth'^s pr™d'w^rhar™"f glory! ''' 

CMiMh a-lTlhc "hill" FAiisi-""^* "" '"'^' 

Who has^ime lir^dnes^? Tl" El"evTnR and it;" b"dk! 

The Aged Philosopher Wearies of Life 


Miphiilophtla, aHiTed in the drcsa 
o( a gallant, promptly appears in re- 
sponae to the call and pcopoBes thai 

pact with him. In retum for riches, 
glory, powei. anything he deaiiea. FaasI 
shall merely give up hia soul. The 
aged philoKiphei, spurning gold or 
power, cries out for youth, only youth 1 

lo voglio n piacer (The 

Pleasures of Youth) 

By Gsetino Pini-Corsi, Tenor ; 
ArUtodemo Sillich, Das 9 
iln/lalian) '63174 I0-in.,»0.75 
The bargain is soon agreed upon 
and Faual is about to pledge his soul 
in return for youth and love, but as h ) 
sHIl hesitates, Mephlalo says, "S-c how 
fair youth invites youl Lookl" 

O merveille {Heavenly 
By Enrico Caruso. Tenor: 
Marcel Jour net. Bass 
(In French) 89039 12-io., *4.00 

The scroll is signed in letters of fire,Faus( 
drains the magic potion and is transformed 
into a youth. The spirited duet which follows, 
ending the first act, is sung with fine effect 1 
both of the Victor renditions being most 

ACT II— The Fair 

(The ictne thoiDs a fair In pngrat in the public square < 
A motley crowd of students, soldiers, old men, young wor 
ing themselves — drinking, talking, flirting, quarreling; and this 
the Kermesse Scene begins, graphically pictures the whole. 

Kermesse Scene 

By New York Grand Opera Chorui 

By La Scab Chorus 

Each group delivers its quota in distinctive fashion, the soldiers' sturdy declaration con. 
trasting with the laughing, chattering passages allotted to the women; the high-pitched 
falsetto of the gossiping old men always proving a favorite portion of this number. At the 
close the different groups combine into a chorus of six parts. This wonderful piece of 
choral writing is reproduced in a striking manner, and gives a most realistic picture of the 

a German loan) 
n and matrons a: 
limated chorus, > 


*DoaikJ'aaJ Rtce 

Jle ^oPPOMUe side 




Old Mem: L „., , 

Each new teaal-day br[ngs Ihe old stoty, Matbo»s: 

Whife lo-day each hot-headed''boy " Witt Ihf msn at""ayr' ""* 

Fights for to-day's liitlf giory! Had the latter choice in fealurei 

Gmts: They would turn this wiyt 

Both n 
Here Valentine, the brother of Marguerite, U found among the crowd oE soldiei 

■ the noble Dio possente, a farewell lo his sislei 

Dio possente (Even the Bravest Heart) 

By Antonio Scotth BaHtone (In Ilallan) 88203 12-mch, *3.0O 

By Emilio de Cotforis. Bsritooe (In Ilalian) 88 1 74 1 2-inch, 3.00 

By Titta Ruffo. Baritone {In Italian) 92043 12-inch, 3.00 

By Francesco Cifada (Dtabk-faad—Sei page 1 07) {Italian) 68275 12-incb. 1.25 
In the preceding recitative he ipeaks oE hia (ears in leaving hia aiater Marguerite alone, 
and contemplates with affection the amulet she has given him to bring good fortune. 

The familiar "Cavatina" then followa; 

Upon the lemcd hat 1 1 eg round. 

But *hcn danger to glory shall 
I !,till will he first in the fray 
As hiithe as a knight in his b 

Careless what fate may hefall t. 

When glory shall call me. 

Oft shall I sadly think of yoi 
When far away, far away. 


This Dio poaienlt was not in the original production of the opera. 
but was writti^n by Gounod eapecially for Santley in the English 
production at Her Majesty's Theatre, 1864. 

The Victor offers a wide choice to buyers of this fine " Cavatina." 
Scotti's yatentlne is always a revelation in dramatic possibilities. This 
rale, too often allotted to a mediocre artist, is filled by bim with 
dignity; and he makes a serious and soldierly Valenline, singing the 
music with admiiable richness of tone and beauty of expression. 

Although Mr. de Gogorza has not sung the number in opera, it is 
frequently seen on his concert programs, and he sings it superbly. 
Other fine lenditiona in Italian are the ones by RuSo and Cigada, two 
famous European baritones, who have not yet visited America. 

Le veau d'or (The Calf of Gold) 

By PolPlan^on, Bass [InFnnch) B103B lO-inch, *2.00 
By Marcel Journet.Bus {InFtench) 64036 10-iach. t.OO 
We are now in the full bustle of the Fair Scene, where in front 
of an inn a crowd of drinkers are listening to one of their number, 
li'iuncr. singing a some what coarse ditty concerning a rat MephUlo- 
phela breaks in upon the revelers, and offers to sing a song of his 
own, "The Song of the Golden Calf." After the diabolically sug- 
gestive introduction by the orchestra, with its semi-quavers and 
descending chromatics, we hear the bold opening passage of this 
anthem in praise of Mammon, of which the calf is symbolic 

Bound about tlie pedrstal. 

Satan, he conducts the ball! 

Calf of Gold, strongfsl god belowl 

Crowds before hJa vile ^hape bowing. 
As they stiive in abject toil. 

Round about the ptTdestal, 
Satan, h; conducts the balll 

Two renditions of this effective bass 
song are offered by the Victor. Plan;on's 
rendition is a spirited one, the number 
always being sung by him with a full 
appreciation of its caustic raillery. Jour- 
net's record is also a splendid one in 
many respeclB, and shows the magnificent 
voice of this artist to great advantage. 

MiphUlophcIa now proceeds to aston- 
ish the company by his (eats of magic, 
first reading their palms and then draw- 
ing wine from the barrel of Bacchus — the 
inn sign perched up aloft— each man 
drawing the wine he likes the best. 

The scene which follows, a most 

record by Amato, Journet and the Metro- 
politan Chorus. 


Faust— Scene des Epees (Scene of the Swords) 

By Pasquale Amato, Baritone ; Marcel Journet, Bass ; and 
Metropolitan Opera Chorus 

(Giulio Setti, Director) 

(In French) 89055 12.inch, $4.00 

The record begins with the invocation to Bacchus. 

Mephistopheles : 
I drink to }^ou all! 
(Throwing it out with a wry face.) 
Bah! what rubbishy wine. 
Let me see if I cannot find you better! 
(Striking the image of Bacchus with his 

What ho, Bacchus! up there! some liquors! 
Come while you can, 
And each one drink the wine he likes the best! 

He then affronts Valentine by proposing the health of Marguerite, 
and the soldier draws his sword, only to find that some unforeseen 
force has made it powerless in his hand. 


I propose the health of the dearest of all 

Our Margarita! 


Bridle thy tongue, or thou diest by my hand! 

Come on! (Both draw) 

Come on! 
Mephistopheles (mocking): 

So soon afraid, who so lately defied me? copvr misnicim 

My sword! O disgrace! In my hand is sammarco as valentine 
powerless! ^^^ ^^ 

Valentine, however, turns the handle upwards, thus making the Sign of the Cross, the 
soldiers doing likewise, and they now face the Tempter with confidence. 

Valentine and Soldiers: 

'Gainst the powers of evil our arms assailing, Soldiers (imitating him): 

Strongest earthly might must be unavailing. Look hither! 

Valentine: All: 

But know thou art powerless to harm us! Whilst this blest sign we wear 

\'alentine: Thou canst not harm us! 

Look hither! Whilst this blest sign we wear 

(Holds up his sword to form a cross.) Thou canst not harm us! 

Mephistopheles is discomfited, and cowers in terror as the soldiers sing the choral, with its 
striking unison passage for male voices, alternated w^ith bursts of harmony. 

This is a remarkably fine reproduction, the men's voices being rich and sonorous, and 
the dramatic feeling intense. 

The delightful waltz, which has been a model of its kind ever since the first per- 
formance of Faust, now begins. 

^Waltz from Kermesse Scene 

By Pryor*s Band (Double-Faced— See page 107) 16552 10-inch, $0.75 

This favorite number is played by the band w^ith the absolute precision and daintiness 
which are indispensable to its proper performance. 

Faust now observes Marguerite and approaching her, greets her respectfully, otfering 

his escort. 


High-born and lovely maid. 
Forgive my humble duty, 
Let me, your willing slave, 
Attend you home to-day? 

She modestly declines, saying : 


No, my lord, not a lady am T, Faust (gazing after her) : 

Nor yet a beauty; By my youth! what a charm! 

And do not need an arm. She knows not of her beauty. 

To help me on my way. Oh I darling child, I love Ihcel 

The waltz now re-commences and the act ends in a wild and exciting dance, in which 

all join — students, soldiers and women. 



ACT III— The Garden Scene 
The Garden Scene of Faust is undoubtedly Gounod'a linot inq>iration ; and iheaensuoua 
beauty of the music with which the composer ha> ■urrounded ihe story of Matgueritt'a 
innocence and trust betrayed, has held many millions in rapt atlenlion during the fifty 
years since it was first heard. 

Flower Son(f— Le parlate d'amor (In the Lan^ua^e of Love) 

By Louise Homer, Contralto Unltallan) 87079 10-inch. *2.00 

By Corione Morgan. Contralto (in Engilih) *350S6 12-inch. 1.25 

By Rita Fornia, Soprano (In Fnnch) 64162 10-inch, 1.00 

By Corinne Morgan, Contralto {In Engliih) 31270 12-inch. 1.00 

By Emma Zaccarta, Mezzo-Soprano (/n llalton) *62089 10-tnch, .79 

This fresh and dainty song of 5ic&e/ ushers in the act The gentle boy enters Margatrile'a 
garden, thinking of the dark prophecy of Mephlalophela, who had told him (in Act II) : 
"F.ich flower that voa touch, 
Shall roi and i^hall wither!" 
Sieiel now thinks to put this curse to a teat, and prepares to send a message of love to 
Margutritt by means of a flower, singing 

"In Ihe language of love, oh gentle flowV, 

; if'j'J i J JJ>^ /jin- 

f^Jg. 'Kl millhn'll'Alai/lllaHmrAUrmit-tirfiirt-lold mi Wtat mj'Jklt 'iiiil it,... 

But the happy thought occurs to him to dip his lingers in the font of holy water by the 
side of the cottage. He does so, and is delighted to find the spell broken. Tlie first strain 
then reappears, closing the aria. 

This popular number is offered in Italian by Homer and Zaccaria, in French by 
Fomia and in English by Miss Morgan. 

Salut demeure (All Hail. Thou Dwelling) 

By Enrico Caruso (In French) 8B003 12-inch, *3.00 

By John McCormack (in llalian) 74220 12-inch, 3.00 

By George Hamlin (/n £ng/ij/i) 74139 12-inch. 1.50 
Mcphatophtles and Fauil, who have been secretly watching 
Sicbet, now appear; the Tempter being in high spirits at the appar- 
ent success of his schemes, while Fauat gazes in rapture at the 
garden where his beloved one la wont to walk, and sinp his lovel/ 
caoatlna. He thus rhapsodizes the modest dwelling of Margutrltt : 

■Twas here by day thy love was taught hsr. 

Here Ihou didst with care overshadow thy daughter 

Here''wa"fTir- Irel an"(l*'flower 

Made her an Eden-hower nf beauty and delight 
The Caruso record of this number — already familiar to the 
public — is one of the finest in his entire list ; while other renditions 
are an lulian one by McCormack and an English version by 

While Fauil is singing his apostrophe to MargacHle ') dwelling, '°"' ■"" "■""'" 
Mtphiilophelt), with an eye to more practical things, has replaced cMivso »6 fauet 

Sitbtl'i humble nosegay %with a splendid bouquet, a more fitting accompaniment to 
casket of jewels with which Marguerite is to be tempted, 

'Douhk-FiaJRcrofJ-F-,, mk '<f • j/A h DOUBLEFACED FAUST RECORDS, tan 107. 


Marguerile enlers the garden, pen- 
sively dreaming of the handsome stran- 
ger she had met in the market place. 
Her entrance is announced on the clari- 
nets and violins in a lovely strain sug- 
gesting the coming song. 

She seats herself at the spinning 
wheel and muimurs dreamily : 

Le Ro) de Thule (Ballad of 
the King of ThuU) 

By Emma Eames, Soprano 

(French) 88045 I2-in., 3.00 

Then rebuking herself for her idle 
fancies, she applies herself to her spin- 
ning and begins' this plaintive chanam : 

Then her thoughts return to Faaal, 
and breaking off the song, she sings as 
if to herself: 

i^ -^ ^^-r-f-r a Ji'^' -■'•»■" f > f n J' I 

Again impatient with her wandering mind, she finishes the ballad. 

Miss Farrar sings (his beautiful folk-song with surpassing loveliness of voice, and in 
the dreamy sentimental style which it requires, while Mme. Eames' rendition is a line 
example of the consummate art of this singer — vocally perfect and sung with exquisite 

Finding herself in no humor to spin, Marguerite moves toward the house and sees 
the flowers, which she stops to admire, thinking them from Sifbel. The box of jewels 
then catches her eye, and after some misgivings she opens JL Then follows the bright 
and sparkling "Jewel Song." or Air dei hijoui, in which childish glee and virginal coquet- 
tishnessare so happily expressed. 

"Oh Hoav'n! what briltiani gems! 
fan they he real? 

Oh never in my sleeii did 1 dreaTH of aiii>ht 
so lovely!" 
exclaims the delighted Marguerile. 

Air des bijoux (Jewel Song) 

By Nellie Melba. Soprano (In French) 88066 12-inch, I3.00 

By MarcellaSembrich, Soprano {In Frerxh) 68024 I2-incb. 3.00 

By Geraldinc Farrar. Soprano (In French) 88147 12-inch. 3.00 

hy GiuseppinaHutuet (Daubk-faccJ—Sft rage 107) (Italian) 68160 12-tocb, 1.25 


No !«■ than (our 
known ani popular air ai 
of Victor opera lovers. 

Melba's rendilion is a most delightful one. her 
roice exhibiting the moirt entrancing smoothneu ; 
in its lovelineu, flexibility and brilliancy it aeenu 
absolutely without a Haw. 

Sembrich's Margaerile was always a line imper- 
sonation, and her delivery of the number is exceed- 
ingly artistic, being one of the cleanest and most 
finished bits of colorature singing ever heard in 

Miss Farrar's brilliant Margaerile has been much 
admired during the past few seasons, and this 
number shows well the loveliness and flexibility of 
A fine record at a lower price i 

Quartet — Seigneur Dieu ! (Saints 

Above, What Lovely Gems I) 

By Gersldine Furar, Soprano; Enrico 
Caruso, Tenor: Marcel Journei. Bass: 
and Mme. Gilibert, MezEO-Soprano 

FABBAR AS HABCbCFiiTE (/n French) 95204 12-inch. *5.00 

The first of the great quartet records begins with the entrance of Martha, a susceptible 
matron who is companion to the mothetleas girl. The duenna is struck with astonishment 
at the sight of the jewels, and begins to question Margaerile, when she is interrupted by 
Mephiitopheles, who appears with Fauil ; and to eicuse his entrance tells Martha that her 
husband is dead. This announcement is received with cries of grief and sympathy from 
the women, and the impressive pause which ensues ia followed by the beautiful quartet, in 
which Gounod expresses the varioue emotions of the characters. 

Mtphlstophela then begins to flatter the vain matron and pay her mock attentions, so 
that Faiat may have an opptjitunity to plead his cause without interruption. This dialogue 
with the susceptible duenna furnishes the only touch of comedy in the opera. 

MEFKISTOrillLES^ Happy will b 

e for 

Fatal urges the timid girl to take his arm. at which s 
Tempter continues hU flattering attentlans to Martha. The si 
closing the record. 

Quartet — Eh quoi toujours seule ? {But Why So Lonely ?) 

By Geraldine Parrar, Soprano: Enrico Caruso. Tenor; Marcel Journet. 
Bass; and Mme. Gilibert. MeziO'Soprano 

{In French) 9S205 12-inch. »5.00 
The second part of the sc< 
and Fault. She confides to hin 
dead slater. 

M*rguebite: My mother is gone; 

At the war is my brother; 
One dear ILllle siller I had. 
But the darlins, too, h dead: 

Fauat is lender and sympathetic, and the impressionable girl's heart turns moi 
more toward the handsome stranger, who seems all that a lover should be. 

The record closes with the final quartet passage, by far the most effective bit o 
certed writing in the opera. It is magnificently sung here, the balance of the 
being absolutely perfect. 


The recording of K> complex and varied a 
piece of conceited music aa is contained in the«e 
two records ia a marveloua piece of work, and 
one of the moat amazing achievementa in tlie 
repToduction of operatic muaic yet heard. "The 
aolo. duet, and quartet parts which constitute it, 
the ahort pieces of dialogue between various 
peraona, not forgetting the important orcheatral 
interludea — all these are portrayed with the utmost 
fidelity, making a marvelous musical picture of 
one of the most interesting pages of Gountid'a 
charming score. 

Mephisiophela has succeeded in getting rid of 
Marlha, who vainly looks for him in the garden, 
and he now watches with satisfactian the loven, 
who are wandering among the trees in the moon- 

The Tempter now sings the famous Incanta- 
tion, in which he calls upon night and the 
flo^era to aid him in his diabolical plot against 
the soul of Marguerllt. 

Invocation Mephistopheles (Oh 

Night. Draw Thy Curtain!) 

By Marcel Jouroet. Bass 

{IfiFrench) 64119 10-inch, *1.0O quaitet-act m 

'{ Night, that its mysterious scents and 
vers' undoing. In this stately passage 
)tevious quartet, and gives the invo- 

This is the most impressive passage In the whole part of Mephlilofihtlei, and it is mag- 
nificently sung by Journet. 

The lovers appear again, and Mephalophtla diacreedy retires from view. The first part 
of the eiquiaite duet then follows. 

Tardi si fa I (The Hour Is Late 

By Cerildine Farrar. Soprano, and Enrico Caruso, Teaor 

(/n Fnnch) 89032 12-inch, *4.00 
By Giuseppjna Hutfuet. Soprano, and Fernando de Lucia. Tenor 

Piano Ace. (In Italian) 92053 12-inch. 3.00 
Marguerite, finding herself alone with Faiat, looks in vain for Marlha, and not seeing 
her. endeavors to bid farewell to her lover. 

Mabcuwite: Bright and lender, lingers o'er me) 

The hour is lite! Farewell! To love thy beauty too! 

Faust^ Mabgueitte: 

Oh, never leave mt, now. 1 pray thee! Oh! how strange, like a spell, 

Why nol enjoy Ihis lovely night a litUe longer? Hoec the evening bind me! 

Stretching oi 
aeductive ch.rm« 
the ainger drops 

It hie arms, he invokea the powers o 
1 may aid him in hU work of the lot 
for a time the aatirical vein of the p 

i>e- p night! 
: balmy linden, Lei naui 
Boted approaching; 'lis well! Ye flowc 

rs and the moon. Whtiher 


Datntni ancor (Let Me Gaze on Thy Beauty) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

(In Italian) 74076 12-inch, $1.50 

Etemelle (Forever Thine) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

(In French) 89031 12-inch, $4.00 

And now the lovers plight their troth in the fateful word " Eternelle," which, with the 
solemn chords in the wood wind, sounds like a true lover*s sigh. 

Faust in an exquisite strain, calls on Heaven, the moon and stars to witness that his 
love is true. 

Faust : 

tender moon, O starry Heav'n 
Silent above thee where angels are enthron'd. 
Hear me swear how dearly do I love thee! 

(Struck with a sudden fear, the timid girl begs 

Faust to depart) : 

Ah! begone! I dare not hear! 

Ah! how I falter! I faint with fear! 

Pity, and spare the heart of one so lonely! 
Faust {tenderly protesting): 

Oh, dear one, let me remain and cheer thee. 

Nor drive me hence with brow severe! 

Marguerite, I implore thee! 

By that tender vow that we have sworn, 

By that secret torn from me, 

1 entreat you only in mercy to be gone! 

Oh, fair and tender child! 

Angel, so holy, thou shalt control me. 

I obey — but at morn? 
Marguerite {eagerly) : 

Yes, at morn, very early! 

At morn, all day! 
Faust : 

One word at parting! Thou lov'st me? 
{She hastens toward the house, but stops at the 

door and wafts a kiss to Faust) I love thee! 
Faust (in rapture): 

Were it already morn! Now away! 


EUe ouvre sa fenetre (See ! She Opens the Window^ !) 

By Geraldine Farrar, Soprano, and Marcel Journet, Bass 

(In French) 89040 12-inch, $4.00 

Ei m^atna (He Loves Me !) 

By Celestina Boninsegna, Soprano (In Italian) 88256 12-inch, 3.00 

(This is the same selection as 89040 -with the short dialogue between Faust and 
Mephistopheles omitted) 

Hunying away full of thoughts of the morrow, when he will see his Marguerite again, 
Faust is confronted by the sneering Mephistopheles, who bars his way. 

Mephistopheles {contemptuously) : 

Thou dreamer! 

Thou hast overheard? 

I have. Your parting with its modest word! 

Go back, on the spot, to your school again! 


Let me pass! 

Not a step; you shall stay and overhear 

That which she telleth the stars! 

See! She opens the window I 

Marguerite had entered the house, but returns to the window, looks out at the night and 

stars, and pours forth her soul in song. 

Marguerite {leaning out in the moonlight): And more than Heaven above! The air is 

He loves me! He loves me! balmy 

Repeat it again, bird that callest! With the very breath of love! 

Soft wind that fallest! How the bows embrace and murmur! 

He loves me! Ah, our world is glorious. Ah, speed, thou night, away! 



One o( the most onBinsl and 
beautiful oi the Fauat melodiea, thia 
makes a fitting teiminatian o( the ez- 
quiaitelj' beautiful Garden Scene. A 
lovely melody in 98 time, divided 
between Bute and clarionet, fonna the 
basia of the movement, and in this 
the loprano joins in shoit dieamy 

Her longing (or the passing of 
night and the return of Fausl, ex- 
pressed in the last ecstatic phrase, is 
answered by the cry of her lovcT. and 
MtphlitofUla. who has been holding 
Fault back, now releases him. 

Faust (nu/iinff to Ihc a'indffw): 
Ah! Ukt faiHIi if. his arms}. 
MEfBliioFHELts (with la'donic laHghtrr): 
There 1 lU. ha. ha! ha: 

(T/« (i.rMin slowly f«tl,.) 

Fantasie from Garden 

By Mischa Elman. Violinist 

(Piano ^cc.) 
64122 tO-inch. fl.OO 

For those who wish to enjoy some 
of the exquisite melodiea of (hia act in 
an instrumental form only, the potpourri 
M icueiite: lokcs poa paust's iETuRN ^^ Elman is included here. 

In this record the young aitist 
does not show us feats of execution, but brings out all the sensuous beauty of the music 
which Gounod composed for this immortal acene. It is one of the loveliest bita of violin 
playing imaginable. 

ACT rV— The Deserttoa 

Quando a te lieta (When All Was Young) 

By Louise Homer, Contralto (/n Italian) BB200 12'inch. t3.00 

Hie opening of the fourth scene shows the unhappy Marguerite seated at her spinning 

wheel, brooding over the sorrows which have overtaken ber young life. Slebel. her faithful 

friend, enters and talks oF vengeance against the absent Fausl, but Marguerite defend* him 

and sadly goes into (he house. Left alone, Siehel, 

with gentle melancholy, sings this exquisite 

mance, beginning: mim im :: ,^_» ^ 'i,". — .^-i,. 

This song has long been a favorite number with many famous contraltos, and its lovely 

melody is frequently used in our churches as a setting to "Come Unto Me," and other 


When all was young and pleasant May was Itope and delight have pass'd from life awayl 
blooming, We were not hum willi true tove to trifle! 

1, thy poor friend, took part with thcc in Nor born to part because the wind blows cold; 
play: What Iho' slorm the summer garden rifle, 

Now that the cloud of Autumn dark is O MarRueHle! Still on the boueh is left a 
glooming, leaf of gold! 

Now is for me, too, mournful the day! Fromi.iuonHbr,™. cwr''I»»t 

The scene abruptly changes to (he square in front of the cathedral, with the house of 
MargueHtt shown at one aide. l^e victorious soldiers, returning from the war, enter, 
accompanied by delighted wives and aweethearts. and sing their famous Soldiers' Chorus, 
B jubilant inspiring number, and one of the linest marches ever composed. 

Deponiatn il brando (Soldiers' Chorus) 

By New York Gr.nd Opera Choriu (in Italian) r4214 12-ioch. » 

By Pryor's Band 16502 tO-inch. .75 

By La Scala Chorus (Deatk-FaaJ—Stt pan 107) (Italian) 62624 10-inch. .79 

By Mouoiain A«h Party of Wales (/n EngUih) 56B9 10-inch. .60 

Several renditions of this great chorus . 
complete translation of the words la given. 
Fold the flag, my brotbcrs. 

Idren by Che 
of old time g 

Who needs bidding to dare', by : 


The unhappy Marguerite, shunned by her companions and deserted by all save the 
faithful 5jeW, is brooding within the cottage, fearing to meet her brother, who has just 
relumed from the war. Mepfnstophela, not content with the evil he has already wrought, 
returns to launl the maiden with her fauk, and sings this insulting and literally infernal 
song, each verse of which ends with a mocking laugh. 

Serenade — Mephistopheles 

By Pol PLin^on, Bass (In French) B5100 12-inch. »3.00 

By Pol Plan«on. Bass (In French) 81040 10-inch, 2.00 

By Marcel Journet. Bass (In French) 74036 t2-inch. 1.50 

By Marcel Journct. Bass (In French) 64137 10-inch. 1.00 


with its beginning an a high C and il 
MephiMophelean laughter. 

of [he part of Mtphlslophelia, a 

o slight a failhfiil 

though we 

Plancon'a Mtphlslophtla was invariably a finished petformi 
witty, elegant, debonaire and sonorous. 1( is a polished Dev 
he pictured ; yet beneath the polish we could see the sinister 
ever present, in hie record of this mocking serenade he is at hi 
and it is sung with the brilliancy and vocal 

'^ finish to be expected of this hne artist. 

onation has also been highly praised, and he 

erbly, acting with freedom and with an ele- 
the Prince of Darkness as a gentleman, 

le sight of his inner nature. The famous 

ith much spirit by this artist. 

Que voulez-vous, messieurs? (What is 
Your ^^ill ?) (Duel Scene) 

By Enrico Caruso. Tenor-. Antonio Scotti. 
Baritone: and Marcel Journef, Bass 

(In French) 99206 12-inch. *S.O0 
By Ellison Van Hoose. Tenor: Marcel Journet, 
Bass: and Emilio de Gofforsa. Baritone 

(In French) 74004 12-inch. 1.50 
yaUnline, smarting with shame of his sister's disgrace, cornea 
from the house and exclaims, "What is your will with me?" 
Mephlilopheles replies in his most moclting voice that their 
"serenade" was not meant for him. "For my sister, then)" 
cries Valtntint in a rage, and draws his sword. The great trio 
then Follows, leading up to a splendid climax. 

This thrilling trio fonns one of the most effective scenes in 
the opera, and is closely followed by the duel, in which faUn- 
Une is wounded. 

The Deith of Valet 


Morte di Valentino (Death 
of Valentine) 

By Aataoio Scotti, Baritone, ind 

Grand Opera Chorus 

(/nFrancA) 88282 12-iach. *3.00 

Leaving the wounded VaUnlint on 

the ground, [he auailants rapidly de- 

paTt, and (he crowd o( (oldiert and 

women anemble wound the dying 

■otdiei. the chorus here crying out in 

accents of pity, in which Maigaerilc joins. 

upon her. the aolemnily of which is 
enhanced by the sustained trumpet 
tones in (he acxximpaniment. 7 he 
throng endeavor to mitiga(e the dying 
man's anger, and Margucrift begs for- 
giveness, but ValenUnt dies with the 
curse upon his lips. 

This dramatic scene is vividly pic. 
tured in (he wonderful painting by 
Kreling, reproduced on the opposite 

Scene de L'figlise (I) 

(Church Scene, Part I) 

By Geraldine Farrar, Soprano, and 

Marcel Journel, Bass 

{InFrtnch) 89035 12-inch. t4.00 

We now come to the impressive 

and almost terrible scene outside the 

Margaaite, cursed by her dying brother, abandoned by all but the faithful Slebet, is 
kneeling at a small altar. Fearing to enter, and endeavoring to seek consolation in prayer, 
■he supplicates Heaven to accept her repentance. 

Oh, Thou'who un Thy throne Recollwl iht old lime, when the angels. 

Here, bTf oni' Thy 7e«? le't'^e prsy! Did loch Ihce to pray. 

r'el' her°'itn!!w"t?e"/he"DraY''e'ih' At tVe'dawn of the day; 

Demons of ill, what is in store! When Ihy feet did iall back, and thy hrcalh 

^ Mareuerit?!^"'""' -^' "'""*'' "'''''^ '"' '•'"^• 

Marguerite; Thy playmates do claim thee from below, to 

Mmouesite Uerrifiid-i: lliefr home! 

I faller— afraid! The worm lo welcome thee, the fire to wa.m 

Oh! save me from myselfl thee. 

Has even now the hour of torture benun! Wait but lill thou shah come! 
As this terrible prophecy is heard from the invisible Evil Spirit, Margaerid is overcome 
with terror and sinks down almost fainting. 

Scene de L't.glise (11) (Church Scene, Pan II) 

By Geraldine Famr, Soprano; Marcel Jouraet. Bass: and 
Metropolitan Opera Chorus (In French) B9037 12-inch. *4.00 

The unhappy girl, beside herself with terror, cries out wildly; 


Then aa the chorale is heard 
from within the church, she endeavors 
to break the encircling Satanic spell 
and kneels again in prayer. 

lost need of Thy forg 

t (hem pray. Irt lhe,T 
■ sin IS deep, too deep 



a* these two artists re 
trophe o( MtphMopheU 
■trains of the Diet irae 
adequately described. 

The two records on which thi 
effective in the Faui 

The conflict in the 
from the church, for 

Tormented beyond further en- 
durance, the unhappy girl's reason 
gives way, and ^ilh a terrible Cry she 
falls hfeless before the church. 

Words are pitiful things in de- 
scribing such a scene as this, given 
soul of Margaerilt, the taunting apas- 
victim from praying, while the sombre 

9 great scene have been impressed are among the most 


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 Vatenllne 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, Htlen, Phiyne and Cleopaira, who danced to weird and distorted versions of 
melodies Erom the opera. 

Ballet Music (Part I — Valse. *'Les Nubiennes") 

By L'Orchestre Symphonique. Paris S6015 12-inch, *1.00 

The first pari, which in the opera ac- 
companies the dance of the Nubian Slaves 


, bei 

nCroductory chorda, followed by the v 

in this deKcious melody : 

afterward repeated with bassoon obbligato. 

Ballet "Music No. 2— Adatfio (Cleopatra and the Golden Cup) 

By L'Orchestre Symphonique. Paris 98018 H-inch, *1.00 

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 
Ups from a vase in which she has dissolved her most precious pearls. 


Ballet Music Nos. 5 and 6 (Les Troyennes et Variatioo) 

By L*Orche8tre Symphonique, Paris 58020 12-mch, $1.00 

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*Orche8tre Symphonique, Paris 58021 12-iiich, $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. 


SCENE— rAe ^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) 89033 12-inch, $4.00 


ing on a 

ing at the unhappy girl, who is sleep- jj A 4i ~^^X ^^ = j L.J^ 
a pallet of straw, Faust cries : ™ r7Mi»~t u »» « 


and, as the full measure of his own guilt comes to him, continues : 

Faust: Marguerite (azvaking) : 

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 I ^ 'Twas not the cry of the demons — 

No wonder that her fright has reason ta'en 'Tis his own voice I hear! 

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 
fone 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 (in despair) : There is yet time to save thee ! 

Come away! If thou lov'st me! Marguerite! Thou shalt not perish! 

Marguerite (dreamily, her thoughts in the Marguerite (listlessly) : 

Past): 'Tis all too late! Here let me die! 

How my garden is fresh and fair! Farewell! My memory live to cherish! 


The Redemption of Marguc 


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 Mephisiopheles, whose brutal **Alerte " begins the final trio. 

Trio — Alerte I ou vous etes perdus I (Then Leave Her !) 

By Farrar, Caruso and Jour net {In French) 95203 12-inch, $5.00 

By Giuseppina Huffuet, Soprano; Pietro Lara, Tenor; and Torres 

De Luna, Baritone {Ehuhk-faced—Set below) (In Italian) 62085 lO-inch, .75 

Mephistophdes, 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 woes): Hark! the horses panting in the courtyard 

Who is there! Who is there! below. 

Dost thou see, there in the shadow To bear us away! 

With an eye like a coal of fire! Come, ere 'tis day; or stay and behold her 


As he sings, the tramping and neighing of horses are heard in the accompaniment. 

Marguerite (with 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, 
Mrhen a company of angels appear and announce that Marguerite is saved. The Evil One, 
dragging Faust with him, disappears in a fiery abyss. 


Selection from Faust By Sousa^s Band 31104 12-inch, $1.00 

/Selection from Faust By Victor BandU-^., lo ;««i, i o* 

t Crown Diamonds Overture By Victor Bandf^^^^^ 12-mch, 1.25 

/Flower Song By Corinne Morgan (In English)\^^^g.^ lo ;««!, i o< 

t Drink To Me Only With Thine Eyes By Harry Macdonough^^^^^ 12-inch, 1.25 

/Aria dei gioielli (Jewel Song) By Huguet (In Italian)\.f...^ ,^ . . - ^^ 

\La Kermesse (Kermesse Scene) By La Scala Chorus (In Italian)r^^^^ 12-inch, 1.25 

rio possente By Francesco Cigada (In Italian )\^g.^-^ lo ;«^k i oe 

Fa}H,rita—Quando le soglie By MileH and Minolfi (In Italian) r^^^^ 12-inch, 1.25 

/Alerte! ou vous Stes perdus ! Huguet, Lara and De Lunal ^^^p- tr^ • u t* 

\Le parlate d'amor (Flower Song) By Emma Zaccaria/^^^**^ lO-inch, .75 

/Deponiam il brando (Soldiers* Chorus) By La Scala ^^^162624. 

\ DonPasquale — Sogno soave e casta By Acerbic Tenor (In Italian)} 


/Soldiers* Chorus Pryor's Band\- , -^^ ,^ . < -- 

t Devil's March (von Suppe) Pryor's Band^^^^^ 10-inch, .75 

r^altz from Kermesse Scene Pryor's Bandl. , --^ ,^ . * -- 

In Happy Moments (from Montana) Jllan Tumer]^^^^^ lO-inch, .75 

10-inch, .75 

lo voglio il piacer By Pini-Corsi and Sillich (/n //a//an)l ,«. _ . io-*n h 75 

Forza del Destino — Solenne in quest ' ora Colazza and Caronnaj ' ' 


(German) (Italian) 


(Dee Fah-ve-ree' -tin) (Lah Fah-oo-rce' 4ah) 




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 Acadimie, Paris, December 2, 1640. First London production Feb- 
ruary 16, 1847. Produced in America July 29, 1853. 


ALPHONSO XI. King of Castile Baritone 

Ferdinand, a young novice of the Convent of St. James of Compostella, 

afterwards an officer Tenor 

EHDN Caspar, the King s Minister Tenor 

Balthazar, Superior of the Convent of St. James Bass 

Leonora D1 GUSMANN. the King's favorite Soprano 

Inez, her confidante Soprano 

Courtiers, Guards, Monks, Attendants, etc. 
Scene and Period: The action is supposed to take place in Castile, about the year 1 340. 

Favorita so abounds w^ith 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 Plangon, 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. 


SCENE — The Monastery of St. James 

The rise of the curtain discloses a Spanish cloister with its secluded garden and w^eather- 
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 
w^oman and has fallen in love w^ith her. He describes his meeting with the fair one in a 
lovely song, Una oergine. 

Una vergine (Like An Angel) 

By Florencio Constantino, Tenor {In Italian) 64090 lO-inch, $1.00 

The good Prior is horrified and urges him to confess and repent. 

Non sai tu che d'un giusto (Know'st Thou) 

By Gino Martinez-Patti, Tenor, and Cesare Preve, Bass 

(Double-Faced— Seepage // 2) (In Italian) 62035 10-inch, $0.75 


Ah, my son, my life's latest solace, Ferdinand (in rapture): 

May thy innocence rescue thee still I Ves, ador'd one! this heart's dearest idol I 

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 briu;? a broken heart! 

Ferdinand: Ferdinand: 

I know her not; but I love her! Ah, dear Idol I this heart so enchaining, 

Balthazar: In vain thy spell I strive to break! 

Begone! too profane! Fly these cloisters To thee only my truth maintaining, 

Far, far from hence! — avoid my sight. My cloister I forsake! 




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, $0.75 
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. 


Fia vero ! lasciarti ! (Fly From Thee!) 

By Clotilde Esposito and Sitf. Martinez. Patti *68309 12-inch, $1.25 
Ferdinand, beginning the duet, indignantly refuses, saying : 


Fly from thee! Oh, never! 

'Twere madness to try 

From thee to sever; 

'Twere better to die! 

Farewell I 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 w^ill win great honors to lay at the feet of his love. 


SCENE — Gardens of the Alcazar Palace 

The King enters and admires the beauty of the palace, which he has just acquired from 
the Moors by the victory of his army, led by the young captain, Ferdinand. A message comes 
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 
and Alfonso is threatened with the wrath of the Church if he does not give up Leonora. In a 
fine air he declares he will not submit. 

Vien Leonora (Leonora, Thou Alone) 

By Francesco Ci(fada, Baritone (In Italian) *68061 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. 

*DoubleFaced Record— For title of opposite side see DOUBLE-FACED LA FA VORITA RECORDS, page 1 12, 



the halls of my father you 



When from 
bore me, 

A poor simple maiden, betray'd, deceived, 

Alas! within these walls I hop'd, fulfilled 

Would be those vows so sworn, and 
King (with tender remorse) : 

No more! No more! 

Silent and alone, shunned by the world. 

Live I in the dark: the mistress of the King. 

Vainly glitter these jewels, 

Vainly bloom these flowers around me. 

God knows my afflictions! 

E'en if the lip may smile, the heart is 


Ah! ask not to know it. 

Permit me, sir, to leave this court! • 

No man can love thee more than I; 

Thou shalt see how my heart adores thee! 

I dare not look so high as thee. 
King (aside) : 

Oh, love! soft love! her bosom filling, 

With sweet response each fibre thrilling, 

Inspire her heart! 
Leonora (aside) : 

Oh, love, alas! this bosom filling. 

With secret woe each fibre thrilling! 

Disperse this gloom; enjoy the feasts 

Spread 'round thee by my tender love! 

Hut tell me the first cause of your grief. 

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 

Ah! paventa il furore (The "Wrath of Heaven) 

By Amelia Codolini, Mezzo-Soprano ; Francesco Ci(fada, Baritone ; 
Aristodemo Sillich, Bass ; La Scala Chorus 

{In Italian) *16536 10-inch, 


Do not call the wrath of God, 

Avenging upon thee; 

For it visiteth terribly 

Those who do not bow to His will. 

Hasten, pacify Heaven 

Before the curse descendeth! 

I tremble with fear 

In my inmost heart. 

Lest this terrible blow 

Should crush my fondest hopes. 

Still this sudden tempest 


Shall not bend me nor break me; 

Calm thee, my Leonora, 

Bright is thy destiny. 

We tremble with fear 

In our inmost hearts, 

Lest he call down upon himself 

The wrath of Heaven! 
Balthazar (denouncing Leonora) : 

All ye that hear me 

Shun the adultress; 

Avoid the outcast, 

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. 


SCENE— ^ 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 atnor (Thou Flow'r Beloved) 

By Mario Ancona, Baritone 
By Mattia Battistini, Baritone 
By Francesco Ciffada, Baritone 

12-inch, $3.00 
12 -inch, 3.00 
10-inch, .75 

(In Italian) 88063 

(In Italian) 92045 

(In Italian) *16536 

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, how^ever, and announcing that they must prepare to wed in 
an hour, goes out w^ith 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 
w^ay is arrested by the order of the King. 

*Doubie.FaceJ Record— For titk of opposite side see DOUBLE-FACED LA FA VORITA RECORDS, page 1 12, 



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 sw^ord when Balthazar enters and demands peace. 

When he learns of the wedding he is horrified, and tells Ferdinand he heis 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 Ciffada, Baritone (In Italian) ""62659 10-inch, $0.75 

Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves 
the Court, follow^ed by Balthazar, Leonora faints as the curtain falls. 


SCENES- — 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. Tames 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 piti 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 LaScala Chorus {In Italian) *68061 12 -in., 1.25 
By Perello de Sec^irola, Bass, and La Scala Chorus {Italian) *1655 1 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) 88004 12-inch, $3.00 

By Gennaro de Tura, Tenor (In Italian) 76012 12.inch, 2.00 

By Evan Williams, Tenor {In English) 74141 12-inch, 1.50 

Caruso's Spirto 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 love! 

Signor de Tura furnishes a lower priced Italian version, w^hile 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-Faced Record— For title of opposite side see DOUBLE-FACED LA FA VORITA RECORDS, page / 12. 




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 love 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! 


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 Nutne (As Merciful as God) 

By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor 

(Doubk-faced—See belon) (In Italian) 62659 10-inch, 

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, 

Ferdinand, I am happy. 


'Tis Heaven calls thee! 
Ferdinand (recklessly) : 
Yet more power hath love; 
Come, could I possess thee 
There's naught I would not brave. 
Aye, here and hereafter! 

We shall hereafter meet no more to be parted, 
Farewell, now, farewell! 
(She dies.) 



Quando le sofflie (From My Father*s Halls) By Lina 
. Mileri, Contralto, and Renzo Minolfi, Baritone 

(In Italian) 
Faust — Dio possente (Gounod) By Francesco Cigada, Baritone 

(In Italian) ^ 

fFiavero! lasciartil (Fly From Thcc!) By Clotilde 
Esposito, Soprano, and Sig. Martinez-Patti, Tenor 

(In Italian) 
Norma — In mia mano alfin iu set By Ida Giacomelli, Soprano, 
and Gino Martinez-Patti, Tenor (In Italian)^ 

IVien Leonora (Leonora, Thou Alone) By Francesco 1 

Cigada, Baritone (In ^'<'''^")l58o^l 

Splendon piu belle in ciel (In Heavenly Splendor) By 

Torres de Luna, Bass, and La Scala Chorus (In Italian) 

A tanto amor (Thou Flo^vV Beloved) 

By Francesco Ciffada, Baritone (In Italian) 

Ah I paventa il furore (The Wrath of Heaven) By 

Aumelia Codolini, Mezzo-Soprano; Francesco Ciffada, 
Baritone : Aristodemo Sillich, Bass (In Italian) 

74on sai tu che d*un (fiusto (Know*st Thou) By Gino 
Martinez-Patti, Tenor, and Cesare Preve, Bass 

(In Italian) 

Bei ratftfi lucenti (Ye Beams of Gold) By Ida Roselli, 
Soprano, and La Scala Chorus (In Italian) 

Orsu, Fernando (Stay I Hear Me, Fernando I) By Maria 

Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; 
Francesco Ciffada, Baritone (In Italian) 

Pietoso al par d*un Nume (As Merciful as God) By 

Clotilde Esposito, Soprano, and Gino Martinez-Patti, 
Tenor (In Italian) 

Splendon piu belle in ciel le stelle (In Heavenly Splendor) 

By Perello de Se(furola, Bass, and Chorus (In Italian) 

Manon—Et je sais voire nom (If I Knew But Your Name) 

By Mile. Korsojf, Soprano, and Leon Beyle, Tenor (In French), 


68275 12-inch, $1.25 

68309 12-inch, 1.25 

12-inch, 1.25 

16536 10-inch, .75 

62635 10-inch, .75 

62659 10-inch, .75 

16551 10-inch, .75 





Word» adapted by jcweph Sonnleithner from Bouilly's Ltonore, oa I'Amour Con/agal 
{Leonora, or Conjugal Love). Music by Ludwig von Beelhoven. First produced at the 
Theain an dtr Wdn. Vienna, November 20. 1603, in three acts, the cast including Webikoff. 
Meier, Demmer. Milder and.Rothe. A reviHtd version was given in 1806 and a third 
production in 1814. Produced in London, at the King's Theatre, May 18, IS32. InEnglish 
at Covent Garden. June 12. 1633. In Italian at Her Maiesty's, May 20, 1831. In Paris at 
the TheAtre Lyrique, translated by Barbier and Carr^ and in three acts, May 5, I860. 
First American performance in New York. September 9, 1839, with Giubilei, Manvers and 
Poole. Other notable productions were in 1B37. with lohannsen, Weinlkh and Oehrlein; in 
1856, with Mme. Caradori and Karl Formes: in 1868, with Mme. Rotter. Habelroann and 
Formes; the Damrosch production of 1864. with Mme. Brandt, Mile. Belz and Herr Koegel i 
and in 1901, with Teminaas Lionotc. 


E)ON FERNANDO, Minister Baritone 

Don PIZARBO. Governor of the State Prison Baritone 

FLORESTAN. a prisoner Tenor 

LEONORE. his wife, known as Fidelio Soprano 

ROCC», jailor Bass 

MARZELUNE. his daughter Soprano 

JAQUINO, gatekeeper Tenor 



Soldiers. Ptieonere, People, etc. 

Plact : A Spaniih Stale prfmn In the vldnily of Stoiltt. 


Fidelia mu»t ever be regardeJ with Brent intereit u being ihe only opera written by one 
of ihe greateet composeTs. Originally given as Fidtlh, it was rewritten and condensed into 
two BCU by Breuning. still a third revision being made in 1614 by Treitachke, At the time 
of the second production in 1606 the title was changed to Leonort, Beethoven writing a new 
overture, now known as Lcanon 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 {Doable-faad—Sa Ulea) 

391BI 12-mch. tl^S 
The action of the opera occurs in a fottresa near Seville. 
Don Fhrtilan. a Spanish nobleman, has been imprisoned here for 
life, and to make hU 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 

Ha, welch ein Auffenblick. (Fateful Moment) 

By Otto Coritz, Baritone <fn German) 64165 10-inch, *I.OO 

In this the wicked Governor unfolds his hatred and his malignant intentions toward 

FaHful mom™i! 

My revenge 

Over my entmy 1 


,11 be ,,.ed^ 



In tarTnen(i< thou art burn in g 
The victim of my bate! 

An extremely pleasant and agreeable person this Spanish Governor must have been I 
Goritz, whose Pixarro is one of his greatest impersonations, sings this striking air in a 
highly effective manner, fairly exuding the spirit of revenge. 

Don Floralan, however, has a devoted wife who refuses to believe the report of his 
death. Disguising herself as a servant, and assuming the name of Fidtlio. she secures 
employment with Rocco. the head jailor. Rocco'a daughter falU 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 Floralan, the Governor decides to murder him. and asks Rocco 'j help. Fiddio 
overhears the conversation and gets Rocco to allow her to dig the grave. Just as Don Piiano 
is about to strike the fatal blow, Fidelia rushes forward, proclaims herself the wife of the 
prisoner and shields him. The Governor is astonished for a moment, but recovers himself 
and is about to sacrifice both, when a flourish of trumpets announces the coming of the 
Minister, and Don Pizarro is soon disgraced, while Floralan is pardoned and given back to 
his faithJFul wife. 



iDthr-tea-Jlh tivf-Jan^er) 


** KttWmn im lirrln 

Str flic(|fnk .^Miitild. 

II Vascello Fantasma 


Text and acore by Richard Wagner. First 
pioduced at the Royal Opera in Dretden, January 
2, 1843, with a Paris production the foUowing 
year under the tide of Lc Kufssenu FantSme. First 
London pioduction July 23. 1870; and in English 
by Carl Rom in 1876; first New York production, 
in English. January 26. 1877; in German, March 
12. 1677. 


DALAND, a Norwegian sea captain Bsaa 

SENTA, his aaughter Soprano 

Eric, a huntsman Tenor 

MARY.Senw's nurse Contralto 

Daland'5 Steersman Tenor 

The Dutchman Baritone 

Sailors, Maidens, Hunters, etc. 
Piace : On Ihe coail of Noneag 


One of the most melodiouii of Wagner's operas, and the most popular in Germany 
to-day, RlegenJe Hollander is also the one which wa» most promptly condemned by the 
critics after its production. Its present vogue is a notable example of the change in 
musical taste aince 1843. 

Wagner was led to write the Rying 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 i( 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 i* allowed every seven years to go on shore- 
Flying Dutchman Overture 

By Pryor's Band 31787 12-mch. *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 


4'i ^J> i-i- J ■- 

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. "Wte off . . . Mein Grab, a kHIou ilch nlcht>" handwhiiino 

(My grant — I firtd II nol I) A gleam of hope appears in the Redemption theme, and a joyous 
■train 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 riiurai of the opera, summarizing the leading motifs. It is superbly 
played by Mr. Pryor's fine organization. 


SCENE— rAe 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 Sttertman remains on watch, and to keep awake sings a sailor ballad : 

Throush thunder and wars of distant seas. From Ihc shores of the south, in lands, 

Over''t™iHng wl!ies, wft" ' southern breeie, Through thunder anrwav''^^tr™ Moorish Btrsnds, 
My maiden am I here! A gift I thee have brought. 

\ "eVer^Muld'come'to thee; ' " I bring Ihee a golden rioe. 

O fair south wind, to me be kind! O fair south wind, to, me be kind! 

y mai |p^^^'|^^, jjj,|o_'jJf,; llo-yo-ho! Hallo-lio! 

now appear^ 

Wie oft in Meeres tiefsten Schlund (In Ocean's Deepest Wave) 

By Otto Goritz, Baritone (In German) 74230 12-inch, $1.90 

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 
■Ings his preliminary recitative: 


The weary sn casts me upon the land. 

Ha: haughty ocean: 

A little while and thou again will bear met 

Though thou art chanaetul, unchanging is iny dwini; 

Release, which on the land 1 seek for. 

Never shall I meet with: 

True, Ihou heavina ocean, am 1 to Ihcc 

Until thy latest billow shall break. 

Until at last thou art no more! 

An intmcluction in 6-S allegro molto leads to the i 

Eniulfd in ocean's deepest wave. 

Ofl have I long'd to find a grave: 

But ah: a grave, I found it not: 

I oft have hlindly 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 '■■■ ■• '-— "■ — ' 

My ship 

-Ichly SI 

od straight 

tri^ht a 

Daland cornea on deck 
and ia astonished to aee the 
strange ship. He wakes the 
Steeaman and they hail the 
stranger, who asks Daland to 
give hint shelter in his home. 
offering him treasure from his 
■hip. On hearing that Daland 
has a daughter, he propoaea 
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 
Dalchman promising to follow 


SCENE— ^ Room in Daland', '"" ''"'' '"'""" ''"" '" """"" 

Traft ihr das Schiff (Senta's Ballad) 

By Johanna Gadski, Soprano (/n German) 68116 12-iach, tS.OO 

The maidens are busily spinning — all but Stnla. Daland') daughter, who is idly dream- 
ing, with her eyes lixed on the fanciful portrait of the Flying Dutchman which hangs on the 

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 he iealoua of the Dutchman. Stnta rouses herself and commences the ballad, 
which begins with the motive of The Cunt. With growing enthusiasm she goes on, 
describing the unhappy lot of the man n.!,*/.™. _t:r' 

condemned to sail forever on the sea un- | ^y p. r ; | . ^^^ J- J" J " ; '" ^ ^T g 

,vilh e 

med by the love of a 



This is the theme of Redemption by IVoman'i Love, and 
■ Senla (inga the beautilully tender and melodious phrajte, 
he runa toward the portrait with outatrelched arms, hardly 
s of the now alarmed maidens. 

Hui: How bendi tl 


t Hea 

le. Cadilci, whose Senla is always a fine impertona. 
tion, sings this dramatic number most expressively. The 
difficult attack on the high G. which occurs several fTir.ea. 
is beautifully taken and perfectly recorded. 

The maidena are so alarmed at Senla'a outburat of | 

call Eric, who meets ihem at the door with news of I 

run to the shore while J 

Senla. She refuse 

listen and the distracted lover 

ship and call to thi 

they turn their ren 

Suddenly the 

Suddenly the door opens and the Dutchman appears. 
Senla ia transfixed with aurpriae aa she involuntarily com- 

Eares the portrait with the living man. A long silence fol- 
.ws. The Dutchman, his eyes fixed on the glowinK face 
of the maiden, advancea toward her. Datand soon obaervea 
that the othera pay no attention to him, and well satisfied 
with the apparent underatanding between the stranger and 
his daughter, leaves them together. 

The Hollander sees in Senla the angel of whom he had 
dreamed and who ia to banish the curse, and she sees the 
original of the portrait on which the sympathy of her 
girlish and romantic heart had been laviahed. the Hoi- 
lander aahs Senta if she agrees with her father's choice of a 
husband. She gladly conaenls, and a long love duet follows, 
the final theme of which is "faith above all." 

Daland re-entera and ia delighted to find such a com- 
plete understanding between ihe two. He invites the Dutch- 
man to the f£te thai evening in celebration of the safe arrival 
of the Norwegian ship. Senla repeats her vow unto death, 
and a magnificent trio cloaes the act. 


SCENE— DafiinJ'j Harbor 

anchored in the bay near Daland', home. Daland') vessel 
1 to the gloom and silence which marks the Dutchman's 
I is followed by a apirited hornpipe with a most peculiar 
are to be heard in the Pryor's Band records of the Overture 

>vith baskets of eatables, and are joyfully received by the 
nta of their own countrymen, they approach the Dutchman's 
-nly a ghostly ailence rewards them. Piqued at this neglect, 

g baakets over to the Norwegian aailors and return home. 

Dund the Dutchman begina to rise, and a weird glow lights the ahip. 


The crew appear and bes(in a sepulchral chant, which causes the gay Norw 
singing and croas themselves in terior, and finally to go below. With mockin 
crew ot the /^[r/cAman^also disappear and the ahip is in darlcnesS' 

Stnla and Eric appear and a stormy scene ensues. He has heard of her 
thp strange captain, and ia beside himself. He kneels and begs her to hai 
Suddenly the Hollander comes upon the scene and is horror-stricken c 
~ •■ ■ " , lo be false, he cries, -AH is lost; Senla, (arev '" "" 

The crews of both 

declares himself cursed for- 
ever. He springs upon hit 
■hip — the crimson sails ex- 
pand as if by magic and the 
|hip departs, with the crew 
chanting their weird re- 

Senla. in wild exaltation. 
Tushes to the highest rock, 
calling to the departing vessel. 
"1 am faithful unto dea ' " 
and throws her 

ips appear an< 

id the townsmen r 

a the scene. The Dutch- 

The Flying 

• eath tl 


be ^een the forms of Senla 
and the Datchmon clasped 
in each other's arms. Th( 
curse has been banished- 
true love has triumphed! 


(Plyias Dutchman Fantaita 
PagliaccI— Prologue 

This brilliant selection contains son 
in which Wagner has portrayed the sto 
stormy sea unless redeemed by the lov 

Two variations of the exquisite tl 
given. We first hear the magnificent i 
plunges into the sea. after the Dulchmi 

c of the finest mi 
y of the Dutchmar 
of a woman, 

eme representing Redemption ijj Womart'i Love are 

irain played by the orchestra in Act HI when Senta 

■ ig het false, has sailed away; then follows 




a weird melody representing the restlesi 
ing chorus of Daland'a sailors, "Steersi 
which follows: 

The Fantasia is brought to an effective close with a portion of the great duet between 
Stnla and the Dutchman, leading up lo a splendid climax. 



iLa Fort-zah deiDe»4B^ 



Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- 
ber 11, 1862; and in London at Her Majesty's Theatre, June 22, 1867. First New York 
production February 2, 1865, with Carozzi-Zucchi, Massimilliani and Bellini. 


Marquis of CALATRAVA. UCal-ah4rah'^h) Bass 

Donna LE0N0RA.\ ,. ,.,, /Soprano 

F^^v. -o A «. ^ f '^w children "^r* . 

DON CARLO. i iBaritone 

DON ALVARO. iAM^h'^roh) Tenor 


MEUTONE, a friar Baritone 

CURRA, Leonora's maid 

TRABUCO, muleteer, afterwards a peddler Tenor 



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 Sirto, 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 Gary, 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, Part I La Scala Orchestral, ^^^o i** ;«^u ^i ok 

\Ovcrturc. Part II La Scala Orchestrar®^^^ 12-mch, $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. 

' Jij ^ r ' B i|- \l 

This is the beautiful subject of the Madre Pietosa, afterwards heard with such mag- 
nificent effect in the opera. 

Part 11 opens ivith 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 triumphemt fortissimo, after which the overture works up to a truly animated 
and powerful finale. 




SCENE — Drawing Room in the House of the Marquis of Calatrava 

Don Alvaro, a noble youth from India, becomes enamored with Donna Leonora, the 
daughter of the Marquis of Calatrava, vrho is strongly opposed to the alliance. Leonora, 
knowing her father's aversion, determines to make her escape with Alvaro, aided by Curra, 
her confidant. 

She is in the act of eloping ivhen her father appears, and is accidentally slain by her 
lover. Leonora, horror-stricken, rushes to her father, vrho curses her vrith his dying breath. 


SCENE 1 — An Inn at Homacuelos 

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, ivho has sworn 
to kill her lover Alvaro and herself. She flees to the convent of Hornacuelos, arriving at 

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 ray 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 Demm, ploremus, ploremus Nor abandon me. 

Coram Domino, coram Domino qui fecit nos. (She rings the bell of the convent.) 

Leonora is admitted to the convent by the Abbot, to whom she confesses. He procures 
her a nun*s robe and directs her to a cave, assuring her that a curse will rest upon anyone 
who seeks to know her name or to enter her abode. In her gratitude she sings the second 
great air. 

La Vergine degli angeli (May Angels Guard Thee) 

By Celestina Boninsegna, Soprano, and La Scala Chorus 

{In Italian) 91075 10-inch, $2.00 

Again we have the e£Fect of the solemn chant of the priests blending with the prayer of 

The Friars: Leonora: 

La Vergine degli Angeli Let the Holy Virgin 

Vi copra del suo manto. Cover you with her mantle, 

E voi protegga vigile And the angels of God 

Di Dio I'Angelo santo. Watch over you! 

(Leonora kisses the hand of the Abbot and 
goes to her retreat. The monks return to 
the church.) 


SCENE— y4 Military Camp near Velletri 

In Act III we are transported to Italy, where we meet Alvaro, who has enlisted in the 
Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven 
for pity. 

O tu che in seno agli Angeli (Thou Heavenly One) 

By Enrico Caruso, Tenor {In Italian) 88207 12- inch, $3.00 



Alvaro : 
Life is 

a misery 


vain I seek 
Seville! . . . Leonora! 
Oh, memories! Oh, night! Thou 
hast taken from me all my happiness! I 
shall ever be unhappy. . . . So it is writ- 
ten, . . My father tried to make his 
country free, and to wear a crown by marry- 
ing the only daughter of Ineas. He was 
foiled in his design. ... I was born in 

prison. . . The desert educated me; un- 

known is my royal descent! My ancestors 
aspired to a throne. Alas! They were be- 
headed! Oh, when will my misfortune cease? 
Thou who hast ascended in heaven, all beau- 
tiful and pure from mortal sins, do not for- 
get to look on me, a poor sufferer, who with- 
out hope fights eagerly for death against 
destiny! Leonora, help me and have mercy 
on my sufferings! 

In the next scene he saves the life of Don Carlo, whose wanderings in search of ven- 
geance have led him to this region. Both having assumed fictitious names, they do not know 
each other, and swear eternal friendship. 

Shortly afterward, during an engagement, Don Alvaro, wounded, is brought in on a 
stretcher by his soldiers. Thinking himself dying, he sends away the soldiers and requests 
that he be left alone with Don Carlo. The great duet, the finest number in the opera, then 

Solenne in quest^ora (Swear in This Hour) 

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone 

{In Italian) 89001 

By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

{In Italian) *68213 

By Luigi Colazza, Tenor, and Ernesto Caronna, Baritone 

{In Italian) *63174 

12-inch, $4.00 
12-inch, 1.25 
10-inch, .75 

The wounded man confides a case of letters to his friend Don Carlo to be destroyed, 
making him swear that he will not look at the contents. Carlo swears, and the friends bid 
each other a last farewell. 

Alvaro : 

My friend . 
my last wish. 
Carlo : I swear I 

Carlo: A key! 
Alvaro : 

Open this case 


swear that you will grant 
Alvaro: Look at my breast. 

and you 
I trust 

will find a sealed 
it to your honor 

It contains a mystery which must die 

with me . . 

the letters. 
Carlo : 

So be it. 
Alvaro {feebly) : 

Now I die happy .... 

you .... farewell ! 
Carlo: Put thy trust in heaven! 

when I am dead destroy 

Vet me embrace 
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 betw^een 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 : 

Dow ALVABO (Caruso). 

So ■ len • ne in quest' ora 
Swear in this hour 


Don Carlos (Scorn )..^T^ 

^ r-p l J J^^ 

giu • rar • mi do • ve • te Par 
my last tvitk to grant me. So 

Dow Alvaro (Carvbo). 

pa • go un mio voto 
do not re -fuse me. 

Lo giu • ro lo giu • ro, 
/ swear, I swear. 

Sul CO • re cer - ca - te 
up • OH my heart you* U find 

* Doubk-FaceJ Record — For title c/ opposite sitle see the doublt-faced list on page 125, 



Alvaro, however, does not die, and in the next scene his identity becomes known to 
Don Carlo, who challenges him. They fight, emd Alvaro, thinking he has killed his enemy, 
resolves to end his days in a monastery. 


SCENE — Same as Act II, Scene II 

Five years have now elapsed and the last act reveals again the cloister of Homacuelos, 
where Alvaro, 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. Alvaro 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) 89052 12-inch, $4.00 
The host of Victor opera-lovers who are familiar with the wonderful duet from Act ill, 
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 Alvaro renew the 
feud, but the priest refuses, sajring 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 : 

Yes! and for Ions 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. 


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 {recognising him): 

Don Carlos! Thou livest! 

Thy choice now make! 
Alvaro : 

Leave me! By this holy habit 

Thou may' St see my repentance! 
Carlos {in fury) : 


Thou shalt not hide behind thy robes! 
Alvaro {agitated) : 

Coward! Oh, God 

Give me strength to forgive thee! 

Le minaccie, i fieri accent! (Thy Menaces 'Wild !) Part II 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

(In Italian) 89053 12-mch, $4.00 
By Titta Ruffo, Baritone, and Emanuele Ischierdo, Tenor 

(In Italian) 92504 12-inch, 4.00 
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

(Doubie./aced—See page 125) (In Italian) 68213 12-inch, 1.25 

Alvaro recovers his poise and endeavors to appeal to the reason of his enemy, showing 
him the futility of reopening the feud. Part 11 begins as follows : 

Alvaro {firmly) : 
Thy menapi^s 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! 

No! T swear it! 

I adore her with a holy love. 

Carlos {furiously) : 

Thy cowardly pleadinps 

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 his sword.) 
Carlos : 

Then coward, I brand thee with dishonor! 

{Strikes him.) 
Alvaro : 

Oh, God, no more! 

{To Don Carlos) 

Defend thyself! 

We both must die, 

Our hatred will be appeased 

And Satan will claim us for his own! 




SCENE— /4 Wild Spot Near Homaateloa 

The scene changes to the vicinity of Leonora's cave. Pale and worn, the unhappy 
woman comes from the cave, and in another great air implores Heaven to let her die, as 
she is unable to forget her lover. 

Pace mio Dio (Mercy, O My Lord) 

By Celestina Boninsegna, Soprano 

(In Italian) 92027 12'inch, $3.00 


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 vovr made in Act 1 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 (S'wear Not, Be Humble) 

By Ida Giacomelli, Soprano ; Gino Martinez-Patti, Tenor ; Cesare Preve, 

Bass [Douhk-faced—See heiow) {In Italian) 68026 12-inch, $1.25 

Don Aloaro then completes the catalogue of horrors by throiving 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 I 


/Overture, Part I By La Scala Orchestra 

(Overture, Part II By La Scala Orchestra 

Le minaccie, i fieri accenti (Let Your Menaces) 
By Carlo Barrera, Tenor, and Giuseppe Maggi, Baritone 

{In Italian) 

Solenne in quest*ora (Si^rear 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 soaoe brivido { Thy IVords^ Like Dew) 
By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor 

{In Italian) 

I Solenne in quest*ora (Si^rear in This Hour) By Luigi 
Colazza, Tenor, and Ernesto Caronna, Baritone {Italian) 
Faust — lo ooglio il piacer { The Pleasures of Youth) By 
G, Pini'Corsi, Tenor, and Aristodemo Sillich, Baritone {Italian) 



68009 12-inch, $1.25 

68213 12-inch, 1.25 

68026 12-inch, 1.25 

63174 lO-inch, .75 

ICermu) , . ( 




Words by FHedrick Kind : music by Carl Maria von Weber (his eighth opera) ; com- 
pleted as Die Joganbraul, May 13. 1820. Produced at Berlin, June 18. 1821 ; in Paris, (as 
Robin del Boia. with new libretto by Blaze and Sauvage, and many changes) at the Od£on, 
December 7, 1824. Another new version, with accurate translation by Pacini, and recita- 
tives by Berlioi, at the Academic Royale, June 7, 1841. under the title of Le Franc Archer. 
In London as Der Frtlxhalz or The Seventh Bullet, with many ballads inserted. July 23, 
1624; In Italian, as // Franco Arciero. at Covent Garden, March 16, 1850 (recitatives by 
Costa) in German, at King's Theatre. May 9, 1632. It was revived at Astley's Theatre with 
a new libretto by Oienford. April 2, 1866. First New York production, in English, 
March 12, 1825. 


Prince OTTOKAR. Duke of Bohemia Baritone 

CUNO, head ranger Bass 

Max. I ^ , ^ ■ J L- ) Tenor 

CASPAR. / ^° '"'""8 f"""*"" «"""» '""*«^ *""' 1 Bass 

KIUAN, a richpeaBnt 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 icene i> laid In Bohemia. ihorUy after Ihe Seoen Years' War- 

The word /reiicAufz, probably better translated as " free marksman. " means a SchUlx ■ 
marksman who uses "free bullets," or charmed bullets which do not depend on the aim i 
the shooter. 


By Sousa's Band 

By La Seal a Orchestra 

The overture presents the stoiy of tlie opera in a condeneed form. 
An introduction with a tender horn pagsage leads us into the forest. 
Night is falling and mysterioua 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'a Band haa given a stirring performance of this brilliant over- 
ture, while the rendition by La Scala OrchestrB will please those who 
prefer orchestra) music 

The story of the opera is founded on a German tradition, told among 
huntsmen, that whoever will sell his soul to Zamicl, 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 misailes. 

Cuno, head ranger to Oltokar, a Bohemian prince, has two assistants, 
Mai and Cupar, both excellent marksmen. Max is in love with 
Agna. Cuno'i daughter, who has promised to be his bride only on con- 
dition that he proves himself the best shot at a forthcoming contest. His 
contest, however, is won by Kllian. a peasant. Max, in a dramatic oir, 
bitterly bewails his bad luck. 

«*^ Durch die Wilder (Thro' the Forest) 

By Daniel Beddoe. Tenor (/n Engltih) 74244 12-iQch. »1.50 
He believes he is cursed by an evil spirit which causes his hand to fail at the critical 

Thro' the for. 



liling, ' ''■ 


e^each bird*and b 


at length from cl 

«se' SuSg. 

home r»» before 

my sight. 


eavenly light. 

But ni 

iw am I by lles> 

ren forsaken 

left-_Ihe power 


ope's long slumbt 

T ever^wsken." 

Or i 

.m I doomed to e 

■ndlesB woe? 

methink^ beside t 
r lovelylair one s 


her ear seems fc 

'mdly lisfning. 

ie fS^dly^wTve" i 

, welcome.— 


iy'8 eye her 

But hi 


:r signal gains no 
: the sigh of «-hL, 



dark' nine power i 
anxious bosom fei 

s ruling o-er m 



.r hath riven- 


r hath spread hei 


( fate rufe bHnd!> 

Aid m 

e, Heaven; 

) hast 

■Iready put him 

self m the po 


of Zamht. s 


to extend his own days of 

grace, and 


Max to seek the magician and secure some of the magic bullets. 
•Doubk-FaaJReiorJ-For Blk ofau>oilU ifgk w DOUBLE-FACED DER FREISCHUTZ RECORDS, inif '28. 


Annie's Air, '* Comes a Gallant Youth " 

By Marie A. Michailo^va. Sopraoo {In Rasaian) 61134 10-inch. >1.00 

She describes playfully the attitude a shy maiden should assume when the light young 

Annie begs Agna to retire, but the young girl »oy» 
she will wail 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 ol the opera. 

Preffhiera di Aj^atha (Aj^atha's 

Prayer) (Double-hced— S« bdow) 

By Emilia Corsi, Soprano (Piano ace.) 

(In Italian) *62636 10-inch. 10.79 
ACATHA AKD ANKA ^'^^ prays for the safety of her lover, and aska 

Heaven to watch over them both. 

Softly sighing, day is dying. Earth has luli'd her care to rest; 

Soar my prayer heavenward flyingl Why delays my loitering love? 

Starry splendor shining yonder. Fondly beala my aniious breast: 

Pour on U3 thy radiance tender! Where, my Rudolph, dost thou rove? 

How the golden stars are burning Scarce the breeie among the boughs 

Thro' yon vault of ether blue. Wakes a murmur thro' the silence, 

But lo, galh-rina o'er the mountains Save the nightingale lamenlinB. 

Is a cloud, forelioding storm, Not a sound disturbs Ihc nightl 

Max arrives, followed by Annie, but seems er 
in a stag he has shot near the WolPs Glen. Agnta 
but he diaregards her warning and goes out. 

The scene changes to the Wolf's Glen, where Max meeta Caspar, and the magic bul- 
lets are cast amid scenes of hoiror, while the demon Zamlet hovers near awaiting his piey. 
Mai is returning with his prize when he meets the Prince, who aska him to shoot a dove. 
The hunter complies, just missing Agna, who has come to the wood in search of her lover. 
Cailtar is wounded by the very bullet which he had intended should slay Agnea at the hands 
of Max. Zamiel rises and carries off his victim, while Max is forgiven and all ends 


i Overture By La Scala Orchestra] 

Pretfhiera di Agatha (Agatha's Prayer) }62636 10-inch. .79 

By Emilia Corsi, Soprano (Piano ace.) {In Italian)} 


A Lyric Drama in a Proloffue. Two Scenes utd Epilogue 
Text by Luigi Illica. MuBJc by Alberto Franchetti. Fiiat production at Milan in 1902 
Firat American production. New York, January 22, 1910, with Caruso. Dettinn and Amato, 

Cast of Characters 

Giovanni Fiuppo ?mm. : Ba™ 


Carlo Worms [students (Baritone 

CRISOGONO J iBaritone 

RiCKE Soprano 

TANE, her lister Mezza.Soprano 

LENE ARMUTH, an aged beggar-woman Mezzo-Soprano 

JEBBEU her nephew Soprano 

STAFFS, Protestant Priest Bas« 




Peters, a herdsman Bass 

Chief ol German Police Bass 

Historical Personaeea, Students, Soldiers, Police officers. Members and 

Associates of ike " 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 ^vriting of operas his hobby. Gtrmania 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 lime of the battle of Leipzig, 



SCENE — An Abandoned Mill near Nuremberg 

A company of students, under the leadership of Giovanni Palm, have occupied an old 
mill, and are shipping sacks of grain, which really contain political documents intended to 
rouse the people to revolt. Prominent among the students is Worms, who previously had 
a love affair with Ricke, a young girl who is now betrothed to Loewe, the poet and warm 
friend of Worms. Loewe is expected to arrive at any moment, and Ricke dreads his coming, 
as she has made up her mind to tell him her guilty secret. Worms, however, divines her 
purpose and bids her keep silent, as in the duel which was sure to occur Loewe would 
likely be the one to die. 

Loewe arrives and is joyfully greeted by the conspirators. He encourages them to fresh 
efforts in his noble aria. 

Studenti, udite I (Students, Hear Me !) 

By Enrico Caruso, Tenor {In Italian) 87053 10-inch, $2.00 

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. 


SCENE— /I Cottage in the Black Forest 
Seven years have elapsed. Hither Loewe has come after the disastrous campaign of 
1806, w^hich followed the plotting in the old mill. He lives in this hut w^ith his aged mother 
and the two girls, Rickc and her sister Jane. Worms has disappeared and is supposed to 
be dead. 

Loewe is about to be married to Ricke, and the bridesmaids now arrive to deck the 
cottage with flowers. Ricke, 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 10-inch, $2.00 

Forgetting the past, Ricke yields herself to the joy of the moment and tenderly kisses 
him, when suddenly from the forest is heard a familiar voice singing an old student song. 
** Worms/** joyfully cries Federico, and runs out to meet his old friend, who is wasted and 

Worms comes in and is astonished to see Ricke. She looks coldly at him and he uneasily 
says he must be on his way. Federico protests, but Worms insists and departs. Ricke, 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. 

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. Pf^or/ns 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 enthusieism, the 
enemies embrace each other and swear to die for Germany. 


SCENE— The Battlefield of Leipzig 
The aw^ful three days* conflict is over and the field is a mass of ruins, battered w^heels 
and dead and w^ounded men. Ricke 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. Ricke 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 w^aits beside his body for her own death, w^hich she 
feels approaching. As the sun sets the defeated Napoleon with the shattered remains of his 
€urmy is seen retreating. 




Libietto by Arrigo Bolto ; music by Amilcaie Ponchielli. It ia an adaptation of Victor 
Hugo's dramii, "Angela, " and was f^rst presented at La Scala, Milan, April 6, 1876. First 
Undon production in the summer o( 1863. First New York 
production December 20. 1863, with Christine Nilsuin, 
Scalchi, FuTsch-Madi, del Puenle and Novara. 


La QOCONDA. a ballad singer Soprano 

La QECA. (Sitji^Jtali) her blind mother Contralto 

ALVISE. (Al-oa'-^ai) one of the heads of State Inquisirion . . Bass 

Laura, hia 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 Baas 

Monks, Senators, Sailors, Sliipwrights, Ladies, 
Gentlemen, Populace. Masquers, etc. 

The aclhn lakes place In Venice, in the sevenleenlh cenlaiy. 

Gioconda is s work of great beauty, full of wonderful (iiilah) 

arias, duets and ensembtea, with fine choral effects, and b 

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 oft 

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 wilt be but briefiy sketched here. 


SCEKE— Street near the Adriatic Shore. Venice 
Gioconda, a ballad singer who is in love with Emo, 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 Bamaba. 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; peasantSi 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 I pane t (Sports and Feasting t) 

ByLaSca]aChorus(/n/faA'(>n) ♦4S010 lO-inch, (1.00 

At the close of this number, Bamaba advances and an- 
nounces the commencement of the Regatta. All hasten to the 
shore, while Barnaha remains to soliloquiie on his plot to secure 
the lovely Gioconda. Gioconda enters, leading her mother. La 
Qeca. by the hand, and Bamaba hastily hides behind a column 
■uiui »H>c( to watch them. La Oeca sings a beautiful air. blessing her 

DEsiiNH AS GIOCONDA daughter for her tender care, and this leads to a trio. 

• Dovbh-FeaJ RKofJ—Fo' mit of opeoillc sId. h DOUBLE-FACED LA GIOCONDA RECORDS, p^ 137. 

Figlia che reggi tretnulo pi^ (Daughter, My Faltering Steps) 

By A. Rossi Murino, Soprsao ; L6pez Nuncs, Soprano ; 

Ernesto Badini. Baritone (in Italian) *5S0n 12-mch, $1^0 

La C.kca: Cioconda (It^dtrly) : 

DauabUr. in Ihce my faluHng steps I>lace Ihy dear hand 

Find guidance and proteclion; Thy sleps I'm safely 

Cloconda leaves to seek 
Enza, but Bamaia stopa hcF 
and baldly declares that he 
loves her. She shudders with 

b"ds'h'm"Bland Mid"'" He"- 
tempts to seize her, but she 
eludea Kim and makes her 
CBcape, leaving the spy furious 
and planning revenge. 

The people now return 
{lom the Regatta, bearing the 
victor on their stoulders. 
Barnaba, seeing the defeated 
combatant, ZuaiK, conceives 
a plan to deprive Gioconda of 
her mother, thus leaving him 
free to carry out his plans. ,„De 
He takes Zaane aside and telU 

him that the blind La Cieca is a witch who has cast a 
The old woman is being roughly handled by Zuane i 
appears and protects her, holding the mob at bay. 

Ahlse, Chief of the Council, enters with his vi>ife Laura, formerly betrothed to Enzo. 
Laura pleads for Cleca, and she is protected by Alelae. The bhnd 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 U- Italian) 85104 l2-iacK *3.0O 
Although the part of the blind mother. La Qeca, 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 genu in 

which is sung as La Oeca presents the rosary. Is perhaps 
effective part of the aria. 

Mme. Homer's singing of this Voct Jl donna makes this record 
one of the gems of the Victor's fine production of La Gioconda, and it 
HOMEi AS LAURA should Eorm part of every opera collection. 

* Daibk-Faad RiarJ—For lilk afoppoMlIc mIA « DOUBLESACBD LA GIOCONDA RECORDS, pait 137. 

(fo*« tht 1 


La Cieca: This rosary I offer Ihee— no richer boon po». 

Thanks unto thee, angelic voice, srssing— 

My tellers asunder are broken; Deign to accept the humble gift, "Iwill bring 

*ords were spoken. And on th; head niay bliss descend; Til ever 

, iram her Mt.) pray for Iheel 

All go into the church except Erao, who stands gazing after Laura, having recognized 
his former love. Bamaba approaches him and tells him that Laura plans to viiit the Genoese 
noble's ship that night, fnzo, whose love for Laura has revived at the sight of hei. ia 
delighted al this news, and forgetting Gloconda, he returns to his ship. 

This scene has been put by Veidi into the form oE a dramatic duet, sung here by Cond 
and Badini, of ihe La Scala forces. 

Enzo Grimaldo (Duet Emo and Bunaba) 

By F. Coati. Tenor. and E. Badiai. Baritone {fnllalian) '"'iSOSS lO-ioch, *t.00 
Baihaba (approaching Ejieo) : 


WKal magic stupor steal 
Tis of the Lady Laura, 

Poor wand-ring ballad-sing; 
Her.thou dost love as sist<;r 

Thou hadst all hope aband< 

to see her features. 
But here, under her vetve 

Ekjp {Joyfully): 

Kind Heaven, to her thy mercy sh 
res through disguises, ^,^''^ \'" from grief and pain: 

i niiiht will her husband stay at the if",' '^- s"'^^' Laura, my adored, 

s palace, lJ""g to my arms again; 

"oy* ° 

: thou. oh. gloomy messenger at 

""v?i,.r£"i„ .i,M .. 


On board my ship I sbs 

I hate thee! 

I am the demon-in-chief 


Of the Coun 

cil of Ten. Read this. Beware 



Bamaba then writes to Ahlae that hia wife plana to elope with Eraa. He speaks the 
words aloud aa he writes, and is heard by Gloconda, who is overcome al this evidence of hsr 
lover's faithlessness, and heartbroken, enters the church with her mother. 

The act closes with a (amous dance, the Furlana, played here by the Famous Orchestra 
Sinfonica of La Scala. 

Furlana (Finale. Act I) 

By Italian Orchestra *45033 10-inch. *1A>0 


SCENE— -4 Lagoon near Venice— it is nighl. Emo's ihip ia ahown al anchor, 
with saiton grouped on deck, '"ting 

rman, appears in his boat, hails the sailors, and sings ihem 

Ah, pescator aflFonda I'esca (Fisher Boy, Thy Bait Be Throwing !) 

By Pasqusle Amito. Birilone, and Metropolitan Opera Chorus 

ilnllallon) B7099 lO-inch, *2.00 
By Ernesto Badini. Baritone, and Chorus (in Italian) *45010 10-inch, 1,00 

This is one of the most 
popular numbers in the opera, 

its beautiful melody and 
rhythmical a^ing beingawet- 
come relief in [he midst of ao 
much that is gloomy. It is 
superbly sung here by Amato. 
one of the greateatoi Bamaba), 
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, 
Bamaba sends his aide for the 

C'ice galleys and leaves in 

£nzo now appears, and is 
greeted by his men with en- 
uiusiasm. He is in a gay hu- 
mor, thinking of Lataa't expected visit, and bids the sailors go below while he keeps the 

Left alone, he gives eipreasi< 
the whole range of opera. Can 
lavish outpouring of voice. 

Cielo e mar (Heaven andiOcean) 

By Enrico Caruso. Tenor (In Italian) 88246 12-inch, *3.00 

By Florencio Constantino. Tenor {In Italian) 64070 lo-inoh, l.OO 

By Franco de Gregorio, Tenor (In Ilallan) *4S027 10-inch, 1.00 

Especially noticeable rfA T'T'P-^^^'T^ 
is this fine passage— W-' , . _ _rl"Tj 

which the tenor delivers in splendid style, fairly thrilling h!a hearen. 

Other fine recorda of this effective number, by Constantino and de Cregorio, are also 

~~*'D«Mi-FaaJRe€eiJ—ForHlieo/omoMt,iJtta DOUBLE-FACED LA GIOCONDA RECORDS. i^itc 137. 



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 w^ind 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^atno come i\ fulgor del creato ! (I Adore Him !) 

By Elena Ruszccwska, 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- 
copy'T MisHKiN proaching. 

CONSTANTINO AS ENZO Enzo appears and is greeted with reproaches by Gioconda, w^ho 

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. 


SCENE— .4 Room in the Palace of Ahi^e, Night 

Alvise 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 I morif ella de' ! (To Die is Her Doom !) 

By Amleto Galli, Bass {In Italian) *5 50 1 9 1 2-inch, $ 1 .50 

Alvise (in violent agitation) : 

Yes, to die is her doom! My name, my honor, 

Shall not with impunity be disgraced. 

From Badoers, when betrayed, 

Pity 't were vain to hope. 

Though yesterday upon the fatal isle 

She 'scaped this vengeful hand. 

She shall not escape a fearful expiation. 

Last nipht a sharp poniard should have 

pierced her bosom; 
This^ night no poniard I'll use; she dies by 

(rointing to the adjoining room.) 
While there the dancers sing and laugh, 
In giddy movements flying, 
Their mirthful tones shall blend with groans, 

Breath'd by a sinner dying. 

Shades of my honored forefathers! 

Soon shall your blushes disappear; 

Soon shall a deadly vengeance prove 

Honor to me is dear. 

While dance the giddy crowd. 

In mirthful movements flying. 

Here shall be heard the bitter groans, 

The sinner breathes in dying. 

Yonder, the nobles of the nation 

Are gathered at my invitation; 

Here, an insulted husband 

For signal vengeance cries! 

Exult, in dances and in songs. 

While here a faithless one dies! 

The guilty woman now enters at his summons and is denounced by him. He orders 
her to take poison, and leaves her. She is about to obey, w^hen Gioconda, w^ho has been 
concealed in the room, appears, takes the poison from her and gives her a narcotic, which 
w^ill produce a death-like trance. Laura drinks this and Gioconda exits just as Alvise appears. 
Seeing the empty phial on the table he believes Laura has obeyed his w^ill. 

The second scene shows a magnificent hall in the palace, where Alvise is giving a 
masked ball. The famous Dance of the Hours is given for the entertainment of the guests. 

* DouhlcFaced Record— For title of opposite side see DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 


Dance of the Hours 

By Victor Orchestra 31443 12-inch, »1.00 

This is one of the moat 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 ia fascinating in the eitieme, and is one of the most 
popular parts of the opera. 

Enzo is present among the maskers, and when Bamaha whis- 
pers in his ear that Laura is dead, he unmasks and denounces AtiHse, 
who causes his arrest. The great finale begins with Enzo'i solo, 

Gia ti vedo (I BehoU Thee) 

By F. Lotti. Soprano : de Cregorio, Tenor: 
Badini. Baritone ; and Chorua 

(In Italian) *55019 12-inch, »1.50 
Tlie emotions of the various characters may be understood 
by the quotations below. 
K.NZU (aiidc): 
I behold thee mutionless. pallid. 

Thou an d 
Ah, my da 

rlin'g, hopeless I wail. 

, loYCt 

Op^ns t?d. 

: a dark abyss; 

But to the, 

. shall toilure guide me. 
share celestial bliss! 


Sadly fall 
In tlie sile 

the tear-drops. 

«.,■, »»..,. 

Break, oh 

rents! ■ 

, .F"e, thy ! 

sharpest doom prepare! 

Baihaba (oJid* la Gioc 


Yield Ihee, yield Ihec 

i> all around >bcc 

La CiEC, 


e for il|i 

Thou i 

r me; pow'ra infernal 

Lft mi 

le still! 


GiocoNDA {aside to Bar 


Can e. 

Do thou save him. br 

mg him safe out there. 

Close by the Redenlc 
Myself 1 will sirrrend 

■I. and then 

"■Mid' 1 

:he splendor this fete sur 

Thou . 

To thee, fearfulest of 
Basnaba (la GiaCQida) 



ErJ^''t1;e"TtiM^t"o" claim 

prompt thy offer, 

To complete his revenge. 
Aloiae now draws aside a cur- 
tain and shows the guests the 
bodyaf Laurn, acknowledging 
that he took her life. Horror 
and indignation are expressed 
by those present, and Enzo 
attempts to kill Aloiae. He 
laib, is seized by the guards, 
and is led away to prison as 
the curtain falls. 

SCENE— >1 ruined pahct on an 
hland in the Adriatic. Venice 
eltlkk in the distance 

To this desolate [aland 
Gioconda has managed to bring 
the unconscious Laura, in an 

• Deabk-FaccJHmir J— Formic nfopMIe slJeice DOUBLE-FACED LA GIOCONDA RECORDS, page 137. 


curtain rises two men are carrying the insensible form into the ruin. Gioconda asks the men 
to seek out her mother, whom she fears never to see again. Left alone, she approaches the 
table, looks fixedly at a flask of poison, and begins her terrible song, one of the most dra- 
matic of the numbers in Ponchielli's work. 

Suicidio (Suicide Only Remains) 

By Elda Cavalieri (Double-Faced— See below) {In Italian) 55015 12-inch, $1.50 

For a moment the unhappy girl is tempted to complete Aloise'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 tw^o, which is interrupted by the voice of Laura, w^ho has revived and 

now^ calls feebly. Enzo rushes forward in a transport of joy, w^hile Gioconda makes further 

preparations for their escape. The lovers express their gratitude and depart, while Gioconda 

prepares for the end. She is about to swa:llow^ the poison when Barnaba appears, and in 

terrible accents demands why she has broken her word to him. She pretends to yield to him, 

Gioconda (at first terrified, recovers her cour- And ne'er will Gioconda be false to her oath. 

age, and retains it to the end) : May Heaven in mercy 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 drsunatic scene in the opera. 

Vo' farmi piu gaia (Thou'rt Mine Now !) 

By A. Rossi Murino, Soprano, and E. Badini, Baritone 

{In Italian) 55017 

Thou'rt mine now! and swift from this deso- 
^ late heart, 
Expelled by love's rays, sombre shadows de- 

12.inch, $1.50 

Now demon accursed, 


Gioconda (to Barnaba, who is approaching her) : 
Restrain awhile thy ardent passion! 
'ihou soon shalt in splendor Gioconda behold! 
'For thee I am braiding my clustering tresses 
With purple and gold! 
(Concealing her terror, she begins to adorn 

With glittering jewels, the gay tinsel worn 

By madcaps theatrical, cover'd I'll be: 
Now list to the song that this ardent young siren 
Will sing unto thee! 

I keep to my compact, no fake oath was mine; 
(Changing her tone.) 

Thou claimest Gioconda? 

Gioconda is thine! 

(She stabs herself in the heart with the dagger 

that she had secreted while adorning herself, 

and falls dead at his feet.) 
Barnaba (in horror) : 

Ah, stay thee! *Tis a jest! 

(\Vith fiendish joy.) 

Well, then, thou shalt hear this, 

And die ever damned! 

(Bending over the corpse of Gioconda, and 

screaming furiously into her ear.) 
Last night thy mother did offend me: 
I have strangled her! 

She hears me not! 
(With a cry of half -choked rage he rushes 

from the ruin. The curtain falls.) 


Figlia che reggi tremulo tyic (Daughter, My Faltering Steps) 

By Murino, Nunes and Badini {In Italian) 
Vo' farmi pid gaia (Thou'rt Mine Now) 

By A. Rossi Murino, Soprano ; E. Badini, Baritone 

Gii ti vedi (I Behold Thee) By F. Lotti, Soprano; 

de Gregorio, Tenor ; E. Badini, Baritone {In Italian) 
Si I morir ella de'I By Amleto Galli, Bass {In Italian) 

rSuicidio! (Suicide Only Remains) By Elda Cavalieril^eni < 

1 Mefistofele—Valtra notte By Elda Cavaliertr^^^^ 

Selection By Arthur Pryor's Band 31384 

fOpening Chorus — ^"Feste! pane!" La Scala Chorus 

iBarcarola — ** Pescator a£fonda Tesca " 

fEnzo Grimaldo By Conti and Badini {In Italian)\.^f^^^ 

\Furlana (Finale, Act I) By Orchestra Sinfonica/*^"''*' 

Cielo e Mar ! By Franco de Gregorio {In Italian) 

Manon Lescaut — Ah, Manon I mi tradisce 

By Franco de Gregorio, Tenor {In Italian) 

Scala Chorusl^ Arkif\ 

55017 12.inch, $1.50 

55019 12.inch, 1.50 

12-inch, 1.50 
12.inch, 1.00 
10-inch, 1.00 

10-inch, 1.00 

45027 10-inch, 1.00 



( Cat-ier-Jahm'^r-ung) 



Words and music by Richard Wagner. First pioduced at Bayreulh, August 17, 1676, 
with Matetna and Unger, First American production at New York, January 25. 1868, wilh 
Uhmann, Seidl-Krauas. Traubman, Niemann and Fischer. 


Siegfried Tenor 

GUNTHER (Goon'-Ui) Bb» 

HACEN (Hah' -gin) Bass 


GUTRUNE (Cool-lnKn'-tA) Soprano 

WOCUNDA, 1 I Soprano 

WELLGUNDA, Rhine-Nymphs { Soprano 

FLOSSHILDE, J [Contralto 


SCENE— rAe ^^alkurc; Rxk 
The Dusk of iht 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 nod lain during her 
magic sleep, and where Siegfried had found her and taken her as his bride. Siegfried, after 
a brief period of doniestic happiness in a cave near by. decides to leave her for awhile in 
search of adventures, and gives her the Nibelung'a Ring as a pledge of faith. This ring he 
had obtained when he slew the dragon Fo/ner. and as the opera progiesses it will be seen 
that he is doomed to suffer fhe consequences of the fatal curse, invoked on every possessor 
of the Ring by Alberich, Itaia whom It was forcibly uken by Wotan. 


Ab the curtain riaes BriinnhiUe and Sicg/ricJ come out of the cave, 
Siegfried in full armot and the yalkj/rie leading her hoise by the 
bridle. She begins her tender addieu of farewell : 

My wisdom fails, but good will remains; so full of love, but failing 
in slicngth, thou will despise perchance the iioar one, who having 
giv'n all. can grant thee no more! 

Zu neuen Thaten (Did I Not Send Thee ?) 

By Johanna Cadski. Soprano 

In Gennan 87098 10-inch. $2.00 
This lovely air is delivered by Mme. Gadski with tendemeaa and 
feeling, and the record ia an unusually fine example of ihe perfect 
recording of a beautiful soprano voice. 
SCENE— Ca,j/e o/ King Ganther 
Siegfried joyoualy sets out on his journey and soon comes to the 
Court of /Cfn? CunlAeron the Rhine, where dwells also GunfAer'a sister 
Gulrune, and their half-brother Hagen, who is a son of Alberlch, the 
dwarf. Hagen knows the history of the Ring and is anxious to re- 
store it to his lather, so he artfully tries to win the help of Gunther. 
Knowing that the hero is approaching the castle, he outlines this 
ch is to give Siegfried a drink which will make him 
vilh Gulrune, after which Ganlher can win the peerless 
mpted, and when Siegfried's horn announces his approach 

Siegfried greets them as 
immediately loses all recoUec 
lowered eyes, he exclaims: 

Gulmne, trembling with emotion, leaves the 
Hall and SlegfrieJ, gazing after her, asks Ganlher 
if he has ■ wife. The King, prompted by Hagen, 
replies that he knows of one he would wed, hut 
that she is surrounded by a magic lire which he 
cannot pass. Siegfried isi^tns trying to remember 
his past, but fails, looks confused, then suddenly 

And thy bride fair 

In order that Brflnnft^/A.rriay think that it is alb. 

Ganlher who has won her, it is agreed that 
SieK/Weif shall, by means of the Tamhelm. change himself i: 
only of his reward, Siegfried eagerly departs. 




SCENE II— rAc Walkurc*s Rock 

The scene chsuiges to the Valkyrie Rock again, where 

Brtinnhilde 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 suinounces that he is Gunther come 

to win her for his wife. Briinnhilde, in horror and despair, holds 

up the Ring, exclaiming : 


Stand back! bow to this token! 
No shame can touch me from thee 
While yet this Ring is my shield. 

Siegfried attempts to take it from her and after a struggle, 
succeeds. As he draws the helpless and despairing Brtinnhilde 
into the cave the curtain falls. 

ACT n 

SCENE — The Rhine near Gunther *s Castle 

Hagen and Alherich discuss the progress of the plot to regain 
the Ring. Hagen swears to accomplish it, and Alherich vanishes. 
Siegfried, in his own form, but wearing the Tarnhelm, arrives, 
greets him cheerily and says he has gained Gunther *s wife for 
him, but that they are returning home more slowly. Gutrune 
comes to meet Siegfried, and a long duet follows, after which they go to the Hall. Hagen 
sounds his horn to summon the vassals suid bids them prepare for a feast, as Gunther has 
taken a bride. 

Gunther now arrives in his boat, leading Brtinnhilde, w^ho is pale and dow^ncast. Siegfried 
and Gutrune come out to meet them and Brtinnhilde 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^ w^here he obtained it. 
He seems confused and regards the Ring with a puzzled air. Brtinnhilde, beginning to 
comprehend what has occurred, denounces him, and Gunther, beginning to doubt whether 
Siegfried had kept his oath to respect Brtinnhilde as a brother's bride, looks threateningly at 
him. Siegfried, eager to set himself right, sw^ears 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: H she is really wronged, — 

Spear-ppint, aid thou my speech! If I have injured my friend! 

Brtinnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his 

oath and denounces him. 

Helle W^ehf ! Heilige W^aflfe I (Haft of W^ar I Hallowed W^eapon) 

By Johanna Gadski, Soprano (In German) 87052 10-inch, $2.00 

Siegfried looks at her in pity, thinking her mad, and goes to the Hall w^ith Gutrune. 

Brtinnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells 

Brtinnhilde that he will avenge her wrongs. " Thou ? " says Brtinnhilde, contemptuously. 


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. 


SCENE \—A mid Valley near the Rhine 
The Rhine nympiis rise to the surface of the w^ater and sing of the Rhinegold. They 



Bpy Sleg/ritd and aak hin 
shall die that very day. 
■aya lighlly: 

Allkt on lirld and water, Thty bail him witJl bitter words. 

Woman's ways I\e leariil to know. Anci yrt were Gutrune not my wife, 

They"seek'"by I'hreats lo^'fright'en! OiI""of thow "p™? ma'ic^l"'* 

Hunting Kama are heard and Siegfried gayly answer* vith his own. Canlhet, 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 wilK Mimt 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 Brlinnhllde. Gunlher begins to listen attentively, but when Siegfried te^hee this 
part of his narrative, Hagen plunges his spear in Siegfried's back and he falls. Gunlhtt, in 
pity for the dying man, leans over Kim, and Siegfried faintly says : 


Rriinnhildet Heavenly bridel— Enchant liim liriinnhildc's cliarni^r 

Again now the bride's bonds be has broken;— Briinnhildc beckons to me! {He dies.) 

SCENE n—Hall in Gatdher'a Palace 
Siegfried's body is borne mournfully to the Hall, where the weeping Culrunt meets them 
and clasps her husband's lifeless form. Hagen now demands the Ring as his booty, but 
Gunlher refuses to yield it and they draw theii sworde. Qanlher 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 Biannhlldt ap. 

E roaches. She gazes long and sadly at Siegfried's face, then orders a funeral pyre erected to 
urn the hero's body. The vassals obey and build a huge pyre on the bank of the Rhine, on 
which the body is laid. Briinnhllde summons two ravens from the rocks, and begins her 
great Intmolalion Scene, 


Fliegt heim (Iniino- 
lation Scene) 

By Johaima Gadski. 
Soprano (In Gennan) 
88185 ll-incli, 13.00 

She bids the ravens fly 
to Loki. god of fire, that he 
may complete the downfall 
of the gods by burning 

She kindles the pile, 
ivhich burna rapidly, knd 
the two ravens disappear in the distance. BrSnnhlldt'a hoise is brought in, and she takes 
oS the bridle. 

BHUNKHILDE (lO iHc flOric) : 

merrily? Heiaiahol Granol Gr«I we our hero! 

Lo! how the flame Siegliicd! Siegfried! see'. 

Doth leap and allure th<:<^! Sweetly greets thee thy wife! 

She swings herself on the steed and rides straight into the liuming pile, which flames 
up mightily, half consuming the Hall itseU, The Rhine then rises and puts out the llames, 
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 Rood. 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. 


and Cant, based on Shaketpeaie'a play. 


Hamlet Buiione 

Claudius, King of Denmark Bbm 

Laertes, Poloniu»' son Tenor 

ChoBl of the dead King Bast 

POLONIUS, Chancellor Bau 

Gertrude, Hamlet's Mother, Queen of Denmark Mezzo-Soprano 

Ophelia, daughter of Polonius SoproDo 

Lords. Ladies, Officers, Pages, Peasants, etc. 

Scene : ElilnoTe, In Denmarlt. 

The story of Hamlet. Prince of Denmark. " 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, end the revised ver. 
sion will be briefly sketched here. 

The present fCing of Denmark, Claadiai. has seized the throne, after having murdered 
the late King, Hamlet's father. At the opening of the opera Hamltt knows nodiing of the 
muidet, but is highly incensed at his mother for having married Claudius before she had 
been two months a widow. 

SCENE \—A Room of State In the Palace 
The new Queen is being presented to the Court at a public reception. She !s annoyed 
because Hamlet shows his displeasure by absenting himself from the ceremony. After the 
presentation is over, Hamltl enters slowly, in a melancholy mood. 
IIahlet: Ah! vain indeed is grief! 

AtTettion. too. doth seem short lived indeed. 
My much.lovcd father but two month? dead; 
And yet. unto another wedlock, my molher hath consented; 
'■Friilly. thy name is woman." 
His hitter musing is interrupted by the entrance of Ophelia, his betrothed. She has heard 
that f/om/el 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 pahice has become intolerable to him. 

Nega se puoi la luce (Love Duet) 

By Maria Galvany, Soprano, and Tina 

Ru£Fo. Baritone (In Italian) 92S00 12-iiich. «4.00 


Celestial maiden, 'lis not Ihff I dhids. 

The purity of thy mind dolh speak through 


My heart doth beat for thee alone! 

SCENE n—Et/danade «f the Polaa. It h Night 
Horatio and Marcellas ate discovered excitedly discussing the 
'"■"• "" •"' appearance of the spectre of the murdered King, They greet Homltt 

REBAUD AS HAULET aod tell him of the ghostly visitor, which appeared just at mid- 
night. Hamltl IB much affected, and suggests that as it Is nearly 
twelve the ghost may come again. 

The clock atrikes, and the liguie of tKe murdered King appears. Hamlet speaks to the 

Thou spirit dread, thou shade revered. Wherein we si 
Hear iBou thy hapless son's lament. Hath op'd his 

fully entombed. 

Tell me why the sepulchre, 
The ghost motions Horallo and 
Marcdtia to withdraw, and when they 
are gone he tells Hamlel of the murder 
and bids him become the avenger, but 
asks him to leave his mother's pun- 
isliinent to Cod. Hamlel is much 
affected and exclaims: 

Yes' Shade revered 1 Thy bidding 

=hall be done. 
O light. O sun, O glory, O love to me 

so dear. 
Farewelll Farewell! 

The ghost, before disappearing, 
pauses at the back of the stage, and 
stands with one hand extended toward 
HamkI: at this moment Horalh and 
Marctllua rC'enter, and appear terror- 
stricken at the spectacle before them. 
Trumpets and joyous music are heard 
without as the curuin falls. 
SCENE— Gori/en tj/" (fie Palace 
Ophelia enters and is much dis- 
turbed because Hamlet seems toavoid ' 


her. The Queen dtida het weeping, and after questioning her says that Hamlet has also 
acted strangely toward his mother and fears his reason is affected. 

Hamlet, seeking (o 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. Tlie 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 
in the plot he has conceived. The Prince then calls for w 
offering to sing them a drinking song. 

O vin, discaccia la tristezza (Brmdisi) CWine, This Gloom Dispel) 

By Mario Sammarco. Baritone (/n Italian) 88312 12-iDch, *3.00 

By Emilio de Goforza. Baritone (In French) 88180 12-iach, 3.00 

By Titt> Ruffo, Baritone, and La Seals Chorus {Italian) 92037 12-inch. 3.00 
By Francesco Cicada. Baritone, and La Scala Chorui *165I2 lO-inch, .75 

Hamlei: Wt'll laugh and drink whils j-cl we may. 

O wine! Che g\aara dispel, , Each, alas, his burthen bears. 

SCENE W—The Palace Hall. On one aide a >tage ha> been erected 
The court assembles and the play begins, H-mtel 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. Mamlel rushes forward and 
denounces the murderer, but the Court believes his accusation to be the ravings of a mad- 
man, and bU leave the room as he faints in Horatio 't arms. 

SCENE— He Queen') Apartment! 
Hamlet enters and sings his farewell soliloquy. 

Monologo (Soliloquy) 

By Titts Ruffo. Baritone (In Italian) 92042 12-ifich. *3.00 

ThU is Thomas' splendid setting of the well-known soliloquy and one of the most con- 
spicuous numbers in the opera. Although the librettists look 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. 

• Daaik-Faad RworJ— For (tffe ofoppoiiH >ldc xt DOUBLE-FACED HAMLET RECORDS, pogt 146. 


"Ay! lo be. or not to be? 

Td die. to sleep; perchance to dream." 
The Queen and Ophelia enter and plead with HamUl lo 
banish hia wild imoginings. He sternly rebukes ihem, advises 
Ophtlla to retire lo a convent, and accuses his mother of being 
an accomplice. The ghost again appeals, visible only to Hamttl, 
bids him spate his mother, and slowly disappears. The Prince 
conducts the Queen to the door, urging her to pray and repent. 

ACT rv 

A rural scene near a lake. W/llow, line the shore 
Ophelia, driven insane by Hamlet's desertion of her, has 
wandered to the lake. She plays with a garland of Bowers, 
and sings her wonderful aria, usually known as the Mad Settle, 
one of the most difHcull of all florid compositions. 

BalUta d'Ofelia (Mad Scene) 

By Nellie Melba (In French) 88251 12-inch. »3.00 
By Maria Galvany {Inllalian) 88235 12-inch. 3.00 
By GiuseppinaHueuel(/fii//an) ■"35160 12-iach, 1.25 

An exquisite introduction by the orchestra is heard as 
Ophelia enters — a strange, wild liguie, with flowing hair and ,^^^ j^,,, 
torn white dress. She speaks to the wondering peasants and i-ntro as hbklet 

tells them childishly of the lark which she heard at dawn, fol- 
lowing with a brilliant dispUy of bird.lil(e trills and staccatos. 

Ophelia then turns lo 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 seema 
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 line renditions, that of Mme. Galvany and a popular- 
priced one by Mme. Huguet, are also offered to opera-lovers. 
ACT W—The Churchyard 
Hamlet comes hither to attend the funeral of Ophelia. He 
sings his beautiful song lo her memory and resolves to take his 
own life upon her grave. 

Come tl romito fior (As a Lovely Flower) 

By Titta Ruffo. Baritone, and La Scala Chorus 
copvT Du».i (/„ Jtolianj 92064 12-inch. *3.00 

cAvtt AS OPHELIA By Eitfico Pignataro, Baritone 

(/n Italian) ♦63424 10-inch. .75 
When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlet, 
who slabs the King, and as the curtain falls the people, now convinced of their monarch's 
guilt, acclaim Hamlet as his successor. 


(Bdlata dWelia (Mad Scene) By Huguet. Soprano (ft-A^ngj.go ,2,i„eh. »1.2» 
1 Dtnorah — Si, carina caprttllna By Glustppma Hagati, Soprano) 

JBriadisi By Francesco Cigada and Chorus (In //<i/fan)(, , ,_„ ,- . „. •« 

\ Ernanl-Fe,laJabaUo By La Scala Chora, (h Italian) r^^" lO-inch. .15 

/Come il romito fior By Enrico PiRiitaro (In Italian)) ^- , ~ , ,„ ■ „(, ,« 

t Palllde Mairmyole-Romama By Laoln de Casai (In llallan)r^*^* lO-incB. .10 



(ItiJiip) (Eavliih) 



Text by Adelheiij \Cette. Music by Engelbert Humperdinck. 
[t Weimar. Firil American performance at 
a House. New York, 1895. 


Peter, a broom-maker Baritone 

Gertrude, his wife Meno-Soprano 

HANSEU 1 .L.;,. ,l;| ,, „ J Mezio-Soprano 

GRETEU / *^"^ "Children j Soprano 

The Witch whoeata children Mezzo-Soprano 

Sandman, the Sleep Fairy Soprano 

DEWMAN, the Dawn Fairy Soprano 

. . opera was brought out in America by Augustin Daly, and it has 

HUHFEaDiHCE sincc been finnly eatabUshed in the reper- 

toire of every producer oE ^and opera. 
Hanael and Crelel ha. been called the Peter Pan of grand 
opera; the audiences who wilneaa it being invariably delighted with 
the childish joyouaness and fairy charm of Humperdinck's work. 
This delightful opera U built upon the aimple Grimm tale of 
Babes In Ike 
Wood,, and first 
■uggegted itself 
to the composer 

w a a afterward 
elaborated into a 
compleln opera, 
which has be- 
most important 

modem German 

Two German «»i ..... »...». 

dren, Ham and 

Gnlchat, are sent to the woods for straw, 
berries and get loal. The Sandman finds 
the babes and sings them to sleep, while 
angels and fairies watch over them. They 
are awakened by the Deal Man, and go 
for breakfast Co the house of the Wllch. 
who plans to eat them; but when she 
.8 the oven to see if it is hot enough 


Several numbers from 


By Arthur Pryor'i Band 
31853 12-jnch, ll.OO 

This Prelude im im es- 
pecially beautiful number. It 
opens with the Prayer c/ the 
Children, played by the brass 
— at first softly, then swelling 
to the full strength of the 
band. This is followed by a 
passage portra; 

the forest, and upt 

ral I 

; ther 

I this 

rudely the 

Wllcha' moUvt. Itie rreludc 
is brought to a close with a 
return of the Prajicr theme. 

The delicacy and charm 
of this music is well brought 
out by the band under Mr. 
Pryors masterly baton. 



n ActL 

Eine Hex' steinalt (The Old "Witch) 

By Otto Goritz, Baritone (In German) 64164 10-incb. ll.OO 

This is sung when Peler 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 

Mr. Coriti'a admirable charac 
atitious father, is one of the feature 
given with much effectiveness. 

The third number is the famous Herenrilt. or WUch; Ride, which occurs in Act lU. 

Hexenritt (W^itch's Ride) 

By Albert Reisi, Tenor (/n German) 64188 10-inch. »1.00 

The curtain rises, showing Harael and Gretel still asleep in the wood. The Daum Fain/ 

■liakes dewdrops on the children and wakes them just as the mist clears away, revealing 

the house of the IVitch. 

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 Hexenritl. 

Mr. Reisa tries his best to conceal his naturally sweet tenor when delivering this 

number, but only partially succeeds. However, the Witch'i part is not intended to be 

■img but " squeaked," and as a humorous performance this rendition is a maalerpiece. 


( Htr-ro-da-ah' -di 

Wordi by Paul MilUet and Henri Grimont, baaed on Guatave Flaubert's novelette, 
Htmdiai. Muiic by Jules Massenet. Fiiat prcxluction December 19, ISBl, at the Theatre 
de la Monnaie. BrUHels. Produced in Palis at the Thidlrt Ilatltn, February I, IS84. with 
Jean and Eduard de Reszke. Maurel. Tremelli and Devriia. Revived at the Th^ilre dc la 
QaUi in 1903, with Calv« and Renaud. First German production in Hamburg, 1883. with 
Sucher, Ktausi and Winkelmann. Fint London production 1904. under the bile 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 Cavalieti, Gervillc- 
R^che, Duchesne, Dalmorea and Renaud. 


lO»U THE Prophet Tenor 

Herod, King of CalUee Baritone 

PHANUEL, a young Jew Baaa 

VlTELUUS. a Roman proconsul Bantone 

The High Priest Baritone 

A Voice in the Temple Ba»s 

Salome Soprano 

HERODIAS Contralto 


Merchants, Hebrew Soldiers. Roman Soldiers, Pnests, Levlleo, Temple 

Servitors, Seamen. Scribes, Pharisees, Galileans. Samaritans, 

Sadducees, Ethiopians, Nubians, Arabs, Romans. 

The action taket place In Jenualem — Time, about 30 A. D. 


II est doux, it est bon (He is Kind, He is 

By Emma CiWi. Soprano 

(In French) 86I30 12-inch. •3.00 
Solome gocB out Jiut as hleroA enters aearching for her. 
Htrodiat ruehea in and demands John's head, saying (hat he 
had insulted her. John sppeBis. denounces them both and 
drives Ihem out. lerriHed. Salome enters and tells John o( hex 
love {oi: him. but he bids her turn to God. 

ACT 11 

Hood 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 
■lave, who says it will make him see the (aceof theone heloves. 

He then aings the famous VUlon fiiglllvt, consideied the 
most beautiful of the airs in the opera. 

Vision fugitive (Fleeting Vision) 

By Enulio de Godorza. Baritone 

(InFitnch) 88153 12-inch. *3.00 

Herodiade was first produced In BrusseU in 1S61. 
The first Paris production of this opera was especially 
interesting because of the first appearance of Jean de 
Reszke as a tenor (he whs formerly a baritone). It was 
not until 1904, however, that the opera was brought 
out in London (under (he title of Salome) with Mme 
Calv«, Dalmores and Renaud in the leading rflles. 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. 


Salomt enters and is greeted by Pharaitl, a young 
Jew, who is astonished that she should be in the Palnce. 

and wonders if she can be ignorajit of the fact that 
Herodia, 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. 

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 

Herod receives messages from 
the allies, and denounces Rome. 
Herodla, enters and announces 
that the Roman general, yUelllat. 
is approaching. The people are 


teirilied. but VUeUlut declaies that Rome detires the favor of the Jews and will give back the 
Temple of Israel. 

John and Salome entet and yiltUlut i 
Htmd gaze* with eyes of love at Salom 
denounces yiUllia, u the curtain falU. 


The third act begins in Phanael'i house. He !a gazing at the city, which lies silent 
under a starry sky. and prophesies the fate which is to ovecwhelm it. 

Air de Phanuel (Oh. Shining Stars) 

By Marcel Journet. Basi {In French) T4152 12-inch, *1.S0 

He calls upon the aUta lo tell him what 
manner of man is this John, who speaks with 
such authority. ''Is he a man or a god?" he 
cries, HeroJlai enters, much agitated. Phanutl 
inquires what has brought the Queen to his 
house, and she crieii, " Vengeance on the woman 
who has stolen Herod'i love!'" He reads her 
(ate by the stars, and sees nothing bul blood 
in the horoscope. She asks him about her child, 
lost so long ago, and he takes her to the window 
and shows her Salomt, who is just entering the 
Temple. Horrified, Herodiaa cries, " My daugh- 
ter? Neverl That is my rival|- 

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 (he prison entrance. HtroJ 
enters, and seeing So/ome, breaks out into a mad 
declaration of his love, but she repulses him 
with horror, and tells htm she loves another. 
He declares he will find diis lover and kill him, 
and goes out as the people enter the Temple. 
John is brought in and denounced by the 

Eriests, but prays for them as they demand 
is death. Salome runs to John and falls at his 
feet, wishing to die with him. Herod, seeing 
DUFHANBE AS PHANUEL '^°' '' '* John whom Salomt loves, orders them 

both put to death, and they are seized and 
borne out by guards as the curtain falls. 

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 lo be taken to the Palace by Herod'i com- 
mands. She resists desperately, bul is dragged away. 

In the second scene occurs the great festival in honor of the Roman £mpire. Salome is 
brought in and again entreats to be allowed lo die with John. She appeals to the Queen, 
saying. "If thou weit ever a mother, pity me." Herodlai trembles at the word, and gazing 
■ on her daughter, seems about to yield, when the executioner appears at the back with a 
dripping sword and cries, "The Prophet is dead." Salome gives a terrible cry and tries to 
kill the Queen, who screams ; " Mercy ! I am thy mother I " Salome recoils in horror, curses 
her mother and stabs herself. 


Herodiade Selection 

By Arthur Pryor's Band 31786 12-iach. tl.2S 

{French) (Gcmiim) 


lluliaa) lEnfluh) 


(Gil Off«i>S-noC.«A) {Hta-^f^-ulm) 

Libretto by Scribe onJ Ejnile Deschamps. Score by Giacomo Meyerbeer. First pro. 
■ented at the Acadimie in Paris, February 29. 1836. Firat London production July 20. 1848. 
First New York performance June 24, 1850. Some nouble AmeHcan productions were in 
1858. with U Grange. Siedenburg. Tlberini and Karl Formes; in 1872, with Parepa-RoM. 
Wachtel and Santley; in 1673, with Nilsson. Gary, Campanini and del Puente; in 1892, with 
Monuriol. de Reszke. Lasatle, Albani and Scalchi; in 1905, with Sembnch. Caruso. Walker, 
Plangon. Scotii and Joumet; in 1907, with Nordlca. Nielsen. Constantino and de Segurola; 
and the Manhattan production in 1908. with Pinkert, Rubs, Bassi, Ancona and Arimondi. 


Count of ST. BRIS. (SoA Sm') t ^ .. i- . , I Baritone 

COUNT OF NEVERS. (««-,(«') / '-■*'"'"= noblemen -J Baritone 

RAOUL de NaNCIS. {Rah-oof Jai Nan^ha') a Protestant gentleman Tenor 

Marcel, {Mohr^htf) a Huguenot soldier and servant to Raoul Base 

Margaret OF VALOIS. (Val-ao^') betrothed to Henry IV Soprano 

Valentine, daughter of St. Bris Soprano 

URBANO, {Ui-hoh'-mh) page to Queen Margaret . Mezzo -Soprano 

Ladies and Gentlemen of the Court Pages. Citizens, Soldiers. Students, etc. 

Sane and Period : Toaraine and Paiia ; dating the month of Augatt, 1572, 


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 1372, and of the efforts of Margaret of Valois, the betrothed of 
Henry IV, to reconcile the disputes between the Protestants and the Catholics. 


SCENE I — House of the Count of Nevers 

The overture is a short one and consists mainly of the Lutheran chorale, w^hich 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, w^hom he hopes they w^ill treat 
with courtesy. Raoul arrives and makes a favorable impression on the guests. Nevers 
toasts the ladies, proposing that each relate an adventure with some fair one; Raoul, 
being the latest arrival, is called upon first, and describes his rescue of an unknown beauty 
(who proves afterward to be Valentine, St. Bris* daughter) from some drunken revelers. 
In this air he tells of her beauty and the deep impression she made on him. 

Piu bianca — Rotnanza (Fairer Than the Lily) 

By Enrico Caruso, Tenor {In Italian) 88210 12'-inch, $3.00 

By M. Gautier, Tenor {In French) * 45007 10-inch, 1.00 

Caruso makes a manly picture as the young nobleman, and sings the music allotted to 
Raoul charmingly, especially this delicate Romanza, in which he describes the vision of the 
unknown with whom he has fallen in love. In dreamy tones he sings the recitative, after 
which a short introduction brings us to the romanza, beginning 

ilnAMlJNO Onu itM. 

PiA bian - ca, del pi^ bian -co ve lo. 

F'air _- *r /or e'en than fair -est lit y. 

Nothing could be more tender and beautiful than Caruso's singing of this number. 


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 fcight. 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 shail 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 w^iles of w^oman. 

Sirs, I will; an old Huguenot song against the snares of R9me and the 
dark wiles of woman. You, sirs, should know it well — it is our battle 
song: you heard it at Rochelle, for there 'twas sung, 'mid the din of 
drums and trumpets; with a full accompaniment — piff, paff, piff, paff, — 
of bullets from our ranks, thus out it rang: 

*Doubk-Faced Record— For titk of opposite side see DOUBLE-FACED HUGUENOTS RECORDS, page 158, 


PiflFI PaffI (Marcel's Air) 

By Marcel Journet, Bas* 

ilnFrenc/t) 14196 12-inch. »1JS0 

Old Rome and her rcvcliics. 
Her pride and her lust. boy^. 
The monks and their devilries. 
We'll grind them to dust, boyst 
Deliver to fire and sword 
Their templea of Hell, 

Piff, paff, piff; slay them all, 

PiS, paff. piff, ev'ry soull 

Pil^ naff, piff; paff; piff; piff, paff. piff, paff! 

All vainly for aid or for mercy they call: 

No pity for theml No they dl^e— jlay all! 

ant is a very fine one, and his i 
and stem simplicity. 

A servant oE Neoen announces a veiled lady to see Kim and he retires to an adjoining 
room. Raoul catches sight of the lady through the window tu she lifts her veil, and is 
astonished and grieved (o recognize the beauty he had saved from the TufKans. 

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 1 (Noble Sirs, I Salute You) 

By Louise Homer. Con craico \,h Italian) 83107 1 2- inch, * 3.00 

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 (his graceful melody: 

worked up with mucli spirit a 
on the word "no," Mme. Ho 
bility of her line voice. 

Meyerbeer intended this part for soprano, but It is usually transposed and sung by a 

Mortal so favor'd by beauty's ijueen! 
The note proves to he for Raoul, and bids him consent to come blindfolded in a 
carriage, without question, to wherever his guide will lake him. The young man is puzzled 
but decides to obey, and shows the note to the others. They recognize the seal of Margartl 
Iff Valott, and cast looks of envy at him as he follows the page. 


SCENE— Cai(/e and GarJtn, of Ocnonceoux 
The Queen is aested on a kind of throne Burrounded hy her maids, who, with Uihano, 
are assiaEing in her toilet She riaea and sings her 
great air in praise of fair Touraine. Two fine records 
of this florid number, by two (amaua sopianoa, are 
presented here. 

O. vago suol della Turenna (Fair 
Land of Touraine) 

By Macii. Galvany, Soprano 

(Inllallan) B8234 12-iDch. I3.00 
By GiuBeppiDa Huguet, Soprano 

(In llalian) *39123 12-uich. 1^5 


Oh, Wdy land of fair Tourainel 

Thy vine-clad hills, Ihy sparklinE iounlains. 

Thy green banks and thy murrn'riiiB lephyrs, 

Attfin my soul with peace and love! 

Yet. for a diHerence in belief. 

This fair scene may by war be stain'd! 

Oh, thai men would observe the moral. 

To love and fear Ihr all-powriful Being! 

Itut hence with sorrow! 

Care we will banish; 

Quick, let it vanish, far, far away! 

The malda diaperse, and i'alenllne entere and tella the Queen ihat the has aeen the 
Count Je Nevtra, who has promised to releaae her from the engagement which had been 
arranged. Margaret informs her that she Iiaa 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 ia the Queen who has sent for him. and pledges his honor and his award to her service. 
He does not, however, perceive l/alentlnt, who haa retired at the moment of hia entrance. 

The noblea of the Court. Protestant and Catholic, now enter. 
having been sent for by Matgant. She announces that ahi 
Triage which shall recc "" 

planning a marriage which shall reconcile all their differences, and 
aaks them to swear to live in peace with each other. 

Maigahet: Swear that, by (he marriage vow, 
Which each this iiy shall plight. 

No moie each o'ther^s fives' iisail, 

{Raoul!' Nevers. "§1. Brit and the Nobles. 

The Queen and all her powers. 
ThatTiindly ads and generous thoughts 
Shall evermore be ours! 
ValenHnt is now led b 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 Na>era. 
Raoul (ih a stifid votci): 

What perfidy! what treachery! 
SCALCBI AS THE FACE I her Gusband! Never, never! 

»DMiife.Fo«<' RccorJ—Fo, llik ofoppoiitc udt h DOUBl^FACED HUGUENOTS RECORDS, fx 


A terrible scene (ollowa, St. Biis challenging Raoal, 
wKo i« ordered under arreat by the Oueen. VaUnllne is 
overcome with shame, and die Catholics are furious. 
Marcel i* delighted that his master has escaped marriage 

with a Catholic, and the curtain 

falls as the Lutheran chorale is 

again heard in the orchestra. 

(A Square In ParU) 
A wedding procession passes 
on its way to the church; it is 
(or Valcnlim, who has been 
persuaded to wed Neveri, 
VatenHni: asks that she be per. 
mitted 1o spend the day in the 
chapel in prayer. While there 
she overhears a plot to assas- 
sinate Raoul. and at once goes 
in search of Marcel to inform 
him of the plan. She meets 
him in the square and in a 
great duel tells him of the ou-tt -ii-.i. 

Nella notte to sol qui veglio (Here By Night Alone I Wander) 

By MarU Grisi. Soprano, and Perello De Segurola, Baa* 

{In Italian) *63404 10-inch. *0.75 

Marcel thanks her for the warning and goes with his friends to the rescue. A general 
conflict is threatened but is prevented by the Queen, who appears just in time. She tells 
Raoul that yalenllne is innocent of wrong, having merely gone to Neven' house to ask him 
to release her. Raoal is overcome with remorse, but the knowledge comes too late, as 
yalenllne is already the wife of Neoen. 

A richly decorated boat approaches, occupied by the nuptial suite. Nevert leads Valerdlnt 
to it. and as all salute the bridal couple the boat moves away, 
while Raoal, overcame by grief, is supported by Marcel. The 
curtain (alU. 

(A Room In Neoera' Caalle) 

yalenllne, alone, broods over her sorrows, confessing to her- 
self that although wedded to another, she still loves Raoul. She 
is astounded to see her lover appear, he having braved death 
and entered the castle to see her again, yaltnllne hears her 
father's voice, and hastily conceals Raoal behind the tapestry. 
The Catholic nobles enter to discuss the plot outlined by St. Brit. 
They finally agree to his fiendish proposal, and swear to slaughter 
the Huguenots. Never! is horrihed at the bloody scheme to 
exterminate all Protestants, and refusing to become an assassin, 
he breaks his sword, and is led away by the guards. 

The conference closes with the famous Benediction of the 
SmorJi, perhaps the greatest and most thrilling of all operatic 
scenes. A magnificent record of this number has been given by 
Journet and the Opera chorus. 

Benediction of the S'words 

By Marcel Journet. Bass, and Metropolitan 

Opera Chorus {In Italian) 742T$ l2-iiich, *1.S0 
By Sousa's Band *351 18 12-inch, 1.25 c^.r -»-.>•• 

By Sousa** Band 31974 12-inch, 1.00 Constantino as baoul 

•DMrffc-Fomf Rca.iJ—F-,r Htk ofntnyMe ^de w DOUBLE-FACED HUGUENOTS RECORDS, iK-ge 158. 


The number begins with the strain sung by St. Brls in his recital of the plan. 

urase firing, J£ah de beszke as raoul 

To compass Htav'n's desiring. 
Now for vengeance we go! 
Then comes tho furious and fanatical chorus of priests and lords, one of the most 
difficult of ensembles. 

Not a breath, or 
StHke the impiou 



lous pusBBBH for the basses which 
very pianissimo, as the company 

The nobles having gone, Raoul comes out, horrified at what he 
has heard, and wishes to warn his friends, when Valtntlnt, thinking 
to save his life, urges him to remain, telling him (hat she loves him. 
In a transport of delight he begins the great duet. 

Dillo ancor (Speak Those Words Again !) 

By Ida Giacomelli. Soprano, and Gino Martioez- 

Patti, Tenor (/n Italian) *35123 12-inch. *l.29 


Ah I 5av again thou lov'at me! 

Forever now we^re united. 

Thou hast link'd Ihy fate la mine— 

*Douife-FoH!c/fi«orc/-For I 

: i./wi(B>ffc "ifc M DOUBLBJ'ACED HUGUENOTS RECORDS, pagi 158. 


The great bell of St. Germain, ihe signal to prepare for the slaughter, ia heard lalling, 
and Raoal makes a fresh e5ort to go to the aid of his people. He rushes to the window, 
while Vatenllne clings to him, and ^owa her that the massacre has already begun; then 
tears himself from her arms and leaps from the window, while she falls fainting. 

In recent productions in America, because of the great length of Meyerbeer's work, the 
opera has ended with the shooting of Raoul by the mob as he leaps from the window ; but 
in the original version a hfth act occurs, in which Ntvtri is killed, and K<i/enffne, renouncing 
her Faith, is united by Marcel to Raoal. St. Bria and his party enter the street, and not 
recognizing yalentlne, fire upon the three and kill them. The curtain falls as St. Bra dia. 
covers that he has murdered his daughter. This final tragedy is graphically pictured in 
the accompanying reproduction from an old drawing. 


{Beaediction of the Poif^nards By Sousa's Baodl 

rrotialore— Wome lo Oar \founlains ft, Corlnne Morgan. bsllB IZ-inch. *1.25 

Contralto, and Harry Mocdonoagh, Tenor {h Engli>h)\ 

IO vago suol della Turenna (Fair Land of Touraine) i 

By Giuseppina Hufuet. Soprano {In Ilatian}\ 
Dillo ancor (Speak Those Words Again} By Ida }3SI23 12-inch. 1.29 

Giacomelli. Soprano, and Giao Martinez- Patti, Tenor 
{In Italian)] 
\B Selection By Victor Bandj, 


'^ictor Band! . 
Victor Band}: 

(In French) 

35029 12.mch. 1.25 

'45007 10-inch, 1.00 

Plus blanche (Fairer Than the Lily) 
Callhume Tdl—JJulle Heredilahe 

By M. Caalltr. Tenor (In French)} 
la notte lo sol qui veglio (Here By Night Alone ( 

I Wander) By Maria Grisi, Soprano, and Perello 

de Segurola. Bass {In Italian) ^63404 10-inch, l.OO 

Lucrtzia Borgia— Vieni la mla eendella (Haitt Thee. To 

Glut a Vengeance) By Glulio Roal, Baa {In Italian)) 





Book by Goudinet and Gille, taken from the story Le Mariage de Loii. Music by L6o 
Delibes (Day-leel/). First production Paris, April 14, 1883. First London production at 
the Gaiety Theatre, June 6, 1885. Produced in New York November 28. 1888. 


CDCfMro/i- ^ officers of the British army in India < ^^^^ 

hREDERIQJ -^ 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 21andt, and the MetropoHtan 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 ; Lakmi* hke Aida, loves her country's enemy ; Nilakantha and Neluskp possess simi- 
lar traits ; while Lakmi and Selika both poison themselves botanically. 

The Oriental atmosphere is somewhat spoiled by the introduction of the modem and 
somewhat commonplace Elnglish characters, but the romantic ending atones for any 


SCENE— >J Qarden in India 

Nilankfltha, Lakm6*s father, hates the English invaders and resists their presence in India. 
Cerald 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 Lakm^ had left in the garden. He takes up 
the trinkets and sings his charming air, Idle Fancies. 

Fantaisie aux divins tnensonges (Idle Fancies) 

By M. Rocca, Tenor {Double-faced— See page 1 62) {In French) 16573 10-inch, $0.75 

He is struck with the daintiness and beauty of the gems and tries to picture the 
unknown beauty to w^hom they belong. 



Gerald: The small foot, that but reposes 

Idle fancy, cradled by delusion, -.P" *nossv banks or beds of flowers. 

You mislead me now as of old. This necklace, too, with her own perfume 

Go to dreamland, turn back in confusion, _ scented, ^ .^u ^ r u i- 

Fair dove fantastic, with wings of gold. Embalm d as yet with sweets from her lips 

,-, , , L I \ t"^t came, 

{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 entvvine. TrembliAg with joy at the one well-loved 

Ah! what delight would be the holding, name 

The hand that passes there, in mine. Away, fly", fond illusions, 

CTaking 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 delusion, etc. 

{From the Ditson Edition.) 

This beautiful air has been sung for the Victor by a brilliant and accomplished young 
tenor, M. Rocca, of the Opera Comique. 

Hearing some one approaching, he hides himself in the shrubbery. Lakm^ enters and 

lays flowers at the feet of an idol. She is about to go when she pauses and tries to analsrze 

a strange feeling which has come over her, saying : 


In my heart now I feel there's a murmur so 

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 hois (Why Love I Thus to Stray ?) 

By Alice Verlet, Soprano {Double-faced— See page 1 62) (French) 45006 1 0-inch, $ 1 .00 
and asks herself why she loves to wander in the forest and why she is both sad and glad. 


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* Im 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 mtuition 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 haa made on his heart. 

Gerald: Ah! linger, go not yet, so thoughtful, sweet, unchiding! 
Let blushing charms that mine eyes now have met, 
O'ermantle thy cheek. 
Its lily pallor hiding! 

Lakmi 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 aa Nilakantha, summoned by Lakm^'s attendants, enters, and 
seeing traces of a trespasser, declares that he must die. They go in pursuit of Qerald, 
leaving Lakm^ motionless with fear. 

SCEINE — A Street in an Indian City 

Act II shows a public square, lined with Chinese and Indian shops and bazaars. Eng- 
lish visitors are strolling about, viewing the scenes with interest. Nilakantha, disguised as a 
beggar, is seeking traces of the intruder, whom he has sworn to kill. Lakmi is with him, 
wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Elng- 
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. 


O^ va la jeune Hindoue (Bell Son^f) 

By Luin Tetrazziai, Sopr»no {In Ilallan) 88297 12-uich, $3.00 

By Bessie Abott. Soprino (/n French) 88084 12-inch, 3.00 

By Miria Galvany, Soprino {In Italian) 88219 12-iDch. 3.00 

By Ellen Beich Yaw. Soprano (InFnnch) 74090 12-inch, 1.50 

Delibe> has ingeniously used bells to give character to this 

number, which is a most intricate one. especially in [he refrain, 

where voice, woodwind and belli blend with many charming 

Whence tinkles a fell, sharply, ifghlly, 

A bell that linkles lighily, that cbarmers 

(.Sht imitate, the bell.) 

Ah< Ah! Ah! Ah! 

While the stranger regards her 

Stands she dazed. fluAi'd and glowing. 

More handsome than the Bajahe, he! 

nail bell 

im bnngini 
like tho» 

Mme. TetiBzzini's rendition of thi> beautiful air is wholly charming, and the vocal em- 
bellishments which ahe introduces will be something of ■ novelty to those who are familiar 
only with the usual cadenias. 

Other fine renditioru ai this brilliant air are given by Mme. Galvany, who indulges in 
some quite astonishing cadenzas; by Beuie Abott, whose fresh young voice is heard to 
great advantage: and by Miss Yaw, who provides a lower-priced version. 

Pit Nllaiiantha had planned, GeraW recognizes Lai^mi and betrays himself. The Brahman 
goes to collect hU Hindoos, intending to kill the Englishman, while Lakm6 l^nds GeroW 
and warns him of the plot. She begins the duet: 

Dans la foret, pres de nous (In the Forest) 

By Mme. Vallandri. Soprano. «nd M. Rocca. Tenor 

{Doubk-faaJ—Ste note 162) {In French) 4S009 10-inch, *1.00 

and tells him of a hut in the forest where he may be free from pursuit. 

In the forest near at hand, 
A hul ot bamboo is hiding. 
'Neath a shading tree doth stand. 
This rgof of my providing. 
Like a nest of timid birds. 
In leafy silence abiding. 
From all eyei secret it lies, 

F^r a* ay' from "fyfng ^s?g£t.'""' " 
Withoul there's naugSt lo reveal it, 
Silent woods by day and night. 

Thilher shaft '^lhou"io1low' me ! 


Gerald at first refuses thus to hide, declaring it unworthy of a British officer, but Lakmi 
pleads with him and he consents ; but as he attempts to follow her he is stabbed by Nila- 
kantha, who then escapes. Lakmi 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. 


SCENE — An Indian Forest 

Act III shows the hut in the tropical forest. Gerald is lying on a bed of leaves while 
Lakmi 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) 641 71 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 

'Neath your breath life awoke and recovery 

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 Lakmi 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. 



Pourquoi dans les grands bois (Why Love I Thus to Stray ?) 1 

By Alice Verlet, Soprano (In French) U^OOb 10-inch, $1.00 
Mignon — Polonaise By Mile. Korsoff, Soprano (In French)] 

Dans la forSt, pr^s de nous (In the Forest) By Mme. 1 

Vallandri, Soprano, and M. Rocca, Tenor (^" ^'■*^"^^) I45005 10-inch, 1.00 
Manon — J'icris d mon pire | 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor (In French)} 

IFantaisie aux divins mensonges (Idle Fancies) 1 

By M. Rocca, Tenor (In French) [16573 10-inch, .75 
Rigoletto — Cortigiani, vil razza dannata 

By Renzo Minolfi, Baritone (In Italian) 


NOTE — Quotations from the text of Lakm6 are printed by kind permission of Oliver Ditson Company 
(Copyt 1890). 





Words by Rossi; music by Donizetti. First production at the Kftmtbnerthor Theatre, 
Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her Majesty's, June, 1843. 


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, f 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 LoustoloVs 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 w^ith 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* anitna (Guiding Star of Love !) 

By Marcella Sembrich, Soprano (In Italian) 88142 12.inch, $3.00 

By Giuseppina Huguet, Soprano {in Italian) 62090 10-inch, .75 

Linda: Oh! star that guidest my fervent love. 

Poor are we both in worldly state; Thou'rt life and light to me; 

On love we live, — on hope we dream! On earth, in Heav'n above, 

A painter yet unknown, is he, Entwin'd our hearts will be. 

Yet by his genius he will rise. Oh, come, then, come, my best belov'd! 

And I his happy wife shall be! Oh, what joy! My every pulse is thine! 

Charles enters, and the lovers sing their charming duet. 

A consolarmi afifrettati (Oh, That the Blessed Day Were Come) 

By Emma Trcntini, Soprano, and Alberto Caffo, Tenor 62090 1 0-inch, $0. 75 

Linda and Charles: 

Oh! that the blessed day were come, And then, my love, we'll never part, 

When standing side by side, But each a treasure find 

We before God and man shall be In having brought a faithful heart 

As bridegroom and as bride. To heav'nly love resigned! 

The worthy parish priest having warned Linda's parents of the dishonorable intention 
of the Marquis, they decide to remove Unda 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 relei^se of the farm from debt. The sight of her lover causes 
iJnda to fall in a death-like swoon, but when she recovers her reason has returned, and the 
lovers are united. 




Worda and music by Richard Wagner. First produced at Weimar, Cennony, Augutt 
28. 1850, under the direction of Li«t. First London production, 1875; Paris, 1687. Rr.l 
American production in New York, in Italian, March 23. 1874, with Nilsson, Gary. Campanini 
and Del Puente; in German, in 1885, with Brandt, Krauss. Fiacher and Stritt — this being 
Anton Seidl'i American dthat at a conductor. 

HENRI THE Fowler. King of Germany Bus 


Elsaof Brabant Soprano 

Duke Godfrey, her brother Mule Personage 

FrEDERJCK OF TELRAMUND, Count of Brabant, .Baritone 

ORTRUD, his wife Mezzo-Soprano 

THE KlNG^s Herald Bass 

Saxon, Thuringian and Brabantian Counts and 
Nobles, Ladies oF Honor, Pages, Attendants. 

Sctnt and Period : Anlwerp, finl half of the Tenth Cenlary. 

who^^comes in his boa 

defend £7ia from the charge (preferred by Ttlramand and 
Qrtrid, who covet Ella's estates) of having murdered her 
young brother, Godfrey. 

Tebamund is vanquished and disgraced by Lohengrin, 
pEooAM OP oniGrNAL who wins Eha as his bride. One condition he exact* 

FcoDuciioN from her— that she shall never ask who he is or whence he 

came. By the influence of Orinid, however, she rashly 
questions him, and in fulfillment of his vow, but in 
deep grief, he leaves her and departs in his boat 
drawn by a dove. The ethereal Crall harmonies, the 
lovely Swan Motive, the noble Praytr of the King and 
the Bridal Chonit make this one of Uie moat melodious 
of all the master's operas. 


By La Scili Orchestra 31779 12-inch, 11.00 
The prelude, one of the most beautiful of all 
Wagner's compositions, symbolizes the descent from 
Heaven of a group of angels bearing the Holy Grail. 
The number begins with soft A major chords in the 
highest register of the violin. The motive of the Grail 
is then announced; 

Coming nearer and nearer, the light of the Giail is seen 
in the sky, while the air is filled with the blessings dis- 
pensed by the holy cup. As the sounds grow louder. 
the senses are overwhelmed, until at the tremendous 
climax thundered out by the full orchestra the mystic 
light of the Grail ia seen in all ita glory. 


The mrsterious Giall molive then fades away, being played 
at the end by muted ■CtinES; and the number ends vnth the 
■ame A major chorda pianitslmo. 

The performance of this wonderful prelude, which is 
written almost wholly foi strings, shows why this organization 
has become famous (or the exquisite playing; of its string section. 


SCENE— Bamfej Q/lht SchtUl. near Antuxrp 

King Henry of Geimany arrives at Antwerp and finds 

Brabant in almost a state of anarchy. He summons the counts 

and nobles of Saxony and Brabant to meet under the Oak of 

Justice, and calls on Fttderidi of TdramanJ (or an explanation. 

King. Here, to my, grief, I meet with naught but strife, 

CDiitSsion""iril' wa™ re°mMI w«'h"e?°*' 
On Itaee I call. Frederick of Telramund! 
■ ' a linighl a ' 

:, IH n 



:. boldly 

Dank. Konig. dir. dass du zu richten kamstt 
(Frederick's Charge Against Elsa) 

By Anton Van Rooy, Bass 

{In German) 92062 12-iach. *3.00 

wSose welfan 

With feigii'd la 
his Sifely, 

Pretending she 

"a",l her 

An^ho'se a wife full pleaaant to my 


Ortrud, daughter of i^dbod. true in death. 


e this 

s thro 

O Kim 

The host of adtnireiB of this fair 
II basa is now at its best, will b 

IS DutiJi Brtist, wKose 
[really pleased by the 
issue ot this record ot the dramatic air of Tclramand. Mr. 
Van Rooy, whtHc fine impersonations of Wagnerian roles are 
familiar to opera goers, is always an effective Fndeiick, acting 
the part with the niggedness it demands and singing the di£' 
cult music in the true Wapetian style. 

The King is much disturbed, and says: 
King; A dreadful aecusation thou hast brought! 

A crime so deadly, how ean 1 beLieve? 
Frederick vehemently repeats his accusation, and demands eaues as elsa 

that the King ch^^ose bctv^een them. The King aaks that EUa 
be sent for, an^ when she enters timidly with downcast eyes, he says kindlyi 

Speak, Elsa, in thy King thou may'st confide! 
The young girl seems bewildered and dreamily sings the lovely Tiaam, telling of her 

a splendid Knight who 

EUa'a Traum (Elsa's Dream) 

By Johanna Gadski, Soprano 

By Email Juch, Soprano iPlmo c 

{In German) 88038 12-inch. »3.00 
(In German) 74014 12-ioch. 1.50 

Elsa; Oft when the hours were lonely. 

W?t'h''heaY'i hea?t'and™ore7' 
Hoping a brighter morrow 

, words were wafted, 
on hilh^voSchaVd it. 

n"^ of "gold beside \im, 
int upon his sword. 

:Touds of* light he soar'd'; 

My g 


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 
compaa^, and the Herald i»Ils: 


I battle 

At (irat there comes no response, 
and Etta ia In despair, but after a 
second call a knight in shining armor 
is seen approaching in a boat drawn 
by a swan. 


Nun sei bedankt, mein 
lieber Schwan I (Thanks, 
My Trusty Swan 1) 
By Fernando de Lucia. Tenor 

(/n llaiian) 76002 12-iacll. $2.00 
By Leo Slezak. Tenor 

(In German) 61203 lO-inch. 1.00 
Lohengrin slepa out, then turning and careaa. 
ing the swan, sings: 

I give Ihee Ihanls, my tailhfiil swan! 
Turn thee afiain and breaat llie tidt,- ■ 
Return unto that land of dawn 
Wfaere jorou^ we did long abi.le. 
Well thy appoinled task is donc^ 
Farewell! farewell! my trusty swan; 
(to lilt King) 
Hail, gracious sov'rcign! 

Th/^oJilius n"ame fhalf f'rom th""nd 
That choM thse ruler, neVr depart. 
The knight now announces that he has 
come to defend the maiden, who is unjustly 


Ye, knights, nobles and freemon of this land. 

The King bids the nobles pre- 
pare to fight, and in this noble 
Cebet calls upon Heaven tO judge 
between the combatants. 

Mein Herr und Gott — 
Koeniff's Gebet 
(King's Prayer) 

By Marcel Journet. B*i> 

(/n Cennan) 
64013 10-inch. *1.00 

The King is one of Joumets 
best parts, and he always sings it 
magnilicentl}', his great voice rolling 
out in Iretnendous volume. His 
delivery is always easy and grace' 
fuU and his acting dignified and 

O King of 1. 
Look down 




This " 


l}"1^i in 
Whom Thoi 

I kn 





wt."h ^kvei 

1 heart 





i. lo 


r us < 


Fnderlck is soon stricken to 
the earth by LoAengrin, who is pro- 
claimed a hero. Elaa is pro- 
nounced innocent, plights her troth 
to her brave defender, and the cur- 
tain falls amid general rejoicing. 


ACT 11 

SCENE— Cour/ of Ihe Palace 

Ye wand'ring breeies heard me. 

When grief was all I knew; 
Nqw that delight halh stirred me. 

al tl 



crick and Ortmd, disgraced and 
dressed in sombre garments, 
are seated on the church 
steps. They upbraid each 
other, Frederick accusing 
Ortmd ol inventing the story 
of Elia'i crime. A long duet 
follows, ending in a terrible 
plot for vengeance. 

Eha appears on the bal- 
cony of the palace, all un- 
conscious of [he wretched 
and disgraced Tclramund and 
OrfmJ, who are hidden in the 
shadow. In a blissful reverie, 
the young girl sings to the 
•oft breezes of the knightly 
Lohengrin, to whom she is 
now betrothed. 

Du Acrmste (Thou Un- 
happy One) 

By Emma Eamea. Soprano. 
>nd Louise Homer, 
Contralto {In German) 

6»021 12-inch. $4.00 
Elta, 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. Ortmd, pursuing 
the plot agreed upon with FreJerick, 
appears and calls to £/sii,who hearing 
her name, cries: 

Whg calls? How strangely 
My name resoundelh Ihro' the nighl! 
Oitiud feigns repentance, and Eita, ii 
her, saying: 

the flush of her new-found happiness forgives 


men loiiows- 

Elsa: Ortrud (oiide — wi 

Oh, let me teach thee Oh! pride of hei 

How trust doth haiiow joy and love. That an illusion 

Turn. then, lo our faith, 1 be»ech thee. The gods of vei 

Oh. tuin unto Dur faitta divine. thee. 

For God is love! Their wralh-dest 

Elaa enlCTB the palace and the dark pbtters renew their vow 
of imprecation. 

Day breaks, and the Herald appears and Hnnount:es the 
banishment of Tebumund. EUa, attended by her ladies, passes 
on her way to the minster but is suddenly confronted by 
Orirud, who has arrayed herself again in splendid garments. 
She taunta £fia with the fact that her knight has no name. 

If I have heTrd aright, thou eanst not 

Elsa indignantly): 
Thou slanderer, taunt me no more, 
Let my reply all douhts assure- 
So pure and noble is his nature. 



SCENE \--The Bridd Cha^ha in the PaUc 
:t opens with (he WeJding March, played by the orche* 

Prelude to Act III— The Wedding March 

By La Seals Orche«tra 
This Is followed by the beautiful Bridal Chona. one o 
opera. Aa the curtain rises, showing the bridal chamber, the si 
but in a softer mood. The great doors at tf 
the ladie* leading. Efja and Ae Kin^ and nol 
front and the chorus begins; 

BLcsl be yi bath far from aN life's annoy 
Champion 'Victorious, ^o thou beforel 
Maid bright and glorious, go thou before 

*62693 lO-ioch. $0.79 




'.f^= ■ . 




rr, :. ■ :n ■ 



'-J.' \'- 



l' ■ !■■ • '■ 

f ' 




'> u. . 

•i1>:i ' 



' ', -- 

' '•<:■ "j>' 

This hoursLlI sIi°fVM| 

The parly goes slowly out leaving the bridal 
pair alone, while the strains of the nuptial air die 
away in the distance. 

TVie 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. 

Bridal Chorus wagnWs own ii««dwiiiting 

By Victor Opera Chorus 

ilnEnglhh) 31646 I2-mch, $1.00 

By Arthur Pryor's Band 31227 12-inch. l.OO 

By U Scala Chorus (Inllallan) *16537 lO-itich, .75 

The bridal pair are left alone and a long duet occurs, part of 

which is recorded here by two famous artists of La Scale. 

Cessero i canti alfin (The Song Haa Died Away) 

By Giuseppina Hu^ei. Soprano: Fernando 

de Lucia, Tenor {In Ualian) »2095 12-inch, *3.00 
The beautiful air which Lohengrin sings in the duet. £Xm/ Thou 
Bnalhe the Incense, is also given here by Dalmores. 

Athmeat du nicht mit mir die siissen Diifte ? 
(Dost Thou Breathe the Incense Sweet 7) 

By Charles Dalmores, Tenor 

(In Getman) 87088 10-inch, *2.00 

„., „„„.. ThU duet is scarcely over when the poison instilled in EUa't 

MiiMFB AS oRTHtro mind by OrlniJ causes her, in violation of her promise, to question 

* Dtabk-FaaJ fi«o«i— For Wfe of otooiUe .Idt « DOUBLE-FACED LOHENGRIN RECORDS, pati 172. 


Lohengrin as to his name and origin. He 
remonslcates witK Ker, at first gently and 
then with authority, reminJing ker that 
she has promised not to ask his name. 
She becomes more and Anore agitated, 


No, thou Shalt not compel me lo trust by 

What. fatal siwll is thine? 

Declare thy race and name! 

They are interrupted by the ei 

o[ Frederick and four associates, who break 
in with drawn swords. Eha shrieks and 
hands Lohengrin his sword, with which 
he strikes Frederick dead. The nobles 
surrender, and Elia falls senseless in 
Lohengrin'a arms. After a long silence, 
Lohengrin orders the body into the Judg- 
ment Hall, and gives £/ia in charge of 
her ladies. 

SCENE n—Same a, Acl I 
A quick change of scene shows again 
the banks of the Scheldt at Antwerp, as 
in Act 1. 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 

And fight by Ihy all-conq'ring sword. 
All are surprised when the knight announces that he is forced to de- 
le the command of the expedition, and tells of the attempt on his life. 

The destin'd campaian I suspend! 
To lead ye forth to battle here I came not; 
But judge me. for your leniency 1 claim not 
Then, lirsllv, do ye ^old that I am guilty? 

n face of Heav'n, 
le it bode. 


Lohengrin: Vainly I hop'd she would fulfil her task! 

Ye all have heard her eive 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 niost dramatic declamations 

in all opera. 

Lohengrin^s Narrative 

By Evan Williams, Tenor {In English) 74130 12.inch, $1.50 


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 doubtings 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, gloriousl^/^ reigneth. 

His knight am I, and Lohengrin my name! 

After this amazing narrative, which causes a great stir among the people, the awan 

appears to conduct Lohengrin away. 

Ladies and Men: Lohengrin: 

While I hear him the wondrous tale revealing. Too long I stay — I must obey the Grail! 

The holy tears adown my cheek are stealing! My trusty swan! O that this summons ne'er 

Elsa- «2id been! 

'Tis dark around me! Give me air! Oh that this day I ne'er had seen! 

Oh, help, help! oh, me, most wretched! J.,^*^°"«t^ *^^ ?^*.'" would soon be o er 

T -Kir /• ^ V ^N When thy probation would have passd; 

Ladies and Men (in great excxtement) : Then by tile Grail's transcendent pow'r. 

The swan! the swan! the swan! j^ ^^y (^ue shape we'd meet at last! 

The stream he floateth down. Oh, Elsa, think what joys thy doubts have 

The swan! ah, he comes! ended! 

Elsa {half -fainting) : Couldst thou not trust in me for one short 

Oh, horror! ah, the swan! year? 

Ortmd, 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* $ boat is drawn away by the dove as Eha faints in her brother's arms. 

35147 12-inch, 1.25 


Selection, No. 1 By Sousa's Band 31425 12-inch, $1.00 

/Selection, No. 1 By Sousa's Band\ «- . , . ^'y i^^u i *»< 

\ Flower Song (Blumenlied) By Victor Sorlin, 'Cellist f^^^^^ 12-mcti, 1.25 

Selection, No. 2 By Pf yor's Band 

Meditation from Thais — Intermezzo Religieuse 

By Howard Rattay, Violinist 

Fantasie By Victor Sorlin, 'Cellist 31 785 12-inch, 1.00 

/Prelude, Act III By La Scala Orchestra l^^^^a irk :^^k t< 

\ IValkUre—Cavalcata By La Scala Orchestra] ^^^^^ lO-inch, .15 

/Coro delle nozze (Bridal Chorus) By La Scala Chorus \ ,^-ot m\ i^^u t< 

\ Tannhauser-Pilgrims' Chorus By Pryor's Bandf ^^^^^ lO-inch, .15 




iLoo-chee^ -ah dee Lahf -mair-moor) 
i (Entflish) 



Text by Salvator Cammerano, derived from Scott's novel, " The Bride of Lam mer moor.** 
Music by Gaetano Donizetti. First production at Naples, September 26, 1833. Performed 
in London, April 3, 1838; Paris, 1839; New York, in English, at the Park Theatre, 1843; and 
in Italian, 1849. 


Henry ASHTON, of Lammermoor Baritone 

Lucy, his sister Soprano 

Sir EEXjAR, of Ravenswood Tenor 

Lord Arthur Bucklaw Tenor 

Raymond, chaplain to Lord Ashton Tenor 

Alice, companion to Lucy Merzo-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 takes place in Scotland, part in Ravenswood Castle, part in 
the ruined tower of Wolf scrag. The time 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 

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 Luc^ 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 Luc^ has just signed the contract, 
when Edgar appears and denounces Lucy for her fickleness. Edgar is driven from the castle, 
and the ^hock 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. 


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. 


Opeaing Chorus, Act I 

By La Scali Chorus (/n Ilalian) *62106 lO-mch. 10.75 

Sir Henry entera and talks with Norman of hia suspicion that Lucy has formed an attach- 
ment for some unknown kniehl. Norman suggests that it may be Edg"'- Henru is furious and 
declareB he will have a deadly vengeance. ^ 

SCENE 11—^ Port n^ the Ca,th 

Re^nava nel silenzio (Silence O'er All) 

By Luisi Tetrazzini, Soprano 

(In Ilalian) 86303 12-iach. $3.00 
By Giuseppina Huguet. Soprano 

(In Ilalian) *16539 iO-inch. .15 
Lacy shudderingly relates how she once saw the spectre 
of the murdered girl, and fears it is an omen of the future. 

bark waVlhe nighl and lowVing. 

And o'er yon founUin her palUd ray 

Yon pale moon was pouring. 

Faintly a sharp but stilled sigh 

Fell on my slanted ear. 

And straightway upon the fountain's brink, 

The spectre did appear! 

Itut slow on high lis skeleton hand, 

Threal'ning il did uprear. 

Stood for a moment immovable, 

Oh, what horrid omen is this? 
rnom m-t.i I Ought lo banish from my heart this fatal 

CONSTANTINO AS £DGA« g^ I'cannol; il is my life. 

And comfort lo my suff'rlng soul! 
This graceful number is given by Mme. Tetraziini with 
rare charm and pathos: the concluding ornamental paaaagea 
being sung with especial delicacy, and the beauty of the long 
auataincd A at the close being notable. The popular-priced 
rendition by Mme. Huguet is also a very attractive one. 

This ia followed by the second part.— the beautiful 
QuanJo raplla,— 

Quando rapita in estasi (Swift as Thought) 

By Graziella Pareto, Soprano 

(In Italian) 76009 12-inch, *2.00 
By Giuseppina Huguet, Soprano 

(In Ilalian] *63ir2 lO-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'a mortal hate, re- 
news his vow of vengeance, beginning this dramatic duet, ksh > fim-na 
Salla lomba. lucv and edoak 

♦ Dviblt-Factd RcairJ—f^rlltk i>/wi»m(fc "A « DOUBLE-FACED LUCIA RECORDS, fuse 179. 

Sulla tomba che rinaerra (By My Father's Tomb) 

By Emma Treatini, Soprano, and Gino Martinez-Patd, Tenor 

{InltaUan) »165r4 lO-inch. »0.r3 

II. the lone tomh, o'er the cold grave Ah; pray calm thee, »h. reslrain tli 

Wberemy^father's bones lie maulding, Thint what misery will soon enthr 

!e die' fVom^M 

WLlh Ihy'ldndred eternal warfare "' I can scarce from feai 

To the death I swore to wage! Wauld'st thou hav 

, Yield I—, ,. _ 

k vow I.half repented; , affection. 

lower "to'"r^eera'my"gase! Le? t*haTth"ugEl"hy'"rlge''4s5i 

Sdjtar nenv aava tKat ke must oa. and in a ten 

Veiranno a te sulP aura (Borne on Sighing Breeze) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

(In Italian) 14064 12-inch. tLSO 

By Emma Trentini. Soprano, and Martinei-Patti. Tenor 

{In Italian) *62106 10-ineh. .75 


My sighs shall on the balmy breeze 
That hither wafts thee, be borne, love; 
Each mumi'ring wave shall echo make. 
How 1 thy absence do mourn, love! 

all 1 



ought of 




ny bret 



1 bears thy sigh. 

om me, I 






:hee. love 
n far awa 

ig still 


lught m 

t to chee 

all I 

ledew ( 


iny a b 




1 to writ! 





Fear not! Have no fear, thou shall hear! 

My sidjia shall on the halmy breeit mccoimack aj edca« 

EJgar tears himself from her aims and departs, leavins the half-fainting Lucj/ to be con- 
soled by her faithful Alice. 


SCENE \—An Anlt-nom In the Caille 
Sir Henry aad his retainer Norman ere discussing the approachitig marriage of Lacy to 
Arthur. The events which have occurred since Act 1 are indicated by this extract from the text; 

Should Lucy still persist See, 'she approaches! Thou hast that forged 

In opposing me— letter, 

Nokmab: "'"" " "•*• "''''' baste thee to the northern 

Of him she niournelh, the letters There keep watch and await 

Will quench all hope that yet may linger. Conduct him hither! 

Believing Edgar faithless, from her bosom (Ej,-, fjorman.} 

Lacy entetsi pale and listless, and to her brother's greeting : 


Draw nearer, my Lucy, 

On this fair day accept a hrolher's greeting! Auspicious prove to thee. Thou hear'st me? 

May this glad day, Mcred to Love and tRouVi si^lent! 

she nniwera with a last appeal to him to release her from this hated marriage. 

ofomatte MlJe Kt DOUBLE-FACED LUCIA RECORDS, fo/t 179. 


II pallor funesto (If My Cheek is Pale) 

By Linda Brambilla, Soprano, and Francesco Cigada, Baritone 

(In Italian) *16574 10-inch, $0.75 

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! 

L 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 (Fm Thy Guardian) 

By Giuseppina Huguet, Soprano, and Francesco Cigada, Baritone 

(In Italian) *62089 10-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 hangino^; 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 EJgar's falseness, she half consents to the sacrifice, and retires 
to prepare for the ceremony. 

SCENE II— r^e 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 iMcy *s agitated bearing, as she is 
still mourning for her mother. 

I Ijucy enters and is escorted to the table where the notary is preparing the marriage 
papers. Believing her lover false, sh\( 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) 96200 12.inch, $7.00 

By Victor Opera Sextette (In Italiart) 70036 12-inch, 1.25 

By Victor Band 31020 12-inch, 1.00 

By Pryor*8 Band 31460 12-inch, 1.00 

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 cf opposite side see DOUBLE-FACED LUCIA RECORDS, page 179, 



Henby and Edcam: Lucy Ideipairingly): 

wL\"UursUy"''ray*word*ra ^bbardf And in hL drear feners bounTme,"'' 

Is'I a»ecIion ttist still remaineth. But he comrs not to relieve me! 

And each angry tho'I enchainethf Ahl of life will none bereave me> 

Henbv: Hence, thou traitor, hence beUke thee, 

And remorse my breast doth fill: Ere our rage shall o'erwhclm Ihee! 

One by one the characters in the scene take up their portions of the seitette until the 
great climax, one of the moat dramatic moments in opera, is reached. 

Several records of this mBgnificent number are offered to Victor audiences. Besides 
the splendid Caruso-Setnbrich 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 $1.23, while for those who prefer an in- 
strumental rendition two fine band records are offered. 

Henry and Edgar, who have drawn their swotds, are separated 
by Raymond, who commands them in Heaven's name to sheath 
theiT weapons. Htnty asks Edgar why he has came, and the 
kDight rephes: 


Hither eame I 
For my bride— thy sister 
Unto me her (aith hath sworn! 

Thou must all hope of her relinquish^ 
She i'i 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 tushes from the castle as the curtain falls, 
SCENE 1—7^ Tointr of Raoerauxod CattU 
Edgar is brooding on his misfortunes when a horseman rides 
up, dismounts and enters the tower, [t proves to be Sir Hairy, 
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 avray, that their vengeance may be consumiriated. 

O sole pi^ rapido (Haste, Crimson Morning) 

By Giuseppe Acerbi, Tenor, and Reozo Mioolfi. Bsriione 

(In Italian) *62644 10-inch. 10.75 
Why the gentlemen do not take advantage of the present moment the librettist does 
not reveal! T^is 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 n—Hall In Ummtrmoor Caillt 
The peasants and domestics of the castle are making merry at their feasl 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 Sigoor Sillich and the La Seals Chorus. 

O qual funesto awenimeoto (Ok I Dire Misfortune) 

By Aristodemo Sillich. Bass, and Chorus (/n Italian) *b2b44 lO-inch, I0.75 
Ragmond'i tidings have scarcely been spoken when Lucy enters, a pale and lovely figure 
...1.:.. ._j .11 ■ _j (j,^ liortor- stricken servants, begins her famous so-called 

* Dofi^FaoedRKerJ— Formic BfaptmlH il^ •» DOUBLE-FACED LUCIA RECORDS, fiof 179. 

(/n Ilallan) 




(In Italian) 




(In Italian) 






(/n Italian) 




(In Russian) 


10- inch. 


Mad Scene (Wiih nuu obbiinco) 

By Lui» Tetrazzini. Soprano 
By MarcelU Sembrich. Soprano 
By Nellie Melba. Soprano 
By Maria Galvany, Soprano 
By Graiiella Parelo. Soprano 
By Marie Michailowa. Soprano 
Forgetting her marriage, the demented maiden apeaka one moment of the happy day 
when she will be Edgar's wiFe, and next is terrified by a vague feeling that something has 

This famous number must be judged solely as a brilliant piece of vocalism ; it can hardly 
be considered dramatically, because ^vhen 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 Lucu in het agony seems inclined and able to sing the most difficult and 
florid music conceivable, and venture without hesitation on passages at which a aane person 
would stand aghast! In short, Donizetti forgot his dramatic mission lemporarily in his eSorta 
to write a show piece of musical execution. 
Lucv: See yon phantom rise In part u*T 

1 hear the breathing of his voice low and (Her mood again rADnyirj.) 

lender. Vel shall we meet, deai Edgar, before llii' allar. 

Thai voice beloved sounds in my head forever. Hark lo those strains celestial! 

My Edgar, why were we parted? Ah! Tis the hymn for our nuptials! 

Lei me not mourn thee; For us they are singing! 

See, for thy sake, I've all forsaken! The altar for us is deck'd thus, 

What shudder do I feel thro' my veins? Oh, joy unhounded! 

My heart is trembling, my senses faill 'Round us the brilliant tapers brightly are 

(Slie iorgets lur trouble and imilos.) shining, 

Come to the fountain; The pHeEl awaits us. 

Th*re l*t u$ rest together. Oh; day of gladness! 

Standing between us! Alas! Dear Edgar! (iV.e^/oS /ofn(%ff .iTiB »ie orinj"/ Kaymofld.) 

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 

e of the unhappy Lucy is also admirably fitted 
to Telrazzini'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 MaJSctnc. 
the listeners are absolutely electrified, and such a torrent of 
enthusiasm bursts forth that the diva is usually compelled to 

Mme. Seinbtich's rendition proves that the compass of 
her voice is all but phenomenal, and she sings the difficult 
music with delightful Beiibility 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 
am .oitT tbe Victor is a welcome entertainer. 

TETRAiriNr AS THE The unhappy Lucy, after having In this scene again 

DEUENTED Lticv CRacted the terrible events of the previous day. falls insensible 

and is carried to her rmm by Alice and Raymond. 
SCENE l\—The Tombs o/ the RaotmioooJa 
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 Ejigland, never to return. 
EJgafiofsa the first of the two beautiful airs written by Donizetti for this scene. 


Fra poco a me ricovero (Fare'well to Earth) 

By John McCormack, Tenor (In Italian) 74223 12-inch $1.50 

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 luicy 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 spiecfasti Tali (Thou Hast Spread Thy Wings to 
Heaven) (O belf alma innamorata) 

By John McCormack, Tenor (In Italian) 74224 12.inch, $1.50 

By Florencio Constantino, Tenor {In Italian) 74066 12-inch, 1.50 

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 LMcy may approach so 
accursed a tomb as that of Ravenswood. 

Edgar: I'll follow thee above. 

Tho* from earth thou'st flown before me, Tho' the world frown'd on our union, 

My ador'd, my only treasure; Tho' in this life they did part us, 

Tho' from these fond arms they tore thee, Yet on high, in fond communion. 

Soon, soon, I'll follow thee. Shall our hearts be turned to love! 

Breaking from Raymond, who endeavors to prevent the ^tal act, Edgar stabs himself, 
and supported in the good metn*s arms, he repeats in broken phrases the lovely O bell* alma 
innamorata, and lifting his hands to Heaven, as if tp greet the spirit of Lucy, he expires. 

16574 10-inch, .75 


Regnava nel silenzio (Silence 0*er All) 1 

V r . By GjuseppinaHujuet. Soprano (/n /ta/ton) L^j^^ 10-inch. »0. 75 

yorma — Casta Diva (Queen of Heaven) 

By Giuseppina Huguet, Soprano (In Italian)} 

fll pallor funestp (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 (Vtn Thy Guardian) 

By Giuseppina Huguet, Soprano, and Francesco Cigada, 
Baritone (In Italian) v., ^^ao , ^ • ^i, -< 

Tu che a Die spiegasti Tali (Thou Hast Spread Thy Wings ^«>20»» lo-incn, ,75 
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 suU' aura (Borne on Sighing Breeze) 162106 10-inch .75 

By Emma Trentini, Soprano, and Gino Martinez- | - , . 

Patti, Tenor (In Italian)} 

Quando rapita in estasi (Sivift as Thought) 

By Giuseppina Huguet, Soprano (In Italian) 
Lucrezia Borgia — Rischiarata i la finestra 

By La Scala Chorus (In Italian) 

* Double-Faced Record — Fot title of opposite side see a&ove list. 



62644 10-inch, .75 

63172 10-inch, .75 


{LooJtrai/ -tat-ah Bot- -fie-ali) 


Teil by Felice Romsni, taken from a work of the ume name by- Victor Hugo. Music 
by Gaetano Donizetti. First pretented to the public at La ScbIb, Milan, in 1834 : given at 
the ThUire Italia,. Paris. October 27, 1840. Firgt London production at her Majuty's 
Theatre. June 6, 1839; in English at ihe Princess" Theatre. December 30, 1843. Produced 
in New York at the Astor Place Opera House. 1847. 

Character ( 

LUCREZIA Borgia .' . . . Soprano 

MAFHO OR3INI (Afa/'-/!M.A Or«'-«) Contralto 

GENNARO. Utn-oaK-n/,}^ [Tenor 

Vi^^?^?n Young noblemen in the service of the Venetian 1""°' 

VtTF.1 .1 DZZO. " n , ,. Tenor 

PETRUCCI, Kepublic g^ 


IL DUCA Alfonso Baritone 

RUSTEGHELLO, in the service oF Don Alfonso Tenor 

BATnSTA Tenor 



Scene and Period: Italy; tht beginning of the sbiltenlh cenfury. 


corvr ouMHT 


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 Boreas— celebrated for their 
diabolical success as poisoners. 

Luctezia 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. 


At the opening of the story Lucreiia, 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 ever3rthing 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 Dl pescatore, 

Di pescatore ignoble (In a Fisher's Lowly Cot) 

By Francesco Marconi, Tenor {In Italian) 76004 12-inch, $2.00 

By Carlo Albani, Tenor (in Italian) 74098 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. 


Gennaro afterwards shows his hatred and contempt for the Borgias by tearing down 
Lucrezia' 9 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) *63404 10-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 afterward 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. 


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) *631 72 10-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 Brindisi, or drinking song. 

*Double.Faced Record— For tUk of oppo»iU side see DOUBLE-FACED LUCREZIA BORGIA RECORDS, 
pose 182. 


Brindisi (It is Better to Lau^h) 

By Ernestine Schumano-Heink, Contralto (/n German) 88188 12-inch, *3.00 
Thia air ia a very well known one, and haa been frequently sune, but Mine. Schumann- 
Heink puts such brilliant apirlt Into it, and sings it with such weahh c^ gayety, such Batoniah" 
ing range sod inch agility, that the rendition amazea the tistenec. It is certain that no muaic- 
Icver of the present generation has ever heard it aung ao brilliantly. The high notes are 
taken with the ease of a aoprann, and altogether this familiar drinking Eong haa never been 
«> well deUvered. 

The rale of M<i0io Oninl was always one of Mme. Schumann-Helnk'i favonlea, and she 
mukes a gallant figure as the gay Roman youth. The words are well suited to the gayety 
of the muaic, and have been translated as followa: 

In the world we EomE beings discover. 
Far too (rigid for friend or lor lover; 
Souls unblest. and forever re pin ins. 
Tho' good fortune sround Ibem be tbinini;. 
It were well, if such taearls we could bsnisli 

To some planet far distant from ours; 
Tbey're the dark spots we (race, 

They are weeds that eboke up ibe fair flDw'i 

To her horror she sees Cennaro 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. Laciexia confuses the relationship between them, but 
German spurns her and dies. The Dui^e now appears, intending to share in Lucrexla'i 
hideous triumph, but finds his wife surrounded by her victims — some dead, others dying. 
Laeretla. a witness to the horrible result of her crime, suffers the keenest remorse, drinks 
some of her own poison and herself expires. 


(Vicni. 1b tnia vendetta By GiuUo Rossi. Bass {In llalian) \ 

{ Qll Ugonom—Daetto Valentino Maicello [63404 lO-inch. »0.75 

I By Maria Qrhi. Soprano, and Perello De Segarola, ftml 

IRischiarata i la finesira (Yonder Li^ht is the Guidinff | 

Beacon) By La Scala Chorus (ft /ia/,on] j lo-inoh, .rS 

Laaa di Lammermoor—Quando raplfa in eitasi 
By Ciuieppfna Huguel. Soprano] 






A Japanese lyric tragetjy, (ounded on the bc»l[ of John Luther Long and the drama by 
David Belasco, with Italian hbtetto by lUica and Giacoaa. Music by Giacomo Puccini. First 
produced at La Scala. Milan, in 1904. it proved a {ailure. Revived the following year in 
slightly changed foim with much lucceu. Firal American pieaentation (in English) occurred 
in October. 1906. in Washington. D. C. by Savage Opeia Company. First representation in 
Italian at Metropolitan Opera House. February II, 1907. with Farrar. Caruso, Homer and 


Madam butterfly (Oio-Cho-San) . Soprano 

Suzuki. (5*wu'-*tB) Cho-Cho-San'e servant Mezzo-Soprano 

B. F. PINKERTON. Lieutenant in the United States Navy Tenor 

Kate FINKERTON, his American wife Mezzo-Soprano 

SHARPLESS. United States Consul at Nagasaki Baritone 

GORO. a maniage broker Tenor 

Prince YAMADORI, suitor for Cbo-Cho-San Baritone 

THE Bonze. Cho-Cho-San's uncle Bass 

CHO-CHO-SANS Mother . Mezzo-Soprano 

THE AUNT Mezzo-Soptano 

THE Cousin Soprano 

TROUBLE, Cho-Cho-San's child 

Cho-Cho-San's relations and friends— Servants. 

j4I Nagaialil, Jafan—Timt, the present. 


The Story 

F'uccini'a opera, which Erom the first aiauied ihe keeneit interest among opeTa-soeis. 
haa become an enducing success. The original Metropolitan production in Italian was tinder 
the personal direction of Puccini himself, who refined and beautified it according to his own 
ideas into one of the moat 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 

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, 


SCENE— Exlerhr of Pinkcrton's house al Nagasaki 

At the rise of the curtain Coro, the marriage broker who has secured Plnlierton his bride, 
is showing the Lieutenant over the house he has chosen for his honeymoon. Sharpieu, the 
American Consul and friend of Pinkerion, now arrives, having been bidden to the marriage. 

Then occurs the fine duet, which Caruso and Scoiti have sung here in splendid style. 

Amore o grillo (Love or Fancy ?) 

By Enrico Ciruso, Tenor, and Aatonia Scotti. Baritone 

(In Italian) 89043 12-iach. *4.00 
By Riccirdo Martin. Tenor (In Itatian) 87081 lO-inch, 2.00 

NOTE.— Mr, Mutin tinii oolr Plokalan; ulo bim ■bon duti. 

Pin^trloR, 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 Batterfiy who loves him too well. 

The number closes with a splendid PlrOftrt-jn 
recklessly pledges the "real American wife" whom he 
hopes to meet some day ; v^hile 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 Facrar. Soprano 

[In Italian) 87004 lO-inch. »2.00 
This dainty little number is given by Miss Farrar with 
the naivete 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 

Pli^erton, they go to the refreshment table, while Battetfty 

uii'T Bii-iia timidly confides to Piidttrton, in this touchmg number, that 

UADTiH AS riNKERTON '^' '"" '"'' ''■> ol^e rcnounced 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 

;t is signed and the guests are dispersing when Ballttfty's uncle rushes in and 
' ' I been to the Mission, renounced her religion. 


She is cast off by the (amily, wKo flee frciin A 
but U comfoitecJ by the Lieutenant, who lell. hei 

Then occurs the incomparably beautiful duet which closes the first act, and which is 
beyond all question the finest of the melodious number, which Puccini ha. compa.ed foi 
the opera ; and the effect of this exquisite music, given on a darkened stage amid the 
flashing of fireflies, is wholly beautifuL 

O quantt occhi fisi (Oh 
Kindly Heavens) (Love 
Duet from Finale, Act I) 

By GertliliAe Farrar, 
Soprioo , and Enrico 
Caruso, Tenor 
(In Italian) 8901 T IZ-ia.. *4.00 
Miaa Fariai nngs all of Puccini'. 
music fluently and gracefully, but i. al- 
ways at hei best in this exquisite love 
duet, while the numbei i. Caruso's Anesl 
opportunity in the opera, and he tnakes 
the mort of it. 

The blending of the voices of the 
artists i. remarkably effective, and the 
ecstatic climax at the end is splendidly 
given, both singer, ending on a high 
C sharp; the effect being abM>lutely 
thrilling. buitekflv's uhcle denouncing her — act i 


SCENE— Initrior of Bulltifia'i Home—al the back " GaiJeniBilh Cherria in Bloom 
Three year, have now elapsed, and Bulteifia, with her child and faithful maid. Suzuki, 
are awaiting the return of PinktHon. Suzuki begins to lose courage, but Bulterfla rebukes her 
and declares her faith to be unshaken. 

Un bel di vedretno (Some Day He'll Come) 

By Geraldioe Farrar. Soprano (In Italian) 88113 t2-joch, tS.OO 

By Emmy Desttno, Soprano (In Italian) 920S7 12-uich. 3.00 

By Agnes Kimball (In Engltih) 70054 12-inch. 1.25 

Thi. highly dramatic number i. sung after Butittfty 

has reproached Suzuki iot her doubt., and in it she 

proudly declares confidence in her husband. In the 

Engliah version this is called the "Vision Song," as it 

describes her vision of the arrival of Umltnanl Flnktr- 

ton-, ship. 

Ora a noi I (Letter Duet) 

By Geraldine Farrar. Soprano, 
and Antonio Scoiti, Baritone 

(In Italian) 8»014 12-inch. •4.00 
Bultttfiy i. visited by Shatpltts, who has received a 
letter from Plnk'rton. and ha. accepted the unpleasant 
task of informing &itlerfly that the Lieutenant ha. de- 
serted her. He finds his task a difficult one, for when 
he attempts to read Pinkerton's letter to her. Jie mis- 
understands its purport and continually interrupt, the 
Con.uI with little bursts of joyful anticipation, thinking 
that Pinkerton will soon come to het. Finally real- 

iiing something of his message, she run. to bring her 

THE LETTM^itoH^p I N^KMTON ACT II child lo prove to Skatpltit the Certainty of het husband's 


Sai cos' ebbe cuore (Do You 
Know. My Sweet One) 

By Geraldine F»rr»r, Soprano 

(In Italian) 87059 lO-in.. 12.00 
By Emmy Destinn. Soprano 

{In Italian) 91084 10-in., 2.00 
In this piliful BIT she asks hide " TiouUe" 
not to listen to the had man (Shaiplett), who ia 
saying that Plnkerlon has deserted them. 

Shocked at the sight oF the child, which he 
knew nothing about. Sharpleas gives up in deapaii 
the idea of further undeceiving her, knowing that 
she will soon leani the tiuth. and leaves Butlejfig, 
who refuses to doubt Plnkerlon, in an exalted state 
of rapture over the idea of her husband's return. 
Throughout the duet may be heard the 
mournfully sweet "wailing motive " played softly 
by the horns, and accompanied by strings pizzicall. 
This is beautifully given here, and the record is a 

The sound of a cannon is heard, and with 
aid of a glass the two women see Rni^rfon'i ship, the 
Abraham Lincoln, entering the harbor. 

Duet of ttie Flow^ers 

By Geraldine Futit. Soprano, 
and Louise Homer, Contralto 

* ' BUTTERFLV AND "thovble'- (/„ Hallan) e»008 12-in.. »4.00 

Greatly excited. BaUttflu bids the maid atrew 
the room with (lowers, and they scatter the cherry 
blossoms everywhere, singbg all the while weird 
harmonies which are hauntingly beautiful. 

Miss Farrars impreaiive Ob-Co-San. childish 
and piquant in its lighter aspects and pitifully 
tragic in its final scenes, and Mme. Homer's 
Sazuip, 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 rdles, this 
exquisite duet is especially attractive. 

Night is falling, and not expecting PinktHon 
until morning. Baiterfty, Suzuki and the child take 
their places al the window to watch for his com- 
ing. As the vigil begins, in the oteheslta can be 
heard the " Waiting Motive," with its accompani- 
ment by distant voices of the aailora In the har- 
bor, producing an effect which is indescribably 

SCENE II— Same at the Prtctding 

The curtain rises on the same scene. It is daybreak. Suzuki, exhausted, ia sleeping, but 
Buttafly still watches the path leading up the hill. Suzuki awakes and insists on Balteifig 
taking some rest, promising to call her when the Lieutenant arrives. 

ShatpUit and Pinkerlon now enter, and question Sazaki, the Lieutenant being deeply 
touched to find that Butleifly has been faithful to him. and that a child has been bom. 

Suzuki, seeing a lady in the garden, demands lo know who she is, and Sharplat lells her 
it Is the wife of Pinktrlon, he having married in America. 


The intioduction by Puccini's librettist of this chara< 
many considenng it of doubttui taste, and forming a jarii 
is this feeling in France, that the part of Kale has been elimmHted tram Itie cast. 

The faithful maid is horrified, and dreads the effect of this news on hei miitiCBi. 
Weeping bitterly, she goes into Bolittfty'i chamber, while the friends are left to bitter 
reflections, expressed by Puccini in ■ powerful duel. 

Ve lo dissi ? (Did I Not Tell You 1) 

By Enrico Cacuso, Tenor, and Antonio Scotti. Baritone 

(/n halian) 89047 12-inch. •4.00 
Pinktiion realizes for the first time the hasenes of his conduct, while the Consul reminds 
him of the warning he had given him in Act 1,^ — Id beware lest the tender heart of Buttttfty 
be braken. 

The pari of the Consul is not s great one. hut Scotti almost makes It one with his care- 
ful portrayal, singing with dignity and tendernesB and giving the part its full dramatic value. 
With the re-entrance of Suaiki occurs the Irio for Plnkirton. Sharplaa and Suiukl. 

Lo so che alle sue pene (Naught Can Console Her) 

By Riccardo Martin. Tenor ; Rita. For nU, Soprano : Antonio 

Scotti. Baritone (/n Italian) 67903 10-inch, •3.00 

This trio is dramatically given by Martin, Fomla and Scotii, who have this season made 
successes in the several rAles of Hru^erfon, Suzuki and Shatplesi. 

finale Ultimo (Butterfly's Death Scene) 

By Geraldine Farrar, Soprano (In flallan) 87030 10-inch, *2.00 

By Emmy Deatinn. Soprano (/n Italian) 910S6 10-inch, 2.00 

Now comes the pathetic death scene at the close of the opera. Butltrfiy, convinced 
that Pinliaton has renounced her. blindfolds her child that he may not witness her suicide. 
takes down the dagger with which her father committed haTi-kari, and after reading the 
inscription on the handle. "To die with honor when one can no longer live with honor." 
she stabs herself. 

'ler way to the innocent babe, who, blindfolded 

I the spirit of play. The tragic Intensity of this 

scene always moves many to 

Miss Farrar puts into this 
final number all the pathetic 
despair of Cto-Qo-Son'a over- 
burdened heart; her rendition 
being a most Impresalve and 
wholly palhetic one ; while 
Mme. Destinn gives a most 
dran ' ' 
Bcene, f 

rending in the entire range ot 

Pinktiion enters lo ask 
BuHafty's forgiveness and bid 
her farewell, and is horHfied 
to Und her dying. He lifts 
her up in an agony of re- 


Madame Butterfly Selection By Victor Orcheatra 31631 12-inch. (LOO 

Thii ■election begiiu with the entiance muBic o( FirJtalon, BCcompanied by the 
American theme for which Puccini haa utilized the "Star Spangled Banner." 

Then in aucceuion are heard the gay air of the thoughdese Lieutenant (as a comet 
•olo) in which he describes the characterislica of hia countrymen ; the principal atrain of the 
love duet with which the act closes; the exquisitely poetical "Duet of the Flowers," part 
of which ia given on the orchestra hella ; and the beginning of the supremely beautiful scene 
where Butteiffy, her maid and little aon, take their placea at the window to walch until 
moraiDg for the husband's coming, while in the distance can he heard the faint voices of 
singers in the night, producing a mournful and indescribable effect. 

Then from the last acene we hear the return of Piniterton announced just aa Biillerfiy has 
taken her life; the American mafff strangely contrasting with the tragic muaic of the death 
:s of the final curtain music, with its ancient Japanese melody. 

radime Butterfly Selection By Pryor's Band! ,., ,„ ,_ . . ,, _. 

BariareiBriAOoer/ura ByPryo.^Bandf^^^*^ 12-,nch. »1.2S 

Madame Butterfly Selection By Pryor's Band 31697 l,2.inch, l.OO 

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 Fantaaie— By Victor Herbert's Orch 70055 12-inch, »1J15 
Madame Butterfly Fantasie By Victor Sorlin 'Cello 31696 12-inch, 1.00 
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 Butleifli/'a 
"Song of Devotion" in Act 11, sometimes called the "Vision Song"; and the mournful but 
beautiful "Wailing 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 pizzicali passages on the violin which accompany this strange melody are most effectively 
given by the orchestra. 

(Pnash) (EnKliih) 


{Genua) ,. (I»{j*D) 


(Ob Tmi^r.fia^4eh> (&f FW*.io MaA'^^to) 


Libretto by SchicLaneiJer. adapled from a tale by Wieland. " Lulu, or the Magic Flute." 
Muaic by Wolfgang Amadeus Mozart. First produced in Vienna, September 30, 1 791. Mozart 
directing. Firat Pari* production as "La Myaliia ij'/sfi, " August 20, T80L First London 
production, in Italian, in 1811: in German, [633; in English, [638. First New York pro- 
duction April II, 1833. ^ 


SARA3TRO, (Sahr^nn) High Priest of Isis BaM 

TAMINO. (7-dA.(«'.«.A) an Egyptian Prince Tenor 

PAPAGENO, {Pap^h-gmi'-niih) a bird-catcher Baritone 

THE Queen of night Soprano 

PAMINA, (Pooi«'-«.A) her daughter Soprano 

MONOSTATOS, (M^-n«to/'-oH) a Moor, chief of the alavee of the Temple 

of Isis Baritone 

PAPACENA. (PomA-wi^wA) Soprano 

RRST Lady, ) ( Soprano 

SECOND Lady, } attendants on the Queen of Night { Mezzo-Soprano 

THIRD Lady, ) ( Alto 

Sd'b^V, ) '»'-^"B 'O'^-^ T^Ple, and fulfilhng the ^^^^.^r^, 
THIRD BOY. ) ■^'"B"' "f Sarastro | ^j,^ 

Prieata and Prieatesaes of the Temple of Isia; Male and Female Slaves; 
Warriors of the Temple, Attendants, etc, 

TTie Kent h laid in Ihc vldnily of and In the Temple of Isia at Maaphis. The action 
U represenltd oi laklng place about the lime of Ramsa I. 


"A fanlastic fable was the ^round^vork 
■upetnalutal apparilions and a good dose at 
comic element were to serve as gatnish. 
But what did Mozart build on this prepos- 
(erous foundation? What godlike ma^c 
breathes throughout this work, from tl 
most popular ballad to the noblest hym 
What many-sidedness, what marvelous v 
rietyl The quintessence of every noblt 
bloom of art ■eems here (o blend in one u 
equaled Rovrei."— Richard Wagner. 

Strictly speaking, the Magic Flute is n 
an opera, but rather a fairy extravaganza a 
companied by some of (he most delightful 
music imaginable. To fully appreciate 
Mozart's work it should be heard in some 
German town on a Sunday evening, where 
middle-class families and sweethearts find 
much enjoyment in the mixture of mystery, 
sentiment, comedy and delightful music 
which make up the opera. The libretto is, 
of course, utterly absurd, describing as it 
does the magic of (he pipes of Tamlno which 
had the power to co 
flute is continually pi 


By Victor Band 

By Pryor's Band 

By La Seals Orchestra 
The overture is not only one of the greatest of 

Mipteciated, Its wonderful fugue, "in which Mt ^ . _„ . 

though it were mere child's play," is played by the band in a striking manner. This fut 
is announced first by the clarinets and a few bars later the comcU take up the theme, 
followed by every instrument in the band in the marvelous linale. 
The scene shovra a rocky landscape with the Temple of the Quten of Iht Night visible 
in the background. Tamlno, an Egyptian prince who is traveling with his friends, becomes 
separated from them, is pursued by a huge serpent, and finally faints from fright and fatigue. 
Three veiled ladies, attendants on the Queen, come from the Temple to his rescue and 
stab the snake with their javelins. While they go to tell the Qaem of the occurrence. 
Tamlno revives, sees the dead serpent and hides as he hears a flute. 

Ein Vogelfanger bin ich ja (A Bird Catcher Am I) 

By Otto Goriti. Baritoae (In Gtrman) 64163 lO-ioch. tl.OO 

introl men, animals, birds, reptiles and even the 
ilaying throughout the work, the results may be ii 

31012 12-iiicb, >I.OO 

*3513S 12-ioch, 1.25 

*6620T 12-inch, lSt5 

kind, but one of the most generally 

with fugal f 


Papagtno, a bird cat 
a merry lay, piping at ( 
anaring birds, but says hi 


(/«L -, 

of damsels, and all-around rogue. 
In his song the fowler describes 
catching women better I 

lly Vdung and old, fi-nm zone to lotlc. l!y 

Knows how to whistle every sound A i 

That hirrlsi may Rins the whole year round. Wo 

Oh. nnnc can tic more blithe than 1, I'd 

Wilh those s*'eet warblers of the sky. Am 

In the part of Papagtno Mr. Coritz has few rivals 
great features of the recent revival at the Melropolits 

lut them =afely up a 
iEver lei them forth 
ind his impersonat: 


of Night's daughter, the lovely Pami 


taken from her mother by Samilro, thePrfuf of III), to save her from evil influences. Tamino 
falls in love with the picture and offer, to rescue the maiden. He U giveo no all-pOwerfuI 
magic fiule. and accompanied by Papagtno sets out for Saraatro'i palace. 

The scene changes to a room in the palace of the High Priest, where Pamlna is diS' 
covered in charge of Monoilaloi, a Moor. 

The Moor is betraying his trust by persecuting Pamlna with his attentions, when Papagtno 
enters and frightens him away. The bird catcher then tetU Pamina of Tamlno'i love for her, 
and offers to conduct her to this mysterious lover. 

La dove prende (Smiles and Tears) 

By Emma Eimes, Soprano, and Emilio de Gogorza, Baritone 

[In Ilalian) 89003 12-iach, I4.00 
Hiis charming duet, with its grace and inimitable gaiety, introduces the melody of an 
old German song. Bn Mannrm ujtiche Llebt fahUn. 

Smile, sod Tnn 


ring. Yet. whilst that smile the brow is wreathing. 

eep woe; One word shall change it to a tear. 

r, that down 

i straying. And one soft sigh's imnsssion'd breathing 


say. When fich alilw misleads in turn. 

day. Oh, who the heart's deep lore shall learnl 

Fair seems false! and false seems fair! 

Still, what bliss, what joy are ihereT 
After many adventures Tamino and Pamlna 
meet, and by means of the magic flute they are 
about to escape, but are interrupted by Saraslro. 
who agrees to unite the lovers if they will remain 
and be purified by the sacred rites; and as the 

priest separates them and cavers their heads with 
veils, the curtain falls. 


The first scene shows a noble forest showing 
the Ttrnpie of IVlidom. The prieats asmmble, and 
Samsfrs orders the lovers brought before him. He 
then sings this superb Invocation, one of the most 
impressive numbers in the opera. 

Invoeation (Great Isis) 

By Pol PUn^on, Bass (Piano ace.) 

(In ilalian) 83042 12-illcb. *3.00 
In the Invocation, Sarailm calls on the gods 
Isis and Osiris to give Tamfno and Papnecra strength 
to bear the trial now at hand. 

Strengthen with wisdom's strength this tyro pair; 
Ye who guide steps where deserts lengthen. 
Brace theirs with nerve, your proof to bear! 


hould they hnd a grave 

In the noble rale of Saraslro Plan^on 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 (he Temple and begin their probation. 

In the next scene Pamlr,a is discovered asleep in a bower of roses. The Queen suddenly 
rises from the earth and gives Pamlna a dagger, telling her to kill Saraslro or Tamino can 
never be hers. Pamlna hesitates, and hct mother, in a terrifying and dramatic song, 
threatens vengeance on all concerned. 



Aria della Regina (The Queen* s Air) 

By Bessie Abott, Soprano {In Italian) 88051 12-iiich, $3.00 

By Maria Galvany, Soprano (in Italian) 87059 10-inch, 2.00 

The Queen of Night, Astrtflammante, is one of the most striking characters in Mozart's 
opera, and the fevr numbers allotted to her are difficult and florid ones. This great aria is 
one which the most experienced of sopranos alw^ays approaches vrith 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. 

The pangs of hell are raging in my bosom, I spurn thee and renounce thee. 

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 I 

Or as my daughter thou shalt be disown'd! Hear, gods of vengeance! 

I cast thee off forever, Hear a mother's vow! (She 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 Walls) 

By Pol Plan^on, Bass (Rano ace.) (In Italian) 85077 12-inch, $3.00 

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. 
H 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 w^hich 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, $9.00 

Mme. Gadski has long been recognized as one of the 
foremQst 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 w^ho listen to her superb 
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. 


/ "Magic Flute Overture By Pryor's Band \ « - , « - 

I My Queen Waltz 

i Magic Flute Overture 

\ Meistersinger Prelude 

By Victor Dance Orchestra j 
La Scala Orchestra ) 
La Scala Orchestra j 

12-inch, $1.25 

68207 12-inch, 1.25 






Words by Meilhac and Gille, after the novel of Abb6 Provost. Music by Jules Massenet 
First production at the Op^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 PlanQon; and at the recent production (in 1909) at the Metropolitan, with Caruso, 
Scotti, Farrar and Note. 


CHEVALIER DES GRIEUX (Shecal-W dch GreeW) Tenor 

Count DES GRIEUX, his father Bass 

LESCAUT (Les-koh^) Manon's cousin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN, a rou6. Minister of France Bass 

DE BRETIGNY (Bray-fee-pneeO 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 Abb6 Provost, 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, Jes 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 Britigny, 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, w^here des Grieux is endeavoring to w^in 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 w^oman. 

The last scene occurs on the road to Havre, w^here des Grieux and Lescaui, 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. 


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, w^hich presently arrives and discharges Manon. The young girl regards the 
animated scene with much interest, and soon espies Lescaut, her cousin, w^ho was to meet 
her at this point and escort her to the convent school. 'He greets her and compliments her 
on her charming appearance. She blushes and then artlessly tells him of her impressions 
during <the journey from her country home. The scene from this point has been recorded 
by the Scala singers. 



Restate qui (\^ait a Moment) 

By Elisa Tromben, Soprano; Federico Federici, Tenor; G. Pini-Corsi, 
Tenor; Riccardo Tegani, Baritone {In Italian) *55000 12-inch, $1.50 

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 rou^, 
CuilloU appears on the balcony of the hotel, crying : " Miserable landlord 1 Are we never to 
have any wine? *' 

He sees Manon, and his evil eyes light up at this vision of youth and beauty. 

do I see? Young lady! 
Young lady! 


Heavens ! What 
Ahem! Ahem! 
Really, my head is turning round! 

Manon (aside and laughing): 
W^hat a funny man! 


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 tQ^ that? 

.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. 


Oh, go to the Devil. 

PousETTE (to Guillot) : 
Are you not ashamed? At your age! 

De Bketigny: 

This time I swear the dog has by chance found 

a prize. 
Never did sweeter look light up a woman's 

Now then, Guillot, let the girl alone and come 
in. We are calling you. 

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 jjostilHon 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 pavillion) : 
Nothing, sir, I said. 

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. 

Manon (lightly) : 

Well, can you say 'twas my fault? 


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 


I come; but first to this young lady, with your 

leave, good sirs, 
I must speak some words of counsel full of 


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) *55000 12.inch, 

The young girl promises to be prudent and Lescaut leaves with the guardsmen. 

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 


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 

(They go out.) 

Des Grieux now enters, and seeing Manon, is much impressed with her beauty and 
modest bearing. He addresses her respectfully, beginning the lovely duet, Et je sais voire 


*Dotthk-FaceJ Record-For tUk ofop0o»He side «ee DOUBLE-FACED MANON RECORDS, page 20 f. 



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 draw^n to the young student. 
The transition from strangers to lovers is a quick one, as will be seen by the translation. 

Des Grieux: 

If I knew but your name — 
Manon (with simplicity) : 

I am called Manon. 
Des Grieux {with emotion): 

Manon (aside) : 

How tender are his looks. 

How delightful his voice to my soul! 

Des Grieux: 

All my fond foolish words, 
I pray you forgive! 

Manon (naively) 

How condemn your words when they charm j)£s Grieux (firmly) 

my heart; -- -J 

To my ears thev are music! 
Would to Heav n such language were mine, 
You fit answer to make. 

I am now on my way to a convent. 

That, sir, is the story of Manon, 

(With simplicity) 

Of Manon Lescaut! 
Des Grieux (with ardor): 

No, I will not believe that fate can be so 

That one so young and so fair can be destined 
to dwell in a living tomb. 

But 'tis, alas! the sovereign will of Heaven, 

To whose service I'm devoted, 

And no one from this fate can deliver me. 

Des Grieux (in a transport of joy) : 

Lovely enchantress, all-conquering beauty, 
Manon, from henceforth thou art mistress of 
my heart! 


Oh! what joy! 

I'm henceforth the mistress of his heart! 

Des Grieux: 

Ah, speak to me! 


I am only a simple maiden. 


Believe me, I'm not wicked, 

But I often am told by those at home. 

That I love pleasures too well; 

No, no! Not from you, Manon, shall hope 
and joy be torn. 
Manon (joyfully) : 

Oh, Heaven! 
Des Grieux: 

For on my will and power you can safely 
Manon (with energy) : 

Ah! to you I owe far more, far more than life. 
Des Grieux (passionately) : 

Ah! Manon, you shall never leave me now! 

Since I would gladly roam thro' all the world. 

Seeking for you, love, an unknown retreat, 

And carry you there in my arms. 

To you, my life and my soul! 

To you I give my life for evermore! 
Des Grieux: 

Light of my soul! Manon, 

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 L^on Beyle, Tenor 

{In French) *45009 lO-inch, $1.00 

Manon and Des Guieux: 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 w^ithin the hotel, w^here 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. 


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 tnon pere (This Letter's for My Father) 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor 

{In French) *45005 lO-inch, $1.00 

He tells her he is writing to his father : 

Des Grieux: Des Grieux: 

This letter's for m^ father, and I tremble lest Yes, Manon, I'm afraid. 

he should read m 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. 

*Douhk-Faced Record— For titls of opposite aide see DOUBLE-FACED MANON RECORDS, page 201. 



On Tappelle Manon (She is Called Manon) 

By Mile. Korsoff, Soprano, and Leon Beyle, Tenor 

(In French) *45009 10-inch, $1.00 

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 matter as this 

But I know how much I am loved. oppose me. 

Des Grieux (with passion): Manon: 

Thou art loved! Manon, I adore thee I 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. 

Des 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 LescauU accompanied by de Britignjf, 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 Britigny an opportunity to speak to Manon 
aside. He tells her that des Grieux is to be carried oS 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 Britigny, 

Des Grieux goes out to post the letter and Manon struggles with the temptation which 
has come to her ; the pathetic air. Adieu noire 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. Vallandr i. Soprano, and Leon Beyle, Tenor 

(In French) *45008 10-inch, 1.00 

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, our pretty little table! So small and space we lovers filled. A single ^lass 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.) I upon its margin where dear lips had been, 

smile as now I call to mind what narrow Ah I 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 

By Edmond Clement, Tenor, 

By Fernando de Lucia, Tenor (Piano ace. ) 

By Leon Beyle, Tenor 

By Leo Slezak, Tenor 

*Doubk.Faced Record— For tiOi of opposite side see DOUBLE-FACED MANON RECORDS, page 20/. 


(In Italian) 81031 



(In French) 74258 



(In Italian) 66001 



(In French) *45008 

1 0-inch, 


(In German) 61206 





Listen, Manon,** he cries, " On my way I dreamed a lovely dream.** 

Des Grieux: 

With fancy's eye I saw, Manon, 

A sweet and lowly cot, 

Its white walls, deck'd with flowers" fatr, 

Gleam'd thro' the wood! 

Beneath whose peaceful shadows 

Ran clear the babbling brook; 

Overhead, 'mid verdant leaves 

Sang so sweet and full the joyous birds. 

'Tis paradise! Ah, no. 

All is sad, so sad and dreary, 

For, O my only love, thou art not there. 

Manon (softly) : 

'Tis a vision, 'tis but a fancy! 

Des Grieux: 

No! for thus we'll pass our life, 
If but thou wilt, O Manon! 

A knock is heard and Manon exclaims, aside, "Oh, Heaven, already they have come 
for him 1 '* 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. 


SCEINE — A Street in Paris on a Fite Day 

Manon enters, accompanied by de Br^tign}f 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) 87023 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 

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 Jes 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 scul" 

(Alone at Last!) 

By Enrico Caruso, Tenor 

By Gino Giovannelli, Tenor 

By Florencio Constantino, Tenor 

By Leo Slezak, Tenor 

By M. Rocca, Tenor 

(In French) 88348 
(7/1 Italian) *55001 
{In Italian) 74174 
{In German) 64 1 1 6 
{In French) * 165 75 

1 2-inch, 
10- inch, 






*Doubk.Faced Record— For Htk of opposite side see DOUBLE-FACED MANON RECORDS, page 201. 



He declarcB he will now seek the peace o{ mlnil which only faith in Heaven can give. 

To the dregs I have drain'd 

Life's most bitter cup, 

Kor to Heaven once complain'd, 

Tbough heart's blood tilled it up. 

Dead to me now are love and all that men. call glory. 1 de- 

which°b3unts me^ Oh'^He'aven! with flame all searching. 

■rious light chase far away the gloom that lajs on my heart. 

He goes slowly out and Manon enten. ihuddeiing at the gloomy walls and wondering 
if her lover has quite forgotten her. Dei Crfeuiaoon returns and is astounded to see Manon, 
bidding her begone, saying his love is dead. She says she cannot believe it. 

Dt3 Grieax is deeply moved, but asks Heaven for strength to resist her. Hei plead- 
ings finally have their effect, and he cries : "Ah I Manon t No longer will I struggle against 
myself I" and they depart together. 

SCENE— /I Gamhlmg Room in Pari, 

Dei Grieui has been persuaded by Manon to come to this place in the hope of winning 
to satisfy her desire for luxury. He plays Eor high stakes and wins large sums from 
who leaves in a rage. As da Grieux is showing Manon the gold he has won, a loud 
ing is heard and the police enter with Gaillol. who denounces da Grieax as a swind 
Manon as his accomplice. They are arrested and taken to prison, but dea Grieax ii 
ward released through his father's influence, while Manon is ordered to be depc 
America by way of Havre, 


Concertato finale— 
O dolor 

By Aristo4emD Giorfini. 
Tenor ; A. Ssnioro. So- 
praao: S. Nicoliccbia. 
Baritone ; and Chorui 

(In Italian) 
87083 lO-incb. »2.00 
. ACT V 
SCENE— On Ihe Road to Havre 
Dei Crieax and Leicaul nre 
on the Havre rond, wailing 
for the KildierB who are es- 
corting the prisoners to the 
ship bound for America, des 
Gmux having conceived the 
mad idea of rescuing Manon. 
Beginning the duet he sings 

., ,,,v,E BOAD ACT V '*'' ""^ """^ remorseful air, 

Manon In Chains I 

Manon, la catena (Manon in Chains 1) 

By Remo Andteini. Tenor : Riccardo Tegani, Baritone : and Choru* 

{Doatk-FaaJ, me page 201) {In Ilaltan) S9001 12-iach. 11.90 

Des Giieux (discovcrtd lealcd bv Ihe Kayside): 

Manon. poor Manon: Must 1 see thee herded wilh Ihew «relclied beings and be power- 

Leacaul heaitatea and finally says : 

Des GatEUX {dislrariedy : 

'Tia false! Tia false! , Great Heaven hath 

the hoE/exilirtirdr ln"a^^omen" nfy 'Manon 

shall be free! 
I.ISCAUT (sadiyi: 

Since I have told Ihe Irnlli— 
TIES Grieux laboui lo itrike him): 

™nkJ'if you win. "Tis soldier's fare. He's 
by the King ill-paid; and then, whale-er his 
worth, the good folks shake their head and 
call him " wretched fellow,- 
Des Gbieux Uioliiiliyi : 

The voices of (he aoldiers are now heard in the dialance singing as they ridi. Dta 
Grieux and Lacaut listen attentively, and the former, realizing that ihey are almost at hand, 
madly tries to ruah forward. Letcaut dissuades him, saying he has a belter plan, as he ia well 
acquainted with the officer in command. When the eacorl arrives, Manon is found to be 
very ill and is left behind by the officer at Lacaal'i suggestion. During a heaft-rendins 
scene Monon asks and receives the forgiveness of des Grieux, repents her sins and dies in 



Reitate qui (Wait a Momeot) Sy Elisa Trombeo, 1 

Soprano; Federico Federici, Tenor; G. Pini-Corii. I 

Teaor; Riccardo TeKani, Baritone (In Italian)) iiOOO 12-incIi. 11.50 
Mi nccomaDdo CWaii for Me) Sy Eliaa Tcomben. 

Soprano: Federico Federici. aad Choru* (In Italian)] 
lo ton solo (rm Alone at Last) I 

By Gino Giovaoaelli. Tenor (/n Italiat,} , , . , 

Manon.lacatena(ManonioChain«l) ByRemoAndreini, "*'°* 12-inch. 1.50 

Tenor : Riccardo Tefani, Baritone ; Chorus (/n Italian)} 
Nous vivrons i Paris (We Will Go to Paris) 1 

By Mile. Korsoff, Soprano; Leon Beyle. Tenorl ..^^ . , 

On rappelle Manon (She i« Called Manon) By Mile. [♦»*«» lO-inch. I.OO 

KorsoEF, Soprano ; LionBeyle. Tenor (InFrench)] 
Adieu, notre petite table (Farewell. Our Little Table) 1 

By Mme. Vallandri, Soprano : Uon Beyle. Tenor Ij.rtno .n .■„„l , ™, 
(In French)] *^^^ lO-Wch. I.OO 
Le c£ve (The Dream) By Lton Beyle, Tenor (In French)] 
yiciis i mon pire (This Letter's for My Father) ] 

L^MTstr^.'i'^r-'^'^"- ""'■""•« 4,oo> io-,..h. >.oo 

By Mme. VaUandri, Soprano; M. Rocca, Tenor (In French)] 
Et je »ii votre nom (If I Knew But Your Name) ) 

By Mile. Korsoff. Soprano: Lion Beyle I In French)] ,^... ,„ . . 
Fa«„ila-~SplenJcn plu helU In del le ^lelle '^''* 10-inch. .75 

By Perello de Segurola, Baii. and CAonw (/n Italian)] 
Ahl fuyez douce image I (Depart Fair Viaion) | 

By M, Rocca. Tenor (In French)] t6S7i 10-inch. ,15 
Carmen Seltellon (Bizel) By Pryor'i BanJ) 


<Maa-o,i La-ko') 


Music by Giacomo Puccini, the libretlo (founded on Abbi PrivoM't novel) being the 
work of (he composer and a committee of frienda. English version by Mowbray Marraa. 
Pint presented in Milan in 1693. Produced at the Op6ra-Comique, Paris, January 19, ISS4; 
in Engliah by the Carl Rosa Company, at Liverpool, January 17, 1865; at Drury Lane, May 
7. 1885. In French at Covenl Garden, May 19, 1861, First New York production, January 
18, 1907. 



LESCAUT. aergeant ol the King's Guards Baritone 

CHEVAUER DES GRIEUX (dtb Giti-ua/) Tenor 

GERONTE DE RAVOIR. Treasurer-Cenerol Bass 

Edmund, a student Tenor 

An Innkeeper, a Singer, a Dancing-master, a Sergeant, a Captain. Singers, 
Old Beaux and Abb<s, Girls, Citizens, Villagers, Students, People, Cour- 
tezans, Archers, Sailors. 

Sctnt and PaioJ ; Parit and aidnllj/ ; aecond half o{ tht elghleenlh Centura- 


This early Puccini opera was performed by a atruggling opera company in 1896, but the 
performance was so wholly bad that we have made no mention o( it in our chronicle at the 
top of the page. The real New York prtmlert 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 Hinricha during one of his summer seasons,~Augu>t 29, 1694. 


The Ahbi FVivost romance haa been treated operalically 
by sevefBl compoaers, the first beinK Hal^vy.who wrole a bal- 
let on the subject in 1830. Othei aettrngi followed— by Batfe, 
1836: Auber in 1656 and Magjenet in 1864. 

Puccini's version coniists of (our detached scenes selected 
from the novel, and the hearer should possess some knowl- 
edge of the atoiy to fully undeTstand the action of the opera. 

The first act shows the courtyard of an inn at Amiens. 
Manen'a brother, Lacaat, a dissolute soldier, is escorting his 
pretty little sister to the convent where she is to complete her 
education. While Lacaul is carousing with some chance 
companions, Manon meets a handsome gallant, Ja Grieui, 
who chances to be dinins at the inn, dressed as a student. 
The prospect of school not appealing strongly to the young 
girl, she readily agrees to elope with Ja Grieaz, thereby spoil- 
ing the plans of the old roa^, Geronit, who had planned to 
abduct the pretty school girl. Manon soon tires of dei Gritux 
and his poverty, and leaves him for the wealthy GeronU; but 

even this luxury fails to bring her happiness, and when da bb i s u 

Gritax appears again ahe runs away with him. 

Ceronle is furious and denounces Manon to the police as an abandoned woman. She is 
ciindemned to be deported to the French possessions in Louisiana. Des Grleai and Lacaal 
try to rescue her, but the attempt fails, antfin desperation the former begs the commandant 
to permit bim to accompany her to America. 

In the final scene the lovers are shown in a desert near New Orleans. (The Abb« 
Provost's knowledge of American geography was evidently limitedl) Dn Gritax leaves 
Manon to search for water, and returns just in time to see her die in his arms, after a most 
affecting scene. 

SCENE— -4 Stnet in/ronl of an Inn at Amiem 

Da Gritux, 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 Greaorio. Tenor (In Italian) "45015 10-inch. »1.00 

This gay song is effectively given by one of the Victor's new tenors, of the La Scala 
forces, and (he record is doubled with the Madrigale from Act II. 

A diligence now arrives, and Manon and her brother and Gtmnit, a chance traveling 
companion, alight. Da Crleai is struck with the beauty of the young girl, and when 
LtMaul and Cerontt 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 n()t wish to go. Ltacaul 
now calls to his sister, and she enters the inn after promising to meet dcs Grieui later in the 

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 line air. one of the loveliest 
of the numbers allotted to dt> Gritux. (On the reverse side is an air from Tosca.) 

Donna non vidi mai (Never Did I Behold) 

By Etfidio CuDcgo, Tenor (In Italian) *45016 10-iach. *1.00 

The students now gather round, bantering dca Grieui on his new conquest, but he is in 

no mood for joking and goes into the inn. Lacaut now joins a crowd of soldiers who are 

gambling, and soon becomes absorbed in the game. Geronle, seeing the brother thus 
engaged, seeks the landlord and plots to abduct Manon. Edmund overhears the scheme and 
informs des Cileux, who finds Manon and induces her to elope with him. They take 
the carriage which Gtmnit had ordered and make their escape, leaving him furious. How- 

*ftwitf onJ RKoiJ-FBriiik o/opgeiat ^imcDOUBLEJ^ACED MANON LESCA UT RECORDS, pap205. 


ever, he finds Ltxaal and suggests that they go to Paris in searcK of the runaways. Lacaul. 
who has been drinking, consentB, delicnlely hinling that if Gtronle will admit hitn into the 
family group, he will use his influence to induce Manon to desett da Griaa for the older 
but wealthier suitot. 

SCENE — An Aparlment in Gtwntt j Hoiue In Path 

Since the events of Act I Manon is supposed to have left Aj Gtleax for the wealthier 
Gtnnlt. She is seen surrounded by the utmost luxury, attended by her hairdrewer, dancing 
master, etc. Lescouf enters, evidently much at home, and congratulates her on her change 
of fortune, taking lo himself all the credit for having advised her so cleverly. She says she 
ia happy and contented, but asks Lacaul if he has heard any news of dii Cneui— whether 
he ia grieving or whether he has already forgotten her. Lacaal 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 collage she has left. 

In quelle trine morbide (In Those Silken Curtains) 

By GinaCViafora. Soprano (In Italian) 64094 10-inch. »1.0O 

They are interrupted by the entrance of a company of Madrigal singers who have been 
sent by Geronlt to amuse Manon. They sing a beautiful MadtigaL given here by Signora 
LopeZ'Nunes and La Scala Chorus. 

Madrid ale — Sulla vetta del tnonte (Speed O'er Summit) 

By Lopcz-Nuaes. Soprano, and Chorus {In Italian) *4501S lO-incb. >1.00 
When the singers have departed, the dancing master appears to teach Manon the minuet- 
She lakes her lesson, while Gerontc and several friends watch her admiringly. In a gay mood 
she sings a little song to the air of the minuet. 

Minuctto di Manon. "L'ora o Tirsi" (Joyful Hours) 

By Frances Alda. Soprano {h Italian) 61079 lO-inch. »2.00 

Da Grieux now enters and reproaches Manon bitterly. At the sight of him her love 

duet, folk 

id she begs him to take her away from all this luxury. 1 hey sing a passions 
ed by a lovely solo for da Grieux, who reproaches Manon for her fickleness. 

*D«abk-F<,adRca,>d-Fw IIUi ofomnUt tlic tu DOUBLE-FACED MANON LESCAUT RECORDS, po 


Ah ! Manon, mi tradisce (Manon, Kind and Gentle) 

By Franco de Gregorio, Tenor {In Italian) *45027 lO-inch, $1.00 

By Giorgio Malesci, Tenor {In Italian) *63421 10-inch, .75 

Geronte surprises them, hut controls his rage, and sarcastically wishing them a pleasant 
titC'd-tite, goes out. Lcscaut shortly after\>rard 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 w^ith 
being an abandoned woman. 

Intermezzo (Between Acts II and III) 

By Arthur Pryor's Band *35003 12-inch, $1.25 

Now comes the exquisite interme^jCo, 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 accompaniment. 


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 w^ith a cry of joy Des Grieux embarks just as the ship is sailing. 


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. 


(Intermezzo (Between Acts II and III) 
By Pryor's Band 
Tosca Selection By Arthur Pryors Band 

35003 12-inch, $1.25 

/Manon Selection By Arthur Pryor's Band\«-^-^ ,^ .* . ^^ 

\ El Capitan March {Sousa) By Sousa's Bandf ^^^^ 12-incli, 1.25 

Tra voi belle brune (Now Among You) 1 

By Franco de Gregorio, Tenor {In //a//an) L-^. - -^ . « t rxrx 

Madrigale— Sulla vetta del monte (Speed O'er Summit) |450 1 5 1 0-inch, 1 .OO 
By Lopez-Nunes, Soprano, and Chorus {In Italian)] 

Donna non vidi mai (Never Did I Behold) 

By Egidio Cunego, Tenor (In Italian) 
Tosca — Gia mi struggea 

By Ernesto Badini, Baritone (In Italian) 

Ah ! Manon, mi tradisce (Manon, Kind and Gentle) 

By Franco de Gregorio, Tenor (in Italian) 
Gioconda — Cielo e Mar ! {Heaven and Ocean) 

By Franco de Gregorio, Tenor {In Italian) 

Ah! Manon, mi tradisce 

By Giorgio Malesci, Tenor {In Italian) 
Ernani — Infelice e tu credeoi {Unhappy One 1) 

By Aristodemo Sillich, Bass {In Italian) 

* Douhle-Faced Record — For title of opposite side see abov: Iht. 


45016 10-inch, 1.00 

45027 10-inch, 1.00 

63421 10-inch, .75 


{Nitl'-zau Je Fe^-gat-oh) {Moh-m-abzH Je/t Fe^ -gah-faw) 



Text by Lorenza da Pante, founded on a comedy by Beaumarchais of ihe aame name. 
Music by Moiart. First production at the National Tbeatre. Vienna. May 1. 1766. [n Pari« 
BB Le Manage dt Figaro, in five acts, with Beaumarchais' spoken dialogue, at the Academie, 
March 20. 1793; al the Theatre LyrLque. a> La Noca de Figaro, by Barbier and Can*, in 
four acts, May 8. 1858. In London, in Italian, at the King's Theatre. June 18. 1812. First 
American production April 8. 1635. in English. Some notable revivals were— in the 70's. 
with Hersee. Sequin and Parepa-Roaa: in 1669, with Nordica, Eames, de Res^ke, Ancona 
and Amoldson; in 1902, with Sembrich. Eames. Fritzl Schell, de Reszke and Campanari ; 
and in 1909. with Sembrich. Eames. Farrar and Scotti. 


Figaro, (Fct'sah-mh) the Barber, valet to the Count .Bass 

Count ALMAVIVA, (Al-mah-oa' -ooh) a Spanish noble Baritone 

Countess Alma viva, his wife Soprano 

Susanna, maid of the Coumeiu. betrothed lo Figaro Soprano 

CHERUBINO, (CW-riKJee'-noA) page to the Countess Soprano 

MARCELUNA, ( -nah) servant to Bartolo .Contralto 

BARTOLO, a rejected lover of Susanna Bass 

BaSIUO. {Bah-ttt -he-ell) a busybody Tenor 

DONCurZIO Tenor 

Antonio, gardener to the Count Bass 

Servants, Country People, Guards. 

Scene end Period ; Seellle ; tht itetnieenlh cenlaty. The action li a direct 
continuation cf the Barber of SeallU. 


MozBrt'i Marriage 
ful of musical comedie 

ance of this ever.young nnd lovely opera, in 
changes of mood, and the sparkling humor 
single opeta, perhaps, is there such 

merry plot and music, is one of the most delighl. 

he expressed for the all too infrequent oerform- 

hich the complicalions of the story, the quick 

re all so well reflected in the music. In no 

as in Figaro. Each is per- 

y and each seems to enhance the beauty at ihi 
This comedy hy Beaumarchais. on which [he plot is founded, has been utilized by 
many composers, Mozart's version being written in I7S5. 

Those who have read the story of Barber of Stuille will find themaelves again making 
the acquaintance of Barlolo, Almatiioa and Figaro, some time after the marriage of the dash, 
ing Count to Barloh'i ward. The Counl has settled down quietly on his estates, whili 
Figaro, as a reward for hie services as a match-maker, has been appointed major-domo < 
the castle. Figaro is in love with the Counlta' maid Susanrta, and expects to marry h( 
soon, but unfortunately for his plans, had also promised to wed Marcetlina. the ex-house- 
keeper of Barlolo, on the very 
same day. Further complica. 
tionsare promised by the fact 
that the Count, already weary- 
ing of his wife, is making love 
to Susanna himself. 
SCENE ]—J Room In iht 
Coanfi Chateau 

By Arthur Pryor's Band 
*35109 12-iitch. *1.35 
The overture is a most 



At tKe opening of the opera Susanna tolls Figaro that the CounI is trying to flirt wilh het, 
■nd Figaro plans revenge. Marctllina has confided in Dr. Bartolo, and aa the portly doctor 
■till harbora a grudge against Figaro for robbing him of his ward, he consents to help her. 
The Countta, 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. 


SCENE \—Jipar{mtr,l of the Coantea 
At ihe beginning of Scene II, the Counlas aings hei lovely appeal to Cupid. 

Porgi amor (Love, Thou Holy Impulse) 

By Johanna Gadski, Soprirto (/n kalian) 68273 12-inch, $3.O0 

By Teresa Arkel, Soprano {D«iilc/,Kid,Kcpagc2l I) (llaliart) 63419 10-incb, .79 

The Counlea is one of Mme. Cadski's moBl effective impersonations, and she makes an 
imposing figure in her loyal 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. 

&uanna tells the Coartita of her husband's fickleness and they consult Figaro, who plans 
to make the CoanI jealous by telling him thai the Counfui is to meet a lover that evening in 
the garden. It is planned to send Marcellina in the Counfcu' place, and CherubirK, dressed 
aa a young girl, to meet the Courtt in Susanna 's place. 

Figaro departs, and Cheratino enters. Seeing his mistress, he begins to heave deep sighs, 
but Suaanna mocks him and tells the 
Coanlaa he has written a song about 
his lady love. The Counreu bids him 
sing it, and he takes his guitar and 
describes the delights and torments 
caused by Cupid's arrow. 

Voi che sapetc (What is 
This Feeling:?) 

By Nellie Melba. 
Soprano (Inltallan) 

88067 12-inch, f3.00 
By Luisa Tetraiiini, 
Soprano </n Italian) 

8830O t2-inch. 3.00 
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 pizzicalo, to 
imitate the guitar: and this delicate 
outline is shaded and animated by 

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 lone. 
ir the tenderness of expres- 

sion — the whole 


foresl, greener Ih? bill, 
le music flows from each rill. 

The women now dreu 
up the page to represent 5u- 
lanna, and have no aooner fin- 
ished when the Count knocks, 
and Cheruhlne hides in (he 
closet. The Counl observes 
his wife 'sconlusion, and hear- 

Su>anna. slip, out anc 

through [he window, and Su- 

>anna entcra the closet in his 

_ place. When the Counf returns 

"^'"^ ACT ui and opens the door, the maid 

mcB out and the husband ia forced lo apologize for his suspicions. 

Marcelllna now enters with her lawyer and demands thai Figaro shall keep his promise 
many her. The Cninf promises to look into the matter. 
SCENE i—J Cabinel In the Counl', Raidcncc 
The third act opens with a scene between Susanna and the Count. He plans to force 
T to accept his attentions by threatening to make Figaro wed the ancient Marcellina, while 
aanna endeavors to gain time. This scene is continued in a charming and graceful duet. 


Crudel perche finora (Too Long You Have Deceived Me) 

By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone 

(In Italian) 89027 12-inch, $4.00 

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 f»art in the opera» the Crudel 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 Marcelling. He embraces his mother just aa 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 — Sonj^ to the Zephyr) 

By Marcella Sembrich, Soprano, and Emma Eames, Contralto 

(In Italian) 95202 12-inch, $5.00 
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 \l—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. 


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, My Heart's Delight) 

By Marcella Sembrich, Soprano (In Italian) 88020 12-inch, $3.00 

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 alw^ays remains long in the mem- 
ory of those who hear her in Nozze. 



Tho' brighi 11 

l>eeper Broun 

Chetahino, having nn appointment with the moid BarBarina. 
now enters, and seeing the Coanlea, thinks it is Susanna and 
kisses her. The Cjunfeii straggles, and the little rascal says: 

^Ll^ Ihe^C 


The Count arrives just in time to see this, and giving 
Chenikino a box on the eat, sends him flying. He then makes 
to>fi BiiniKi [^^^ j^ jjj^ supposed 5uaanna. the Countess disguising het voice 

DE I.U5SAK AS CHEkuBiKo ^^j encouraging him. Figaro now sees Suianna, whom he 

o( course takes to he the Giunfeu, and tells her that her husband and Susanna are together. 
Susanna reveaU herself and Figaro embraces her. The Count sees this embrace and his 
jealousy making him forget his new conquest, he seizes Figaro and calls (or help. The 
plot is now revealed, and the Count, confessing he js conquered, hegs the Counfejj' forgiveness 
and promises to be a model husband. As the curtain falls the three happy couples are 


jPor^i amor 

I ToglleiemI la oila ai 





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 muaic by Flotow, Burgmuller and Deldevez, which wa« luggestod by 
an actual incident and presented in Paria in 1644. Martha was lirst produced at the Court 
Opera, Vienna, November 25. 1847. First London production July I, 1858, at Covent 
Garden, in Italian. First American production 1832. in German. 

Characters of the Drama 

Lady Harriet Durham, Maid-of-honot to Queen Anne Soprano 

Nancy, het 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 Maidservants. Soprano and Mezzo-Soprano 

Chorus of Ladios, Servants, Farmers, Hunters and Huntresses, Pages, etc. 

The >. 

I, Ihtn ir 

popular one, with its spirited Fair Scene, 

Flotow's melodious opera has always beena 
its beautiful duets and quartet, the famous third e 
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 I'aris to 
study. His first attempt at opera was Pierre el 
Catharine, followed by Stradetla and others. 

Many great prima donrte have sung the role of 
AfarlAd— Patti, Nilsson, Kellogg, Geister. Etchings, 
Parepa E^sa ; and in the present day Sembrieh, 
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. 


ByPryor'sBand *35133 12-inch. *1.25 
By Pryor's Band 3147B 12-inch, l.OO 


SCENE I— BouJoir o/ LoJj/ Hofrfei "'""-'- '"" 'i-uNKtir-Acr 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 >" 
■ays her faithful maid. Nancy. "1 do not know," exclaims Harriet, Nancy, beginning the 
duet ventures to guess. 

'D-atli-FaaJRccBrJ—ForiHIc cfafipiuHc ilJc •= DOUBLE J^ACED MARTHA RECORDS, pagi2l7. 

Mesta ognor (Ah, These Tears) 

By Louise Homer. Contralto, and Beasie Aboit. Soprano 

{In Italian) 69009 I2.inch. 14.00 

*ilh Kit ars arming, And your colors win the priie, 

Lucky been Proudly fmin the banneTS waving. 

Your cold and haughly hfsrl \a 
Is ihere augfat in this alarming? 
Lm>¥ Habhiei: 

Vain beliefl How can rejoice me 
Such insipid, idle love? 
For to pltase and interest me 
_ Flattery is not enough! 

Riches heap on you their treasures. 

Htnlor high is offered you. 
Lady Hauiet; 

In the midst of gold and pleasures 

Weariness alone 1 see- 

This is really (oo distressing: 

Her'. ■ ■' ' ■ ■■■ ■ ■■ 

Which his armo: 
Lady Hauiet: 
All my glowing 

■ainlj sighs 

n they're fulfiU'dl 

Nothing is for you remainmg ' 
Rut tolet your heart be conquer'd. 

It work a wonder. Not a particle 

Trlslan, Harriet's ct}iiain, a gay but rather ancient beau, is now announceil a.._ , , 

« lonK liat of diversions For Harriet's amusement. She declines them all and teases hin. ... 
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, Hariitl conceives 
H madcap desire to accompany them. Nancy and Tristan protest, but she orders them to go 
with her. Dressea are procured and they start for the fair, the ladies in the disguise of 
servant girls, and Tristan garbed as a farmer. 

SCENE W— The Fair at Richmond 
The scene changes to the Richmond Fair, where a motley crowd of men and maidens 
are looking for ptisitions. Two young farmers, Plunlifitl and Lionel, now enter, the latter 

being an orphan and adopted brother of Ptunketl. Lionel's father, on his deathbed, had 
given Plunkcft a ring, which was to be presented to the Queen should the son ever be 
involved in diiBculties. 

In this fine duet, one of the gems of Flotow'a popular romantic opera, the friends speak 
of Lionel's father and the incident of the ring. 

Solo, profugo (Lost, Proscrib'd) 

By Enrfco Caruso ind Marcel journet (/n llatlan) 89036 12-iDch. »4.00 

By Van Hoose and de Go^orza (/n Ilallan) r400S 12-inch. 1.50 
By Reinald Werrenratb. Baritone; Harry M>cdonouKh, Tenor 

(In English) 31769 12-inch, 1.00 

Lionet tells the story of hia adaption by Ptunkell'a family in the fine aria beginning — 

nd tells of the great love he has for his adopted brother. 
The duet, which is a very beautiful one. then follows : 

Plunketi: L.usel: 

We have never learnt his station. Here in 

^ Quoth he. 

should e 

''ThS^Vorever' faVt* wh™ 

e Quee 

ealth and, splcn 

She will sav« you, she ivill guar 
When no other help is seen." 

.\5 the friendship fiJ^'d in thine. 
The disguised ladies now appear, accompanied by the unwilling and disgusted Trialan, 
who considers the whole affair a jolte 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. 


Spinning ^^heel Quartet 
By Victor Opera Quartet 
Astonished at such revolutionary conduct froi 

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 a 


•■ the 

temptation to plag 
employers is irresistible, and 
when the young men endeavor 
to instruct the new servants 
in their duties the fun com- 

""""rhe maidens determine 
to lead their captors a siren- 
uous life, and when they are 
ordered to get supper they 
promptly refuse. 

(In English) 700S2 12-incfa, 11.25 
srvanta, the young men exclaim : 


Surprls'd thvy s<^ and tonfounded. 
And snrely puiiled is their brain; 
This blov,- has smartly sounded. 




















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 Plunkett {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 Plunkett 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) 

By Luisa Tetrazzini, Soprano (In English) 

By Marcella Sembrich, Soprano (In English) 

By Alice Nielsen, Soprano (In English) 

By Elizabeth Wheeler, Soprano (Double-Faced) (In English) 
By Elizabeth Wheeler, Soprano (In English) 

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 1613, 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 kinaly 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*8 opera. 



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 10-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! 


(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 windoWi and return to their 
home in the carriage provided by Tristan. 




SCENE— >l Hunting Park in Richmond Forest 

Act III 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 

The act opens with the spirited apostrophe to porter beer, sung by Plunkett. 

Canzone del porter (Porter Song) 

By Pol Plan^on, Bass {In Italian) 81086 10-inch, $2.00 

By Marcel Journet, Bass {In Italian) 64014 10-inch, 1.00 

By Carlos Francis co {Doubk-Faced, see page 217) {In Italian) 16812 1 0-inch, . 7 5 

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. 

I want to ask you, can you not tell me, And that explaineth where'er it reigneth 

What to our land the British strand Is joy and mirth! At ev'ry hearth 

Gives life and power? say! Resounds a joyous song! 

It is old porter, brown and stout. Look at its goodly color here! 

We may of it be justly proud, Where else can find you such good beer? 

It guides John Bull, where'er he be, So brown and stout and healthy, tool 

Through togs and mists, through land and sea! 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 Plunkett was a 
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) 88001 12-inch, $3.00 

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. 


Like a dream bright and fair. Oh! return happy hours fraught with hope 

Chasing ev'ry thought of care, so bright; 

Those sweet hours pass'd with thee Come again, sunny days. 

Made the world all joy for me. Sunny days of pure delight. 

But, alas! thou art gone. Fleeting vision cloth'd in brightness. 

And that dream of bliss is o'er. Wherefore thus, so soon depart; 

Ah! I hear now the tone O'er my pathway shed thy lightness 

Of thy gentle voice no more; Once again, and cheer my heart. 

Lionel suddenly encounters Lady Harriet, and although amazed at seeing her in the 
dress of a lady, warmly pleads his love. 


Yes, 'tis thee! This dress does not deceive me — 

Once more I do behold thee! 'Tis thee, thee! Be Heaven blest! 

Praised be God; it is no dream! Harriet: 

Harriet (aside): Madman, you dream! 

My heart! Lionel: 

Lionel: Ah! If but a dream, 

Lookest down so proudly; This, a creation, of my brain. 

Yet my heart knew thee at once. Then, oh Martha, let me enjoy 

Harriet (with dignity): This delusion while it lasts! 

Knew me? You're mistaken! (He attempts to seise her hand.) 

Lionel: Harriet: 

I've hoarded thy fair image Hold! presumptuous man I 

Deep in my breast — No — No further! thou hast rav'd too long uncheck'd! 





Lady Harriet is forced to call the hunters, to whom she declares 
that Lionel must be mad. He is distracted, w^hile Plunkett 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. 


SCENE 1 — Plunketfs Farm House 

Plunkeit 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) 92005 12-inch, $3.00 

It is a fine number, superbly sung by Battistini, whose great 
success in this rdle at Covent Garden is well remembered. 


Poor Lionel! he sighs, he laments, 

He flies from his friend; 

He is beside himself with love 

Accursed be the hour 

When first we saw that girl, 

When first we brought her beneath our roof! 

Soon will my Lionel die, 

If no aid come from on high; 

Fatal the hour, 

When first his heart felt love's pow'r; 

Weeping, he wanders in grief. 

Nought to his pain brings relief; 

Merciful God, hear my cry. 

Else must my Lionel die! 

Nancy now^ enters, and she and 
to present Lionel* s ring to the Queen, 

Plunkett soon come to an understanding. They decide 
hoping thus to clear up the mystery of his birth. 

SCENE U — A Representation of the Richmond Fair 

Lionel's ring has been shown to the Q,ueen, 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 Plunkett 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. 




Overture By Pryor's Band 

Nocturne in Eh (Opus 9) (Chopin) 

By Victor Sorlin, 'Cellist {Piano ace. ) 
Last Rose of Summer By Elizabeth Wheeler, Soprano 

(In English) 
Tannhauser — The Evening Star By Victor Sorlin, 'Cellist 

Canzone del porter (Porter Song) 1 

By Carlos Francisco, Baritone (In Italian) L ^oi o 
Trooatore — II halen del suo sorriso (The Tempest of the Heart) | 

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) 31 797 12-inch, $1.00 

Martha Selection 

By Victor Orchestra 31029 12-inch. 1.00 

12-inch, $1.25 
10-inch, .75 

10-inch, .75 





(French) ^ 


(Bahr Mahs-kau') 




Text by M. Somma» music by Verdi. First produced in Rome at the Teatro Apollo, 
February 17, 1639; at Paris, Th6&tre des Italiens, January 13, 1861. First London production 
June 15, 1861. First New York production February 11, 1861. 


Richard, Count of Warwick and Governor of Boston Tenor 

RONHART, his secretary Baritone 

Amelia, wife of Reinhart Soprano 

Ulrica, a negress astrologer Contralto 

Oscar, a page Soprano 

SAMUEUl £ .u ^ . /Bass 

TOM. /ene'n^es of the Count |b^^ 

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 ^•♦l 
music drama ; but there are many far more ambitious works 
with certainly less real music. The familiar Eri tu and Saper 
vorreste 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 

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 w^hich w^ill 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. 





SCENE l~A Hall In Iht GovtrnarS Hoase 

I filled with people — officers, deputies, gentlemen, etc. waiting for the 

" He enters, ia warmly greeted by those aesembled, receives 

of the guests invited to the Masked Ball. He acea Amelia 't 
name, and in an aside sings his rapturous air. 

La rivedri nell'estaai (I Shall Behold Her) 

By NicoU ZcTob, Tenor 

{In Italian) 6416? 10-inch. *1.00 
This, the first of the lovely gems with which the score 
of Balto In Maickera is studded, is effectively given by Zerola, 
whose beautiful voice is shown to great advantage. 

RdiAart enters and tells the Governor of a plot against 
hU life. 

Alia vita che t'arride (On the Life Thou 
No'w Dost Cherish) 

By Mattia Battistini. Baritone . "'" ■"'""" 

(In Italian) 8B232 12-ioch. »3,00 '^^"^ "^ "chaud 

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 

SCENE l\~The Hul 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 deir abisso (King of the Shades) 

By Carolina Pietracewska. Contralto {In Italian) 16005 12-inch. »2.00 

She calls on the abyssmal king to appear and aid in her mystic rites. 

Ulrica (as if inspired) : The ominous lapwing. 

Hasieii, O King of tlie Abyss) Thres times, too, has been hissing 

Fly through the ambient ait The venomous red dra»on. 

Three times has been heard screeching, The Epirlls fTom the graves! 

The Governor now arrives, dressed as a sailor, 
They are conversing with die witch when a knock is 
orders except Richard, who conceals himself in a comer. 

Amelia enters and asks the sorceress to give her peace of mind by banishing a 
which she cannot control. The witch promises speedy relief if Amelia will gather a ci 
herb from which can be brewed a magic liquor. 

Delia citti all'occaso (Hard by the Western Portal) 

By Ida Giacomelli, Soprano; Lina Mileri, Contralto : Gino 

Martinez-Patti. Tenor (In Italian) *66143 12-inch, i 

•DooSt-fimrf Receri—FBrtilU o/'ownuJte .lA « DOUBLE-FACED MASKED BALL RECORDS, mi 


Amtlia B>k> (or direction!, and the witch proceeds : 

Ulbica: Accursed, abhor'd. de!:erlcd. 

Then pause and listen. And cull the flowers lowly 

Go from the city eastward, From those black rucks unholy, 

To where by gloom engirled Where crimes have dark alonemem made 

Fall the pale moonbeams on the field, Wllh life's departing sigh: 

The frightened girl contents to go that very night, and take* her departure. Ulrica now 
admits the people again, and Richard, in the character of the aailor, aiks her to tell his for- 
tune. His inquiry of the piopheleu takes the form of a harcarolle — the favorite measure of a 
■ea-K>ng — 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 

(/n/fo7ion] SIOSl 10-inch, »2,00 
By Nicola ZeroU. Tenor [In Italian) 64166 10-incb. l.OO 

This attractive ballad is full of humor, the staccato pamages 
towards the close exhibiting the Governor's impatience to learn 
the future. In a gey mood he banters the woman, asking her 
to tell him if he will meet with storms on his neit voyage. 

Or death, or affeclioii my path lo deny I 

This famous BarcarolU has been a favorite with many great 

tenors, hut 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 

GOBiTi AS REiHHABr thcmselves BUBpected. but the Governor laughs and asks who will 

grasp his hand to prove the prophecy false. No one dares to 

Relnharl, 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 Aichan/ tells the witch she is a falfe prophet, 
as this is his most faithful friend. 


That "man who (frVVd my hand 
Is my most faithful friend! 
All the people greet the Governor with cheers, and kneeling, sing the hymn : 

O figlio dTnghilterra (O. Son of Glorious England) 

By Giuseppina Huguet. Soprano : Ines Salvador. Messo-Soprano : Francesco 
Citfada. Baritone: Aristodemo Sillich, Bass: La Scata Chorus 

[Inllalian) *63173 10-inch. tO.IS 
This noble concerted number, which closes the first act is sung in a splendid manner 
by Huguet. Salvador. Cigada and Sillich of La Scala farces, anisted by the famous chorus 
of that opera house. 

ACT 11 
SCENE \—A Field near Boston— or- 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. 
* DaiAkJ'oaJ R^^J-For llik ofoppoMi ^dt » DOUBLE-FACED MASKED BALL RECORDS, pap 223. 

Ma dall^arido stelo divulsa (Yonder Plant Enchanted) 




rn bosom 


'" ', 




«^the" ( 

,h. m 

y "bi^a; 


their desi 


n. h/ve c< 


n Ihese TO 

cks Ih 

ith, l( 

t Ihy m« 


'ipreier " 



ng he 


diitallt do 
inp, breall 





miVlike I 

i weathir 


m those 

balefiii a 


hey ai 





To 1 

this famtii 


The vision resolves itself into Richard, who now 
approaches. The unhappy girl confesses that she loves 
him, but begs him to leave her. They aing a line 

Ah 1 qual soave brivido (Like Dew^ Thy Words Fall on My 

Like dew thy woidt fall on my bvail. From out the cypres' 

.\glow with love's fond passion! Where I had Ihsught 

Bright star thai bidsl all jlooin dep 
\\^ile* thus on" rae"hoi'rt'"fhining. 

I, Ihy , 

Ah. would by Heaven 'twere f;rai 
To sigh for him my latest breath. 

■re interrupted by the appearance of Relnharl, who comes to warn Richard that 

» are lying in wait to murder him. Richard, unwilling to leave AoKlla, is farced 

to ask Reinharl to escort the veiled lady to the city witht>ut seeking to diacover her identity. 
Relnharl swears to obey, and Richard makes his escape. The couple start for Btigton, but 
are surrounded by the conspirators, who take Rtlnharl to be the Governor. Disappointed 
in their prey, they tear the veil from the unknown lady and Rdnhatt is astounded to see that 
it is his wife. The great finale to Act II now occurs. 

Ve' se di notte qui con la sposa (Ah ! Here by Moonlight) 

10 ; Renzo Mioolfi, Baritone ; Cesare Preve, Bas* ; 

{In llalian) "SStZS 12-inch, tl.2S 

Amelia is overcome with shame, but protests her Innocence. Relnharl bitterly upbraiils 

er and denounces his false friend Richard, while the conspirators depart, anticipating the 

■nsation which the city will enjoy on the morrow. 

- DimhlcFimi RtcorJ—Fot llllt o/tVBadlt ^J, » DOl/BLE-F^CED MASKED BALL RECORDS, pagt 223. 


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! 

KH t V 


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 tnacchiavi queiranitna (Is It Thou?) 

By Emiilio de Go^orza, Baritone 

{In Italian) 
By Mattia Battistini, Baritone 

(In Italian) 
By Antonio Scotti, Baritone 

{In Italian) 
By Francesco Cicada, Baritone 

{In Italian) 
By Giuseppe de Luca, Baritone 

{In Italian) 

Samuel and Tom enter and Reinhart tells them he kno\^s of their plots, and \^ill 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 10-inch, $0.75 

The varied emotions of the characters are expressed by the librettist as follows : 



$3.00 ^^^^ 









1.25 W 


10- inch. 



What brilliant lights, what music gay, will 

fill the joyous dwelling! 
What crowds of youths and maidens fair — 
their hearts with rapture swelling! 

And I, myself, ah, hapless me! — the fatal Oscar {to Amelia) 

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? 

scroll so blindly 
Drew from the vase at his command; 
Now by his hand the Count must die! 

There 'mid the sounds of music light — the 

coward traitor meeting, 
I'll strike the vengeful dagger home — ^and stay 
his vile heart's beating! 
Sam and Tom: 

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? 

A doublet blue, 

With crimson scarf 

Upon the left side fastened! 

Revenge in mask and domino! — 'Twill thus 
be more availing, 

The conspirators go out after agreeing on the password, " Death I '* 

SCENE U—The Governor's Private Office 

Richard, alone, resolves to tear the unworthy love from his heart and send Amelia and 
Reinhart to Elngland. 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. 

* Doubk-Faced Record— For mU of opposite aide see DOUBLE-FACED MASKED BALL RECORDS, page 223. 



SCENE III — Grand Ballroom in the Governor's House 

Reinhari, 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 oorreste, 

Saper vorreste — Canzone (You Would be Hearing) 

By Luisa Tetrazzini, Soprano (In Italian) 88304 12- inch, $3.00 

In reply to Reinhart's questions the merry page tauntingly sings: 


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 \^ams 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. 


Delia citta alPoccaso (Hard by the "Western Portal) 
By Ida Giacomelli, Soprano; Lina Mileri, Contralto; 

Gino Martinez-Patti, Tenor (In Italian) ^68143 12-inch, $1.25 



68026 12-inch, 1.25 

Ma dairarido stelo divulsa (Yonder Plant Enchanted) 
[ By Lucia Crestani, Soprano (In Italian) ^ 

'Ve* se di notte qui con la sposa (Ah ! Here By Moon- 
light) By Ida Giacomelli, Soprano; Renzo Minolfi, 
Baritone ; Cesare Preve, Bass ; Chorus (In Italian) \35l 79 12-inch, 1.25 

Eri tu che macchiavi quell* anima (Is it Thou ?) 

By Francesco Cigada, Baritone (In Italian) 

Ah I qual soave brivido (Like Dew Thy Words Fall on 
My Heart) By Ida Giacomelli, Soprano, and Gino 

Martinez-Patti, Tenor (In Italian) 

Forza del Destino — Non imprecare umiliati By Ida Giacomelli, 
Soprano; Gino Martinez-Patti, Tenor; Cesare Preoe, Bass 

(In Italian) 

O figlio d*Inghilterra (Oh, Son of Glorious England) 
By Giuseppina Huguet, Soprano ; Inez Salvador, Mezzo- 

Soprano; Francesco Citfada, Baritone; Aristodemo 63173 10-inch, .75 

Sillich, Bass ; La Scala C5horus (In Italian) 

[ Emani — Emani involami By Maria Grisi, Soprano (In Italian) 

Eri tu che macchiavi queiranima (Is it Thou ?) 

By Giuseppe de Luca, Baritone (In Italian) 
Di che fulgor (W^hat Dazzling Light) By Giuseppina >62086 10-inch, .75 

Huguet, Soprano; Francesco Cigada, Baritone; Carlo 

Ottoboni, Bass ; Maria Grisi, Soprano (In Italian) ^ 




iMaii-fuit4i,h.fch'Jav) (Mtf.taJiti'.iJxi} 

Text and music by Atrigo Bolto; a panphiaae of both parte of Goethe's "FauM," with 
additional episodes taken from the tieal- 
menl o( the legend by other authorities. 

The (irsl production at La Scala. Milan, 
I86S. was a failure. Rcwrittenandgiven 
inl875with.u«;e». First London pro- 
duction July 6, 1800. First American 
Rroduction at the Academy of Music, 
ovember 24. IS60, with Campanini. 
Cary and Novara. Other productions 
were in 1696. with Calvi. and in 1901 
with Mclntyre, Homer and Plan(;on. 
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 



Faust Tenor 

Margaret Soprano 

Martha Contralto 

Wagner Tenor 

Helen Soprano 

PANTAUS Ojntralto 

NeREUS Tenor 

Celestial Phalanxes, Mystic Choir, 
Cherubs, Penitents. Wayfaren, Men. 
at-arms. Hunlemen, Students, Oti- 
lens. Populace, Townsmen, 
Witches, Wizards. Greek Chorus, 
FAusr 1.EAV1KC HIS STUDIO — ACT 1 Sirons, Naiads, Dancers, Warriors. 


Arrigo BoHo well deserves a conspicuous place among the great modern compoaers. His 
MefistoEele ranks with (he Riaiterpieces of modem Italy, and contains scenes of neat beauty, 
notably the Garden Scene, with its lovely music, and the Prison Scene, in which me pathos of 
the demented Margarel't wanderings, the beautiful duel and the frenzy of the finale are 
pictured by a master hand. 

Bolto 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 FaUlnff. which should rather be called 
dramas set to music, for it is unfair to class them with the old-fashioned Italian librettos. 

The slory of Bolto's opera is directly drawn from Goethe's Faual, but the composer has 
chosen episodes from the whole of Goethe's story, not confining himself to the tale of 
Cntchtn. but including the episode of //c/en of Tray. In his Me^stojUe Bolto has followed the 
great poet's work more closely than did Gounod's librettist, and the work i* a deeper one in 
many respects. 

SCENE— rAe Rtgimt of Space 

The prologue to Bolto's opera is a most impressive scene, which lakes place in ihe indef- 
inite regions of space. Invisible angels and cherubim, supported by the celestial trumpets, 
sing in praise of the Ruler of the Universe. 

M^ilofele is represented havering between Hell and Earth, denying the power of God. 
He addresses the Almighty in his Hall, Creal Lord! 

Ave Si^nor (Hail, Sovereign Lord) 

By Marc<l Journet. Baw (In llallan) 64126 lO-inch, 11.00 

The Devil contends that man is but a weakling, easily cheated of his salvation. Standing 
on a cloud Mffiatoftle mockingly addresses the Creator: 

Hail. Sovereign Lord. 
Forgive DIE if my bawling 
Somewhat behind is falling 
Those sublime anthems sung 
It, heavenly places! 
Forgive me if my face is 
Now wanting the radiance 
That, as with a garland, 

Then, discussing Fauil with the Mystic Chorus, M^alofdt wagers that he can entice the 
philosopher from ihe path of virtue. The challenge is accepted, and M^alafeU disappears 
to begin his plots against the soul of Faual. 

Joumel sings this great number splendidly, and it will be pronounced one of the most 
sinking features of his Victor list. 

SCENE I— A Sttuare In Frankfort— EaaUr SanJay 

Tlie aged philosopher, Faual, and his pupil Wagntt, while 
observe a grey Friar who seems lo be shadowing their movemen 
says lo Wagntr: 

F*usTt Observe him closely. Teil me. who is he? 
WacN£«: Some lowly Friar, who begs alms from Ihosc he paa^s. 


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— rAc Studio of Faust. It is Night 
Faust enters, not observing that the Friar slips in behind him, and conceals himself in 
an alcove. The aged philosopher delivers his soliloquy, Dai campi. 

Dai campi, dai prati (From the Green Fields) 

By Alberto Amadi, Tenor (Irt Italian) *63313 lO-inch, $0.75 

He speaks of his deep contentment, his love for God and his fellow man. 


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; 

ingj 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, $1.50 

Mefistofele says that he is that great force which forever thinketh ill but doeth well, and 
then continues : 


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, 

suppHeth 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 fi^ht. 

Death! Over sun and earth is pendmg. 

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. 


SCENE — The Garden of Margaret 
Faust (now a handsome young man known as Henry) is strolling in the garden w^ith 
Margaret, while Mefistofele, as in Gounod's version, makes sarcastic love to Martha, \^hom 
Bolto 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. 

* DouhU-FaceJ Record— For title of opposite side see DOUBLE-FACED MEFISTOFELE RECORDS, page229. 
NOTE — Mefistofele quotations are from the Ditson libretto, by perminioQ. (Copy't 1880, Oliver Ditson CcHnpany) 



SCENE n—The Sammll of tht Brixkai—Thc Night of the 
Wlicha Sahbalh 
This acene shovra a wild spot in the Btocken moun- 
tains by moonlight. The wind is whistling in weird gusU. 
Mefiitofelc ia helping Foual to climb the jagged rocks, from 
which flames now and ihen dart forth. Wi 11 -o- the -wisps 
flutter to and fro, and Fauil welcomes them, grateful for 
the light they give. 

Folletto, folletto (Sprites of Hades) 

By Geanaco de Tura, Tenor. andGaudio 
M ansueio, Bass 

llnllallan) 87067 10-inch, *2.00 
Vf^fo/c/e echoes him, ever urging him to climb higher. 

Come up higher, and higher, and higherl 
Ah! wild-fire, pallid light, 

AnivinB at die summit, M^slofelt 
•ummons 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 1 
can laugh alsol" 

Fauil now sees a vision of Margaret, 
on her way to prison for the murder of 
her mother and her babe. A ted stain 
on her neck horrifies him. but M^ttofeU 
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 

SCENE— rfte Priion ofMatgatel 
The demented girl ia lying on a 

straw bed. She rouses herself and sings 

her sad ballad. L 'ailia noUc, 

L'altra notte (Last Ni^ht in 
the Deep Sea) 

By Geraldiae Farrar. Soprano 

{llalian) 88114 12-iacb, I3.00 


She raves of the cruel jailon, whom she saya threw 
her babe into the ocean and now accuie her of the crime. 

To Ih= »a, O night of sadness! 
They my babe took and in it threw him! 
Now to drivE me on to madness. 
They declare 'twas 1 that slew him! 
Ct>ld the air is, the dark cell narrow, 

Longs to fly; ah. to fly oftTfar, lar away. 
Father pit, me! 
In a tlealhly slumber falting. 
Died my mother, no aid could save her; 
And to crown the woe appalling, 
They declare I poison gave her! 
M^tltiftlt now enters, foUowed by FausI, who begs 
the demon to save Margaret. The liend reminds Foaal 
that it is his own fault, but promisca to try. 

I frightened, thinking her jailers have come for her. 
He irp'^ her to fly with him. and they sing a tender 
luet. Far AiBau. 

Lontano, lontano (A-way 
From All Strife) 

By Giuaeppina Huguet, Soprano, 
and Gennaro de Tura, Tenor 
(/n Italian) 
87096 lO-inch, t2.00 

Reflect^ne the sun's loving smfle. 
The flight of all hearts that are loving, 
And hopeful and moving and roving, 
Is turned towards that nfe-giving island. 
Away to that island far distantl 

The return of MeHili^cle drivea 
Margaret into a frenzy, and ihe refuses 
to leave the prison, finally falling into 
Fautt'a 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. Fau,t and MefiMde dis- 
appear just M the headsman and jailers 
come to conduct Margaret lo eiecution- 


Tht Ntght of the Oauical Sabhath—A 
Moonh View In the Vale of Tempe 
We are now transported to distant 
Greece, where M^ilttfele has resurrected 


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 — ha luna immobile (Moon Immiovable !) 

By N. Ardoni, Soprano ; Lavin de Casas, Mezzo-Soprano ; Gaetano 

Pini-Corsi, Tenor {In Italian) 87068 lO-inch, $2.00 

Faust and Mefistofele enter and the former soon forgets all else in the love of the fair 
Grecian. Mtfistofele, 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. 


SCENE— Fau4/ 'a 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, $1.50 

By Alberto Amadi (Double-faced— See below) (In Italian) 63313 10-inch, .75 

Faust: • 

Nearing the utmost limit of life's extremest 

In a vision delightful did wander forth my 

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. 

Selection By Pryor*8 Band 31458 12-inch, $1.00 

Dai campi, dai prati (From the Green Fields) 

rrom the Cireen rields) 

By Alberto Amadi, Tenor (In Italian) l/^«o, « ^^ ;«/>V. 
Giunto sol passo (Nearing the End of Life) ^OJ3iJ lo-mcn. 


By Alberto Amadi, Tenor (In Italian)] 


(Ccrmiin) (Eodub) 


(Dec Mi/-tlcr-ilniei} 


Both text and music of Die Mehleralnger von Namhtrg sie by Wagner. The idea 
of (he opera waa suggeeled to the composer in boyhood, as was Tannhausei. by the reading 
of one of Hofimann'a novels, and wa« planned as a kind of burlesque of the Minneilnger con- 
test in Tannhauser. First production in Munich, June 21, 1866. 

The first performance in England took place under Richter, at Drury Lane. May 30, 
I8S2: 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, 18%. 

[n 1666 it was given for the first time at Bayreuth; and ihe first American production 
took place in New York, January 4, 1866. 


Hans Sachs, cobbler. 


POCNER. goldsmith. 


VOGELGESANG, furrier. 


NACHTICAL, buckle maker. 


BECKMESSER, town clerk. 


KOTHNER. baker. 



ZOBN, pewterer. 


ElSSUNCER. grocer. 


MOSER, tailor. 


ORTEU soap boiler. 


SCHWARZ. stocking weaver. 


FOLZ. coppersmith. 



conian knight 


David, apprentice to Hans Sachs 


EVA, Pogners daughter 


MAGDALENA Eva's nurse. . 


IH6H ^ Night Watchman 

s of all Guilds, Journeymen. Appienlices, Girls and People. 

Sane : NamrAerg in Iht middle of iht sixteenth century. 

To the o^.__ ^_.. , „ .„ 

Vagner operas. Its gaiety and tt 
f easily understood by an audience, which 
cannot be said ot 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 Waller, is not lacking. 

Tlie opera is a satire on the musical methods of the days of 
the Reformation, the medieval burgher's life in Nuremberg being 
pictured with a master hand. The loves of Waller and Eoa; the 
noble philosophy of Sacht, the cobbler-poet; the envy of the ridicu- 
lous Seci^meuer; and the youthful frolics of David— a\\ are surrounded 

The first act opens in St. Catherine's Church at Nurembeig. 
where Eoa, daughter of the wealthy goldsmith Pogner, and Walter, a 


young knight, meet and fall in love. When Walter leams that Eoa 'a hand has been promised 
by her father to the winner of the song contest, he resolvea to compele, and remains 

for the examination before 
the meeting ai Master- 
singers. BaJimtati, who also 
Vf iehes to marry Kt^, is chosen 
marker, and under the rigid 
rules of the order gives Waher 
so many bad marks that he is 
rejected in spite of the influ- 
ence of Haia Sachs in his 

Act l[ shows a street, with 
the houses of Hun, Sacks and 
A>gner on opposite sides. The 
apprentices, who are putting 
up the shutters, plague David 
on his affection for Magdalcna, 
Eoa't nurse. Sacha drives 
them away and sends Daold 
to bed, then sits down in his 
dooT-way and soUloquizes. 

Was duftet doch der Flieder (The Scent of Elder Flowers) 

By Herbert Witherspoon. Bas» {In German) 741« l2-ioch. »1.50 

He cannot forget the song which Waller delivered before the Mastersingers, — its beauty 

Words unio my li 
What boot such t 
I-m but a poor, pt 
Wh«n work's despi 
Thou, my friend. : 
Bui I'd belter stic 

\nd vet— it haunts me s 
feel, but comprehend il 
-annol it,— and y. 

\ seemed so old.' yel new 
.[ke songs of birijs In sv 

The bird who sung to-day 

Has Bol a throat thai riahtiv waxes: 

Makers may feel dismay. 

But well conlenl wilh him Hans Sachs i 

Eva learns of Walter > rejection, and is so indignant thi 
le lovers are interrupted and forced to hide bv Becfti 
window for the double purpose of serenadi 

Hana Sacha, hea „ 
g Sacha breaks out into a jolly folic song. 

\Va? by the Almighly 

the prize on the moirow. Hana Sacha, hearing the tinkling of the lute, peeps < 
as SecitnKoer bei ' * " ■ • ' 


Beckftner n KTeatly annoyed and aay> Sacht muil be drunk. After a long altercation with 
the cobbler, Beckmttitr finally storta hU tone, but a> Sachs continues lo hammer on his shoe at 
each miilake or wrong accent, Biclpnaier gets badly mixed, and deliver* hinuelf of this doggerel : 


Wilh great pleasure I cfo; ' 
For now my hcsrt takes a Hght 
Caura^f bolh fresh and new. 
I do not think of dying, 
Raiher of trying 

Then (o-day 90 excel? 
1 lo all say together 
Tis because a damsel 

To be wed doih go in. 

The bold man who 

Would come and view. 
May see the maiden there so true, 
On whom my hopes 1 firmly glue, 
There/ore is the si<y se bright blue. 

The neighbors now begin to put their heads out the 
windows and inquire who is bawling there so late. MagJaltna 
opens Eva'a window and signals to Beclimaier to go away; 
but Dmid, thinking she is waving her hand at the marker, 
becomes jealous and attacks Beci^ineaicr. The noise brings 
everyone into the street, and the curtain falls On something 
resembling a riot. 

Act 111 opens in Smhi' workshop. Waller, who had 
spent the night wilh &icAi, comes in and tells the cobbler 

of a wonderful melody which had come to htm in a dream. _ - 

They write it down and leave it on the table. WalUt goes out seckmesser s seienade 

and Btckfotatr enters, sees the song, and questions Sachs about 
it. SacAs makes bim believe it is bis own and offers to give it I 
plan to force the Mastersingen to consent to the appeara 
overjoyed and r' - • 1 

' ' '. and then occurs ttie Ereat sec... ._ 

n the opera, 
is sung. 

Quintette — Selig wie die Sonne (Brightly 
as the Sun) 

By Johanna Gadiki, Sopcaao; Marie Maitfcld, 
Soprano; Ellison Van Hoose. Tenor; Marcel 
Journet. Bass: Albert Reisi, Baritone 

(In German) 95201 12-inch. (5.00 
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 — 
Through thee life's treasure 
1 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 aays: 


He calls in Magdaltna and Daetd, who are drened for the festival, and tells them he 
wiehe* them for witneues for a christening. All look amazed, and Sachs explains that he 
wishes to christen Sir IValltr't Master Song. As no apprentice can be a witness, Sacia sur- 
prises Daold by creating him a journeyman. Eoa then commences the Qalnletlt of BapUan 
with a short solo, beginning : 

^^ii Wi'ii-ii;i lyii \ 

In the rapture of her new-found- love she sings of 

Stilling all Ihc welcome pain 
Tlial fills my heart unSidden: 
Maodalena and T)av!d (btaildertd) : 

Of my KCret hidden; 
Bui lo t«l1 my heart's sweel pain, 
Now it is forbidden! 
Mme. Gadski'a £00 is quite familiar lo opero-goers 
and is one of the most delightful of her im personations. 

^AusKi AS EVA Mr. Van Moose's delivery of Sir Walter's music isa 

most artistic one, while the part of Sachi is splendidly sung by Joumel. Miss Mattfeld. who 
always makes a pretty, coquettish Magdaltna, and Herr Reiss, whose clever and amusing 
David is perhaps the best of his impersonations, sing the music of these characters most 

During the QainltUt, the beautiful theme of the PrehfW frequently appears. 

SCENE 11—^ Fiddon Iht Shaft, 
of Iht Rica Ptgnllx 
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 

35044 12-inch, *1.25 
The Mastersingets now arrange thi 
march to take their places on the ptatfor 


When all are asMinbled. Sacht rises, and in a noble address 
(totes the tenn* o( the contest. 

A Mssler, nobte. rich and viise. 
Will prove you ihis with pleasure: 
Il» only child, the highest priie 
With all his wealth and treasure, 
He offers 3s inducement stronE 
To him who in the art or song 
lief ore the people here 

Good fortune may it len 

d he 

ICreat slir among all prficnt. Sarlis goes 
up lo Poener. who presses his hand, deeply 

Btckmeiatr, who is in an awful state with his efforts to commit 
Waller's song to metnory, w^pes his heated brow and begins. He 
confuses his old nielody with the new one. loses his place, miies 
iiT! «s BECKUESSER J,;, Hnes, and is forced by the laughter of the people to stop. 
owerinK rage he accuses Sacha of plotting his defeat, then flings down the song and 
I off. Sachs calmly picks up the scroll and remarks that the song is a very line one, 
iBt it must be rendered property. The Mastersingera accuse him of joking, but he 

Sa(Hs; 1 tell you. sirs, Ihe work is fine; 
But it is easy to divine 
That Geckmesser has sung it wrong, 
I swear, though you will Tike 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 

T am Accused" and must^defend: 

Thk M*»i™s: Ah, Sachs! You're very sly indeed;— 

But you may for this once proceed. 
Sachs; It showH our rules are of excellence rare 

If now and then emptions they'll bear. 
People: A nohle witnees, proud and bold! 

Methinks he sbovfd some good unfold. 
Sachs: Masters and people all agree 

Sh- ^alt"''™n"stolilng''mK the sons! 
You, Masters, see if he noes wrong. 
The Mastersingers agree that Waller may attempt 
the air. and he mounts the platform and sings the noble 

Preislied (Prize Song) """^ ^^^"^ """ ^"^ 

By Evan Williams {In English) Mil* 12-inch. *1.50 

By Mischa Elmsn. Violinist T4186 12-incb. 1.50 

By Sou»a-» Band *35044 12.ioch. 1.25 

By Victor Sorlin. 'Cellist *35 111 12-incb, 1J!5 

*D«ilih.F<iaJRK>,fJ— Forinkof opK,iiit,iJt:,icDOUBLE-FACEDMASTERSINCER RECORDS, pof 235. 


Walter (who has ascended to the platform with 
firm and proud steps) : 

Morning was gleaming with roseate light, 
The air was filled 
With scent distilled 
Where, beauty-beaming. 
Past all dreaming, 

A garden did invite. 

{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, 


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 feel 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 Elnglish, while the instrumental performances by Sousa 
and Sorlin are most pleasing. Elman gives the arrangement by Wilhelmj of the PrdslieJ, 
which has often been played in America — in fact, as one critic has said, '* it has been sa\sred 
and scratched almost to annihilation." But Elman recreates it, and plays it \srith a mar- 
velous softness and purity of tone which w^ill delight every listener. 

Eoa, w^ho has listened w^ith rapt attention, now^ advances to the edge of the platform 
and places on the head of Walter, who kneels on the steps, a w^reath of myrtle and laurel, 
then leads him to her father, before whom they both kneel. Pogner extends his hands in 
benediction over them. 

Walter and Eoa lean against Sachs, one on each side, w^hile Pogner sinks on his knee before 
him as if in homage. The Mastersingers point to Sachs, w^ith outstretched hands, as to their 
chief, w^hile the *prentices clap hands and shout and the people wave hats and kerchiefs in 


Hail Sachs! Hans Sachs! 

Hail Nuremberg's darling Sachs! 

( The curtain falls) 


{Meister''s?nger March By S^usa's Band}^^^^^ ^ ^''''''^' *^'^^ 

Prize Song By Victor Sorlin, 'Ccllist\«- - - - , ^ .^4 , ^- 

Ernani Selection By Pryor's Bandf^^ ^ ^ ^ ^ ^■'''''*'' ^ -^^ 



(Frtaeh) (E&Iliih) 



Text by Barbier and Carre, baaed upon Goethe's Wllhetm Melita. Mu«ic bjf Ambroiae 
Thomaa. FInt production at the Optra Comliiat, Paris, in 1866. In London at Drury Lane, 
1670. First New York production November 22, 1872, with Niluon, Duval and CapouL 

Characters of the Drama 

MlCNON, a young girl stolen by gypsiea Mezzo-Soprano 

FlUNA. {Flltt'-nA) an actreat Soprano 

Frederick, a young nobleman Contralto 

WlLHELM MEISTER. a atudent Tenor 

Laertes. (LoK-cr'-toK) an actor Tenor 

Lothario, {Z.MJia*'-«-i>A) an Italian nobleman Baaw> Cantante 

QARNO. C&taAr'-im) a gypsy Bast 

Townefolk, Peasants, Gypsies, Actors and Actresses. 

The Kent of Acti I anJ II It laid In Gtrman^ ; of Act III In Italy. 


Part I Kid Part II By La Scala Orchestra *68025 12-iiich, *1.25 

By Pryor's Band 31336 12-inch. l.OO 

The overture is full of the grace and delicacy for 
which Thomas* music is celebrated, and contains the 
principal themes, notably Flllna'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. 
SCENE— Courti/orrf af a German Inn 

Mignon, B 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 PerelU de Sefurola, Bass. fabiai as miunon 

and La Scala Chorus 

(/n Italian) *99004 12-incb, *1.90 

Fuggitivo e tremante (A Lonely W^anderer) 

By Cesare Preve. Bass (In llaltan) *62690 10-incb, *0.79 

The minstrel is in reality Af/Snon s father, whose mind waa affected by hia daughter'a 
abduction, and he wanders about seeking her. 

LoTiiABio: A lonely wanderer am I! I ?lray frgm door t-j door. 
Aa tale dolh guide, or a* the slorm djth liurij- m-.. 
__ Far. far I'll roam in search of herf 

• Do^lt-FaaiRczo'd—FnlllIc a/appotin ilJc m DOUBLE-FACED MIGNON RECORDS, vote 241. 


The gypsy band appeara and Mignon U ordered to dance by Giamo, who threatens her 
with hii atick when >ho wearily refuio. Wllhtlm, a young student, protecls 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 Cwino/i-fti le paya, full of tender beauty. 

(Preach) (Eaftiih) 

Connai9-tu le pays 7 (Kno'west Thou the Land?) 

<Cermia) (lulun) 

Kennst du das Land ? Non conosci il bel auol ? 

By Marcelk Sembrich. Soprano (In French) 68098 12-inch, *3.00 

By Ernestine Schununn-Heink, Contralto (InGeman) 88090 12-incti, 3.00 
By Geraldine Firrar, Soprano tin French) 8821 1 12-iiich, 3.00 

By Emmy Dcstinn, Soprano {In Gtrman) 91083 10-inch, 2.00 

By Giuscppina Huffuet, Soprano (la Italian) *35176 ]2-inch. 1.25 

By Zelie de Luiun, Soprano (Piano ace.) (In French) 64009 10-inch, l.OO 
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 hero lot 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 , , „ , . .„ . 

«,n.e of Goethe. J-fc-i- (/ = UO.) 

poem and haap-fl-fr t. . t I f -■ b . I - » >. ' ^ J M±_LiJ 

ezoreued it in I ■B i l'h 'k H I H J i ^ i T » *— J -lli^ ^ r> J * -Jti^i^'l 

idea of the melody, one of the roost heaul 


ohan . Mmmnt. , , / ■ .. . ^__^ 

Th< ___ 

gives us an idea of the melody, one of the roost beautiful in the entire 

sionate longing 

of the orphan „ . , Mmin»t. 

child f, 


is effectiv ... 

pressed in this 'TU UrrrJ.. 'Tit IMtrt/ m 

superb climax: 

in which Mignon seems to pour forth her whole heart in 

Bood of emotion. The words are most beautiful ones. 

■Tis thfrc my heart's love obeying, 
I'd Hve, 1 would diel 

Wlthtlm. full of pity for the helpless girl, offers Glamo 
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 Duel," one of the 
gems of the opera. 

Les hirondelles (Song of the Swallows) 

By Geraldine Farrar. Soprano ; Marcel Journet, 

Bass (In French) S903S 12-inch, *4.00 ^^„ ^^ Fi 

• D<mbU-Faad fimrJ— For Ulk tjepta^lt ,lJt h DOUBLE-FACED MIGNON RECORDS, (x 


MiGNox: ( 

Sp..d q. 

The har] 

P. Ipuc 

ThrJcc happy bird. Itarice happy bird, 
Who fifBl lh« wishcd-for gopd 
Kighl joyously shall r*ach. 
The effectivenea* of Thomas' exquisite acore de- 
pend* veiy much on the perfection of ita rendering; 
and thi» ia eapecially true of the first act music — the 
Connaia-lu, Lothario'a song, and thia serene and beauti. 
ful duet, given ao charmingly here. 

Very little need be said about Misa Fairar'a 
familiar imperaonalion of Migrmn. It ia alwaya de. 
lightful, both to eye and ear. Joumet sings the muaic 
of Lothario with dignity and beauty of voice; while 
Fanar's every note is exquiaite in ita loveliness. 

Wllhtlm ia now invited to go to the Caatle of Prince 

UIGNON AND LOTHASio Tleffmbach with the troupe of players, headed by the 

lovely Filtna, who haa observed the handaome student 

with an appreciative eye. He heaitates, thinking of Mlgnon, but she begs to be allowed to 

accompany him disguised aa a aervant. 



. dids 
:. hen 


^in"";" ve 


Dwn. 1 

o which Fs 

Who. to 





ii-r I 

.art (. 

■om tliee' 



; part 

«t Bol dwell 

Could I 1 

,oI , 


,e my^lf. 

(fotBliHg lo Lolhario, wha approaches) 
I'll e'en depart with Ai'hi.' 
LoTHAiio (rushing lo Migaon, attd encircling 

Comci^my footstt™ follow; 
Through bypalh" lone and wild I 
(Aiumpls to draw Mignen wirli him.} 

Ifllhdm finally yields a reluctant consent, 
not knowing what else to do, and the act 
enda with the departure of the players. 



SCENE I— y4 Boudoir in Tieffenbach Castle 

Act 11 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 atfections. Wilhelm enters with Mignon, w^ho 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 etfect in the glass, sings a gay song w^ith 
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, $3.00 

Miss Farrar has given us a charming rendition of this Mignon air, which (next to the 
the well-known Connais-iu) is the favorite one in the opera. 


Well I know a poor young child, I fain would turn away, 

A sad young child of Bohemia, But so improved am seeming. 

On whose pale sunken cheeks joy ne'er rested. Am I the same, or dreaming r 

Ah! ah! ah! ah! what a dull story! Ah! Ah! la la 

1 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 Diuon score. 

Ah! ah! ah! what a foolish story! 'Tis a demon now tempts me! Copy'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, cuid 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 (Farei^ell, Mignon) 

By M. R^gis, Tenor (In French) *45023 10-inch, $1.00 

By Enulio Perea, Tenor (Piano ace.) (In Italian) '('63420 10-inch, .75 

Mignon utters a cry of grief and begins to weep, while Wilhelm tenderly says : 


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 

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 ow^n dresses, eyes her with seurcastic 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 II — The Gardens of the Castle 

The scene chcmges 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 

* rhuhle-Faced Record— For title of opposite side see DOUBLE-FACED MIGNON RECORDS, page 241. 



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" (Pm Fair Titania !) 

By Luisa Tetrazzini, Soprano {In Italian) 88296 12-inch, $3.00 

By Giuseppina Hu^et, Soprano (In Italian) *35178 12-inch, 1.25 

By Mile. Korsoff, Soprano (In French) *45006 10-inch, 1.00 

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 Opira 

Comigue, sings the air in French vrith much brilliancy, while an Italian record is furnished 

by that gifted Spanish prima donna, Mme. Huguet. 

lo son Titania 

(Behold Titania!) 

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! 

Yes; for to-night I am queen of the fairies!. 

Observe ye here, my sceptre bright, 

(Raising the wand which she holds in her 

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 

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 

• 0' '-» > , • 1 blithely do dance! 

^ liehold Titania, glad and gay! 

fVilhelmTnclw 'aeea Afignon 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 IVilhelm, 
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. 


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, $3.00 

By Gaudio Mansueto, Bass (In Italian) *55004 12-inch, 1.50 

By Cesare Prcve, Bass (In Italian) *62650 10-inch, .75 


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 I 

* Doubk-FaceJ Record— For tiilz o/oppoaiie side see DOUBLE-FACED MIGNON RECORDS, page 241. 



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 Opira Comique, 

EUe ne croyait pas (Pure as a Floi^er) 

By M. Regis, Tenor 


In soothing yon poor, hapless maiden 

At last I have discovered her secret; 

From her sweet lips my name escaped! 

Ah! little thought the maid, 

In innocence arrayed, 

What she in her breast had nurtured, 

Would ardent love become. 

(In French) *45023 10-inch, $1.00 

And thus pervert the peaceful current 

Of her peaceful life. 

Oh balmy April, 

Who to the wither'd flowers restoreth their 

Kiss her fair cheek, 
And a 'grateful sigh of love cause to escape! 

Mignon now comes ivith feeble step on the balcony, and seeing IVilhelm, 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 w^as 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 



Opening Chorus and Solo, ** Fuggittvo e tremante ** 

By Andrea Perell6 de Segurola, Bass, and V 5 5004. 

La Scala Chorus | 
Ninna nanna By Gaudio Mansueto, BassJ 

Preludio, Parte 2a (Overture, Parte 2) 

By La Scala Orchestra 
Preludio, Parte la (Overture, Parte 1) 

By La Scala Orchestra 

IPolonese — lo Son Titania ! (Fm Fair Titania !) 
By Giuseppina Huguet, Soprano (In Italian) 
Non conosci il bel suol ? (Dost Thou Kno^w That Fair 
Land?) By Giuseppina Huguet, Soprano (In Italian) 

Polonaise — lo Son Titania ! 

By Mile. Korsoff, Soprano (In French) 
Lakmi — Pourquoi Jans les grands bois 

By Alice Verlei, Soprano (In French) 

Adieu, Mignon, Courage (Fare^welt, Mignon) 1 

By M. Regis, Tenor (In French) L 5Q23 

Elle ne croyait pas (Pure as a Flo^wer) | 

By M. Regis, Tenor (In French)) 

fFuggitivo e tremante 
\Ninna nanna 

Norma Selection (Bellini) 

Addio, Mignon (Fare^well, Mignon) 

By Emilio Perea, Tenor (In Italian) 
Stelle d'Oro — Romanza By Siloano Isalherti, Tenor (In Italian), 


By Cesare Preve, S***l52650 
By Cesare Preve, Bass/ 

By Victor String Q'l*'***]. 15323 
By Pryor's Band) 

12-inch, $1.50 

68025 12.inch, 1.25 

35178 12-inch, 1.25 

45006 10-inch, 1.00 

10-inch, 1.00 

10-inch, .75 
10-inch, .75 

63420 10-inch, .75 




Book by Felice Romani, fbunded on an old French story. Score by Vincenzo Bellini. 
First production December 26, 1631, at Milan. First London producticm at KJng's Theatre, 
in Italian, June 20, 1633. In English at Druiy Lane, June 24, 1637. First Paris production 
December 6, 1835. First New York production February 25, 1641. 


Norma, High Priestess of the Temple of Esus Soprano 

ADALGISA, a Virgin of the Temple Soprano 

CLOHLDE, attendant on Norma Soprano 

POLUONE, 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 PoUione 

Scene and Period : The scent 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 
ivhich our forefathers delighted in, and which are an occasional welcome relief from the 
abundance of "music dramas** ivith which we are surrounded of late. Especially chann-> 
ing is the spirited overture, always a favorite on band programs. 


By Arthur Pryor*8 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, PoUione, by w^hom she has two children. She rebukes the Druids for 
wishing to declare war, cuid 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 (/n Italian) 88104 12-inch, $3.00 

By Celestina Boninsegna, Soprano {In Italian) 92025 12-inch, 3.00 

By Giuseppina Huffuet, 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 well worthy of a place among modem airs. As evidence of the great popularity of 
this number, three famous prima donnas have selected it for their Victor lists. 


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 

* Douhk-Faced Record — For Wk of ofiposUe aide see next page, 



yield her husband and children to Adalgisa and expiate her otfences 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 musiclover. 

Mira o Norma (Hear Me, Norma) 

By Ida Giacomelli, Soprano, 
and Lina Mileri, Contralto 

(/n Italian) * 62101 10-inch, $0.75 
By Arthur Pryor's Band * 16323 10-inch, .75 

The lovely strains of this melodious number have 

delighted countless hearers in the eighty years since it was 



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 
Adalgisa 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. 

In mia tnano (In My Grasp) 

By Ida Giacomelli, Soprano, and Gino Martinez-Patti, Tenor 

(In Italian) * 68309 12-incn, $1.25 

Pollione still refuses, and Norma strikes the sacred shield to summon the Druids. She 
declares war on Rome and denounces Pollione, but otfers 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. 



By Arthur Pryor's Bandl-^-,, 
By Arthur Pryor's Bandr^^^^ 

By Victor Bandl^-^^^ 
By Victor Bandj^^^^^ 

Oberon Overture (1Vd>er) 

Huguenots Selection 

In mia mano alfin tu sei (In My Grasp) 

By Ida Giacomelli, Soprano, and Gino Martinez-Patti, 
Tenor {In Italian) 

Faoorita — Fia vero lasciarti {Shall I Leave Thee ?) 

By Clotilde Espodto, Soprano, and Gino Martinez-Patti, Tenor 

{In Italian) 

{Norma Selection (Hear Me, Norma !) By Pryor*8 Bandl .^^^^ 

Mignon— Gavotte By Victor String Quartet) '^^^^ 

Casta Diva (Queen of Heaven) 

By Giuseppina Hu^et, Soprano {In Italian) 
Lucia — Regnava net silenzio {Silence O'er All) 

By Giuseppina Huguet, Soprano {In Italian) ^ 

Mira o Norma (Hear Me, Norma) By Ida Giacomelli, 

Soprano, and Lina Miteri, Contralto {In Italian) 

Carmen — Preludio, Act IV By La Scala Orchestra 

12-inch, $1.25 
12-inch, 1.25 

68309 12-inch, 1.25 

10- inch, .75 

16539 10-inch, .75 

62101 10-inch, .75 

* Douhle-Faced Record — For title of opposite aide 

iAove liai. 



Book hy Ramleri De Calzabigi; muuc by Christoph Willibald von Gluck. Fint pro- 
duction in Vienna, October 5, 1762. Firat Paria production, 1764. Firat London production 
at Coveni Garden. June 26. I860. Other revivaU wcic during the Winter Garden aeaion of 
1863; in ISS3 (in German), by the Metropolitan Opera under Walter Damrosch ; tKe Ensliah 
production in IS86 by the National Opera Company, and the Abbey revival in Italian in 
1692: and the Metropolitan production of 1910. with Homer, Cadaki and Gluck. 


ORPHEUS Contralto 


Love Soprano 

A HAPPY Shade Soprano 

Shepherds and Shepherdesses, Furies and Demons. Heroes and 
Heroines in Hades. 

This opera, which has been called "Cluck's incomparable masterpiece," and of which 
the great FMis wrote, "it ia one of the moat beautiful productions of geniua," may be 
properly termed a purely classical music drama. The music is exquisite in its delicacy and 


giace, wKile the (toTy ia an interesting and affect- 
ing one. Orpheua maybe 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 occuiring one hundred and fifty yetin 

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 Buccesi. Such 
has been the interest aroused by the recent per- 
fonnances, that it is likely to be heard quite 
frequently in the future. 

The story concema the Creek poet Orpheai, 
who grieves deeply over the death of his wife 
Eurldlce, and finally declares he will enter the 
realm* of F^alo and search for her among the 
spirits of the departed. The goddess Loot appears 
and promises to aid him, on condition that wrhen 
he has found Eurldlct he will return to earth 
without once looking back. 

Orphtat journeys to the Gates of Elrebus, and 

■o aoftens the hearts of the Demon guards by his 

Halm AND GADSKi AB oiFHEus AMD grief and his exquisite playing of his lyre, that he 

EUiVDiCE i, permitted to enter. He finds Eurlditc, and 

without looking at her, takes her by the hand and 

bids her follow him. She obeys, but failing to understand his averted gaze, upbraid* him 

for his apparent coldness and asks that he shall look at her. 

Su e con me vieni cara (Oa My Faith Relying) 

By Johanoi Gadski, Soprano ; Louise Homer, Contralto 

{In Italian) 89041 12-ioch. »4.00 

Orphcai, 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 Cluck's music suggests the present peipleiity 

and the tragedy which is to follow. 

Unable to endure longer the reproaches of his wife, he claaps her 
in his arms, only to see her sink down lifeless. 

Ach, Ich habe sie verloren (I Have Lost My 

By Ernestine Scbumann-Heink. Contralto 

(/n German) 88091 12-inch, *3.00 

J'ai perdu mon Euridice (I Have Lost My 

By Jeanne Gerville-Riache. Contralto 

{In Frtnefi) 88198 12-inch, 3.00 

Che faro senza Euridice (I Have Lost My 

By Louise Homer. Contralto . co'tt ,«.n, 

(In Italian) 8828S 12-inch. 3.00 iiouei as oifbeus 

•■Malhearewil qa'al-it fail} Et dam quel precipice m'a fiongi man funeste amoarl" 
("Wretched one, what have I donel 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. 


"1 have lost my Eurydic* II Is your faithful husband. 

My misfOTtune is without its like. Hear my voice, which calls you. 

Cruel fate! I shall die of my sorrow. Silence of death! vain hope! 

Eutydice, Eurydice, answer roe! What sufTering, what torment, w.inga my heart!" 

Of die many beautiful numbers in Cluclt'a drama this lovely aria of mourning, (beat 
known by the Italian title Cht faro aenza Eurldlce) ia the moat familiar. No fewer than three 
renditions, in German, French and Italian, by three famous exponents of the part of Orpheua, 
are offered for the choice of opera lovers. 

The grief -stricken poet ia about to talce his Own life when the goddess again appears and 

Hold. Orpheus! 

What would^you with i 

My Eurydice! 
EuBTDicE (rfviving): 

My Orpheus! (,They emfcrai 

(Inliul lEatliih) 


(OA-fe/'-fc») iOiii-iixr-iaiD) 


Text by Airigo Boito after the drama of Shakespeare. Music by Giuseppe Verdi. 
Rrtt production February 3, 1867, at U Seals, Milan. First London production May 18. 
ISS9. First American production April 16, 1686. with Campanini ai Oltllo. Some notable 
revivaU occurred in 1894, with Tamagno and Maurel i in 1902, with Elames, Alvarez and 
Scottii and in 1908 at the Manhattan, with Melba. Zenatcllo and Sammarco. 


OTELLD, a Moor, general in the Venetian army Tenor 

lACO, {Et-ah'-ga) his ensign Baritone 

CASSIO, {Cm -tt-th) his lieutenant Tenor 

RODERIGO, (RBk-Jcr-tt'-go) a Venetian gentleman Tenor 

[JDDOVICO, ambasaador of the Venetian Republic Baas 

MONTANO, predecessor of Othello in the government of Cyprus Bass 

A Herald Bbm 

DESDEMONA. wife of Olhello Soprano 

EillUA, {Au-<na -Iti-ah) mis of lago Meizo-Soprano 

Soldiers and Sailors of the Republic ; Venetian Ladies and Gentlemen ; 

Cypriot Men, Women and Children; Greek. Dalmatian 

and Albanian Soldiers; an Innkeeper. 

Sctne and Ptrlod : End of iht fiftetnth tentajy ; a leaporl In Cj/pna. 


After having given tKe world his nplendid Alda, Verdi 
retted on his laurels and was silent for sixteen years; 
tlien» at the 'age of seventy-Four» he suddenly aslonished 
the world with his magnificent Otello, a masterly music- 
drama which alone would auflice to make him famous. 

The change from the Verdi of 1853 and 11 Trovalore. 
to the Verdi of 1687 and Otello, is amazing. Each opera 
produced by him shows a steady advance, until something 
approximating perfection is reached in Otello, the writing 
of which was an astonishing feat for a man of nearly eighty 
years of age, ' 

ltd Caialo, 
'es safely, 

- ACT I 

j SCENE— Oieffo* CaitU In Cypna. A Slorm h Ra^ng 

and the ^ngrj/ Sta h eltffiU In tht Background 
Venetians, soldiers, including logo, Rodtrtgo a 
VERDI AND iiAuiEL AT FUST »Te awailing the return of Qltlio. His vessel arrii 
PERFOBUAKCE OF oiELLo and amid much rejoicing the Moor announces thi 

is over, the enemy's ships having all been sunk. He goes into the castle, and 
Rodtrigo plan the conspiracy against Caalo and Olello. by which Rfidetigo hopes 
Dademona for himself and logo to be revenged on Oltlto. 
They join the soldiers and toy to induce Caula 
to drink. He refuses, but when logo toasts Dttdcmona, 
he is compelled to join. lago sings the rousing Brindlsl : 

Brindisi — Inaffia Tugola (Drinkint' Son^ 
—Let Me the Cannakin Clink) 

By PMquale Amato. Baritone, and Chorus 

{In Italian) 88336 12-ioch. I3.00 

By Antonio Scotti, Baritone 

(In Italian) 88062 12-iach, 3.00 

By Antonio Scotti. Baritone {Piano ace.) 

{In Italian) 6TO4O lO-inch, 2.00 
during which he continues to fill Caulo't glass. When 
the latter is quite drunk they pick a quarrel with him, 
and he draws his sword, wounding Montana, while 
lago and Caailo rouse a cry of "riot," which brings 
Ottlto from the castle. He disgraces Caailo and orders 
all to disperse, remaining alone with Dademona 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 

By F. Lotti, Soprano: F. Conti. Tenor 

{In Italian) *»9023 12-inch. (LSO 


SCENE —A Room In the CailU 
The crafty /o*£. is advising Caulo how to regain the favor of Oltllo, telling Kim thai he 
must induce Deadei iri- *-.. 1 irF*i 

while logo gazes al 
superb Credo. 

*Di><d>k-FaaJRccs,i{— For UlkafoppaHltilileKc DOUBLE-FACED OTELLO RECORDS. ftv25l. 


Credo (Otello's Creed) 

By Antonio Scotti. Baritone Un Italian) 88030 12-mch, fS.OO 

By Pssquale Amato, Baritone (/n Italian) 88328 12-inch, 3.00 

By Erneito Badini, Baritone {In Italian) *Si023 12-incli. UO 

This ii ■ free adaptation of lago'i last speech with Canh 

in Shakespeare, Act if. In his setting Verdi has e.presH:d 

EuUy the character of the perfidious lago ; cynical, vain, 

weak and subtle. He declares that he waa fashioned by a 

cruel God who intended him for evil, and that he cares 

naught for the consequences, as after death there it nothing. 
Scotti's singing of this number is a most impressive one; 

while the vronderful rendition by Amalo will be pronounced 

one of the most strikinff in his list. 

logo sees Deidtmona approach and Caaalo greet her, and 

a> soon as the young officer is earnestly pleading with her 

to intercede for him, lago runs in search of Otello, and sows 

the first seeds of jealousy in the heart of the Moor, bidding 

him watch his wife well. Olcllo, much troubled, seeks 

DeiJemona and questions her. She begins to intercede for 

Caaio, but the Moor repulses her, and when she would wipe 

his perspiring brow, roughly throws down the handker- 
chief, which is picked up by lago. 

Left alone with lago, Olello gives way to despair, and 

expresses his feelings in ihe hitler Orii t per lempre. 

Ora c per sempre addio (And Now, 
Forever Farewell) 

By Francesco Tanuffno, Tenor 

(In llaliaa) 95003 10-inch, »5.00 
By Enrico Caru*o SIOTl 10-inch, 2.0O '"""" 

By NicoU Zerola 64168 10-inch, 1J30 *""" *^ '*™ 

'''aw finally convinced that Dttdtmona is deceiving him, he 
rewell to peace of mind, ambition and the glory of conquest. . 
luso delivers the number magnificently, being especially 
e in the closing passage. Other renditions are the famous 
Tamagno, and a popular- priced record by Zerola. 
n> further says that he has seen Desdemona't handkerchief 
o'l room, at which news Ok/fo is beside himself with rage, 
t closes with the great scene in which logo offers to help 
secure his revenge, and they swear an awful oath never 
Be until the guilty shall be punished. 
SCENE— Tkt Great Hall of Iht Catllt 
tile now seeks Dtadtmona and contrives an excuse to borrow 
ndkerchief. She offers it. but he says il is not the one, and 
T the one he had given her, with a peculiar pattern. She 
is in her room and offers to bring it, but he at once de- 
s her, and sends her a^vay 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, Dto mi poleoi. 

Die mi potevi sca^ltare (Had it Pleased 

By Antonio Paoli, Tenor 

(In Italian) 86240 12-inch, »3.00 
>i iHiAiH By Carlo Barrera, Tenor 

ALDA AS DESDEHONA (In Italian) *i50O9 12-inch. 1.50 

•Douifc-f oKc/fitcorJ— foi- ilile »/opeo,/to ,iA » DOUBLE-FACED OTELLO RECORDS, pap 251. 


"Had Heaven Been fit to aend me lorrow, ahanie, poverty," he says, "1 could have 
endured it with patience, but this blow ia too much to beeir." 

/ago now tells Ole/fo how he had ilepl in Caaio's loom lately and had h«ird Coufo tBikinB 
in his sleep, bemoaning the fate which had robbed him of Dademona and given her to the 
Moor. This dream ia related in a highly dramatic air : 

Eta la notte (Cassio's Dream) 

By Mario Ancona, Baritone (Jti Italian) 67015 lO-inch. *2.00 

Caujo enters, and logo, bidding Oletlo watch behind a pillar, goea to the young officer, 
and with fiendish ingenuity induces him to talk of his sweetheart Blanca. Oltlh, listening, 
thinks that it ia of Dtadanona that Caalo speaks. Castio produces the fatal handkerchief, 
telling logo he had found it in his room, and wondering to whom it can belong. Oltllo, 
seeing the handkerchief and not hearing the conveTsation, has no Further doubt of Deadanona'i 
Built,and when Coufa departs he asks logo how best can he murder them both. The villain 
suggests that Detdentona be strangled in her bed. and aays he will himself kill Caasio, In a 
highly dramatic duet, given here by Banera and Badini, they swear a solemn oath of vengeance. 

Ah! mille vite (A Thousand Lives!) 

By Carlo Barrera. Tenor; E. Badini. Baritone (InltaUan) *S5O09 12-inch tl.SO 

Messengers now arrive 
from the Senate bearing orders 
for Olello, who has been re- 
called to Venice, and Caaia 
appointed Covemoi of Cyprus 
in his stead. He announces 
his departure on the morrow, 
and then unable to control his 
rage and jealousy he publicly 
insults DtiJemona and flings 
her to the ground. A« she 
is being led away by her 
maids he falls in a fit. The 
people, considering the sum. 
mens to Venice an additional 
honor for the Moor, ruah in, 
shouting "Hail to Otello." 
when logo, pointing with 
fiendish triumph to the pros- 
trate body, cries, "Behold 
scoit:, wickham, »i.da and sl£iak in otelki your Lion of Venice I" 

ACT rv 

SCENE— Detdemona', Bedroom 
The heartbroken Dadanona 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 ainga 
the H>d and beautiful Willow Song. 

Salce, salce (W^illow Son^) 

By Nellie Melba. Serrano (In Italian) 68148 12-inch, *9.00 

By Frances Alda. Soprano {In Italian) B8214 12-inch. 3.00 

This plaintive song seems like the lamentation of s broken heart, its lart words being 
prophetic of the coming tragedy. 

The faithful Emilia leaves her, and ahe kneels before the image of the Madonna and 
ainga the noble Act, one of the most inspired portions of the wondorful fourth act, in which 
Verdi has risen to his greatest height. 

Ave Maria (Hail, Mary) 

By Nellie Melba. Soprano (In Italian) 88149 12-inch, f3.00 

By Frances Alda, Soprano (/n Italian) 86213 12-inch. 3.00 

'DoulkJ^eaJ Rom J— For Ktkt/appallt tide h DOUBLE-FACED OTELLO RECORDS, pagt 25 1. 


lung by DtiJemona as she retires 
'Ave Maria" ia introduced by a 
ne organ- like hannonies which 

This prayei occurs in the last act o( the opera, and ii 
to the couch from which she is fated never to rise. Thi 
characteristic monotone for the voice, accompanied by t 
■teal in with exquisite eSect from the strings of the orchestra. 

The portrayal of the mingled apprehension and resignation of Dadanona in this scene 
through [he medium of the voice is worthy to rank with Melba's most celebrated operatic 
creations— her Mafguenfa— her Julitt — her Miml. The purity and youthfulness of the feeling 

^ fillins the mind with wonder at the perpetual miracle of Melba's perfect arl^ Mme. 

Alda. whose Dadanona has been one of the fin* 
tan, sings the number beautifully. 

At the close of the air Dadanona remains ki 
voice being almost inaudible. 

And now we come to the most dramatic seen' 
of the spectators are strained to the breaking point 

of her impe 

utioDS at the Metropoli' 
1 broken accents, her 

1 which the nerves 

gazes at his sleeping wite 

time, then approaches 

her. She wakes 


s with Cnuio, but she 

. that 

> false 


that the handkerchief was 
not given by her to Casilo. 
He disregards her cries for 
mercy and strangles her. 
Emilia knocks at the door and 
is admitted by Otello, who a 
' ind of daze, not reatiz' 




Seeing Deidanona lifeless, she 
accuses him of the crime 
and calU loudly for help. All 
rush in and EmUla, seeing 
logo, denounces him as the 
author of the plot, and tells 
Otelio that Diadaaona was 
gazing on his dead wife, sings 

Morte d'Otello (Death of Otello) 

By Francesco Tamagno, Tenor 
By NieoU Zerola. Tenor 

(In Italian) 95002 10-inch, *5.00 

(In Italian) 7421Z 13-inch. 1.50 

nd with a final effort to embrace the 


mi potevi scasliare (Had It Pleased Heaven) ^ 

By Carlo Barren. Tenor (In ltallan)\ 
JGiuramento— Aht mille vite ( A ThouMod Lives) >5500» 12-inch. *1.50 

By Carlo Barrera, Tenor : Ernesto Badini. Baritone 

(In Italian)} 
Quando narravi (When Thou Speakesi) ] 

By F. Lotti. Soprano ; F. Conti, Tenor (/n/fa(/an) 155023 12-inch. 1.50 
Credo (Otello's Creed) 

By Ernesto Badini. Baritone (In Ilallan)] 


DraniB in Two Acta. Words and Munc by R. Leoncavallo 

The Engluh Tcriioa quoted (ram ii b; Heniy Gruflon QufHoui 

QuolUiDn.trMteaMdmutic(n«D>lhtPral°««)bTbaJp ' J I J C Sdikmg. (Copt'i 1906) 

Ruggieio LeoncaTallo was bom at Naples, 
Marcb 6, 1638, and was the son of a masistrale, 
the Chevalier Vincont, president of the tribunal 
of Potenza. Hi* mother was a daughter of the 
celebrated artist, [laffaele d'Auria. famous for 
hia decorationa in the royal palace at Naples. 
He toolt up the pianoforte at an early age 
with Simonetti, a well-knowni 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 
Buccess. Leaving the Conservatoire at eighteen 
he promptly showed his leaning toward operatic 
composition by beginning to write an opera, the 
Ubretto based on de Vigny's well-known drama, 
Chatterton. Finding an Impreasaiio, the produc- 
tion of this opera was promised, but at the last 
moment he was deserted by hia manager and the 
young composer waa reduced to poverfy. 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 pianiat. the latter occupation 
taking him to many countries — England. Fiance, 
LioscAVAiLu 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 I^naissance in Italy. 

This monumental work he entitled CrtpUKulum (Twilight), and the three parts were 
called : 1 — Medici ; II — Girolana Saainaroia ; III — Cczaic 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. 
Mtdlci; but it was not well received. Other operas by Leoncavallo which have been pro- 
duced with more or less success are: Chatterton (produced 16%)! Boh«me (1897): Zaza 
(1900); and finally Roland, written at the request of the German Emperor (1904). He has 
written also a symphonic poem, Sen^la; a ballet (La ^'jfa t/'una MariontUa) and several 

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 lapt attention. 

It is indeed a matter (or congratulation that the Victor is able to olfeT such a fine pro- 
duction of this moater work. 



- ^ 

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 d'e^d^d 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 haye' 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 
w^hile listening to the singing of the artists who have rendered these dramatic scenes, no 
great invagination is required to picture the various situations. 

In addition to the La Scala series, w^hich was made under the composer's direction, 
many other Pagliacci records are listed in their proper places. 


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, w^ith 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 w^ith 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 I " Mad w^ith 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 lover's name. Nedda tries to save the situation by continuing the play, while the 
audience is delighted by such realistic acting until the intensity of Canio '« passion begins to 
terrify them. The other players endeavor to silence him, but in vairi. 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 t!ie peasants 
he cries as if in a dream, "La commedia efinita" — (The comedy is ended). 



(Itdiu) (Enfllth) 



{Da Bth-v,(-di (PaA^Au) 

LibreKo and music by Rugsiero Leoncavallo. Rnt performed at the Teatro dal Veime, 
Milan, on May 21, 1892: in London. May 19. 1893. Firat New York production June 15. 1894. 
with ICronold. Montegiiffo and Campanari. Some famous casts of recent years at the MelTO- 
polilan and Manhatmn opera: Caruso, Farrar, Stracciari — Alvarez, Scheff, Scotti — Fairar, 
Bars, Scotti— Cavalieri, flouBselieie, Scotii — Deveyne. Martin. Campanari — Donslda. Baasi, 
Sammsrco, etc. 

Characters in the Drama 

NEIM)A tNtf-Jah) {in the play "ColanAine"). a strolling player. 

wife of CANIO Soprano 

CANIO iKali-na-oh) (in the play "PagUacdo " [PunchineHoi), 

master of the troupe Tenor 

TONIO (ToA'-iiK-oft) (in the play "Taddeo"), the clown Baritone 

PEPPE (Ptp'-pat) (in the ploy •'Harlequin") Tenor 

SILVIO. iSir-at^h) a villager - - . .Baritone 

Villagers and Peasants 

Tht icent h hid In 


(In Italian) 




(In Italian) 




(In Italian) 




(In Italian) 


1 2-inch, 


(In English) 




(In English) 










♦35171 12-inch, $1.25 


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 
By Antonio Scotti, Baritone 
By Antonio Scotti, Baritone 
By Emilio de Gogorza, Baritone 
By Alan Turner, Baritone 
By Alan Turner, Baritone 
By Pryor's Band 
By Pryor's Band 

Prologo (Prologue) (Complete in two parts) 

(a) Part I— Si puo ? (A Word) 
By Francesco Cigada, Baritone (In Italian) 

(b) Part II — Un nido di memorie (A Song of Tender 

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 unfold ed. 
The first is the motive which nmmemApHmmU'-m " _^^^^'^ 

always accompanies the appearance | / tf ,i_r'„T!! I , I -^ r '^^ "^^ ^ 
of the players or pagliacci: is^ n t 'rp'^ ^ d 

The second theme represents 

Canto's jealousy and is a sombre 

strain suggestive of revenge : 

The third repre- e mtMkm,im^>m^{j=u} 

ssnts the guilty love 

of Nedda and Silvio: 

and appears fre- 

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 curtadn smd 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. 

Lmrf u 

l(J = 4«> 

ii ' rM i'i "' 

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! 

Our author loves the custom of a prologue to 

his story, 
And as he would revive for you the ancient 

He sends me to speak before 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 : 

A song of tender mem'ries 

Deep in his list'ning heart one day was ringing; 

Ancf 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! 

* Doulle-Faced Record— For title of opposite side see DOUBLE-FACED PAGLIACCI RECORDS, page 265. 



mast admired portion of the aria, and ii 

1, think Ihen, sweit peoplf, when ye loolt on us, 
-T an/.msel. 

We are'burmeTfike you, for'glalness or^Jrow, 

The curtain now liaei, aa the pagllacci mollBt reappear* in the orcheMra. 

Opening! Chorus — "Son qua!" (They're Here!) 

By L» Sc»U Chonw (DwilWixH'— 5- *kw( 265) (In Italian) J68I* 10-inch, »0.7S 
The first scene, reprcMntinK the edge of a imall 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> 
feied to the crowds who have 
Backed to the village is the 
troupe of strolling players head- 
ed by Canto. These wandering 

the rural districts oF Italy and are 

known as pagllacci. They take 

with them a amail tent (usually 

carried in a cart drawn by a 

donkey), which they set up in 

the market places o( 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 

eo»T-T HitvKi* clowns, wrho have been parad- 

SAUUARco AS TOHio '"^ through the village to 

announce their arrival, as is the custom. As the curtain rises. 
the sound cf 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, i ' 
leadership of Maestro Sabaino. have given th 

number in splendid style. This oft-recurring ptirase : u, u. si^-^w^... ^ u ^(W-m 
which is presented with many odd modulations, produces a peculiar and novel effect. 
Bovb: Hi! They're herel "Women: See. there's the wagon! 

They're coming back! My, what a fiendish din! 

The grown-up^folks and boys All: Welcome Pagl?a«fo7'' "" "'' 

All follow after! Long life to him. 

Their jokes and laughter The prince of all pagliaccloa. 

They all applaud. You drive our care: away 

With fun and laughtcrl 
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 dmwn by a donltey, while 
Tonia and Pcppe make hideous noises on the bass drum and cracked trumpet which con- 
stitute the orchestra of the players. Canlo is dressed in the traditional garb of the clown, 
his face smeared with Rour and bis cheeks adorned with patches of ted. He tries to 


addresc the crowd, but the noue is tremendouB. 
Tonio beeu the drum furioucly to silence the 
voices, but it ii not until Can/0 haa raited hia 
hand to command attention that he ii allowed 

Un grande spettacolot (A 
Wond'rous Perfonnance !) 

By Antonio Paoli. Tenor; Fran- 
cesco Cieada. Baritone iGaetano 
Ptni>Corsi. Tenor; and Sig. 
Rosci. Baritone 
(Inllallan) 92009 12'inch, *3.00 


Come all, then, at seven! 
The crowd hoiMarousIy eipren their J07 
at the prospect of an evening's enteitainmenL auival of ihe flaveks 

Ctmh now turns to assist Ntdda b> ahght from 

**-- :art, but finds Tonio, the Fool, there before fiim. Giving him a cul 
he ear. he bids him be off, and Tonfo alinlca away muttering. Th 
in the crowd jeer him, saying : 

Does that suit you, Mr. Lover? 

n away. He goes grumbling int 

One of the peasants invites the players to the wine shop for a 
friendly glass. They accept, and Canto calls to Tonto to join them, but 
he replies fiom within: "I'm rubbing down the donkey," which causes 
a vilUger 10 remark, jestingly j 

Un tal gioco (Such a Game!) "'"° 

(Inllallan) 92010 12-inch, f3.00 
(/n ItaUan) 64206 10-inch, l.OO 


t to play, my neighbors! 

> you all I say it° 

re and lite, they are different altogether! 

eally should surprise so. 

nnai came aiici were a far di»erent stor 

Nedda, who ia listening, is surpriaed and sayi aaide 

villagers, ratheT puzzled at his eameBtneBs. ask him if he ia 

himaeU from hie sloomy mood and says hghtly: 

Not I— 1 love my wife most deaily! 

(He appmacha NtdJa and kf"a ha on the forthtad.) 
The sound of bagpipes (oboe) is heard in the 
distance, telling of the merrymaking in the villoBe. 
and the church bells begin to toZi the call to vespers. 
The people commence to disperse, and Canio again 
repeats his melodious strain of invitation: 


3S B 


iHt goes With attcralpaaantainlothetnn^ 

Coro della catnpane (Chorus of the 

By La Seals Chorus 

{In Italian) *3S172 12-iach, *1.25 
This is the famous Bell Chorus, or "Ding Dotig" 
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 
ofl ainging and the measures die away in the distance. 

c-rto,.™., ,„^„^, ^„„, Ballatella, "Chevolo d'anjielli!" (Ye 

f «»AR AS NEDDA BiTcls "Without Numbef !) 

By Alma Cluck. Soprano (/n ItaUan) 14238 12-inch. fl.50 

By Giuseppina Huguet. Soprano {In Italian) *35172 12-inch, 1.2S 

Nedda, left alone, is troubled by het remembrance of Canh't manner and wonders 
if he suspects her. She speaks of the fierce look he had given her, and says: 
1 dropl my eyes, fearful lest he should have read there 
What I was secretly thinking. 
Bui shaking off her d^iression, 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 tpcakM of her mother, whom she aaid could understand their 

WharcDunt'esTvolees!""" "' 
What ask ye? Who knows? 

My mother, she that was skillful at telling one's fortune, 
Understood what they're singini. 
And in my childhoocf, thus would she sing me. 
Then follows the brilliant BalaleUa or Bird Song, beginning: 


ll ia a mOBt beautiful number with an exquUile accompaniment, mainly of itringa. 
Mme. Gluck give* it here in delightful fashion, nnging with dazzling brilliancy, while a very 
fine rendition by Mme. f4uguet ia otfered as part of a double-faced record. 

So ben che deforme (I Know That You 
Hate Me) 

By Giuseppina Hutfuet, Soprano, and Fran- 
ce! co Cigida, Baritone 

(Inllallan) *391T3 12-incli. *ia5 

At the close of hei song Ntdt/o finds that the hideous 
Tenia has been listening, and now seeing the handsome 
Columbine alone, begins to make love to her; but she 
scornfully oidcrs him away. He persists, but his protesta- 
tions are greeted with mocldng laughter, and Ntdda says 
insolently : 

Thtre-s time, if you like, 

When you will be acling the fool! 

In a furious rage, Tom 

By the cross of the Savior Tonio: 

You shall pay for this, and deariy! Bui not until I've kissed you 

Nulla scordai ! (Naught I Forget !) 

By Giuscppina Hutfuet, Francesco Cigida, and Erneito Badini 

{DoabkJ mllh a^aos dmt) (In Ilatian) *3»173 

Tonh, driven almost to madness by Nedda'i scom and ridicule, 
seizes and tries to kiss her. She strikes him across the face with her 
whip, crying: 

The young villager, 
previous visits to the t< 
alarmei]. cries: 

She tells him of Tonlo'i behavior 
Her lover cheers her and laughs at 
which Siklo urges her to fly with hii 
He persists, and reproaches her fi 
ment she yields, singing the beautiful passag 

Then together they sing the lovely duet; 

A bids 

:r fears, 
but shi 

to dc feared. 
id they sing the beautiful love duet, in 
s afraid and begs him not to tempt her. 

idness, until finally in a passion of abandon- 

which begins the record : 

Then kiss mr 


The loven, who have cast aside all prudence and ace only 
each other, fail to observe Conio, who has been warned by Ton's 
and ha* hurried from the tavern. 

Tosio (holding Cunia back): Now just alep softly. 
Silvio (disappearing over Ihf tcsl") . """ '"' " " "" ""* 
To-nisht a( midnight. 
I'll be Ihrre below! 
Nedpa: -Tni to-nlEht then, 

And forever I'll be thinel 
(5Ae leea Canto and glea a oy o//"f-) Ahl 

Aitalo Signorl (May Heaven Protect Him I) 

By Antonio Paoli Tenor; Giuseppina Hu^et. 
Soprano ; Franceico Citfsda, Baritone ; Gaetaoo 
Pini-Corai, Tenor (Inllaiian) 92011 ll-incH. *3jOO 
Canto, who haa not leen Sllalo, but has heard Nedda't part- 
ing words, now rushes toward the wall. NcJda ban his way. 
The record begins with the melodramic music written by Leonui' 
vallo for this exciting atrueglc. during which Quito pushes her 
aside and runs in pursuit of Sihla. .,, „,„ ,„„ uedda 

1 (IkroiBB 
Tosio Cn 

DDA (liiltning anxiously): May Heaven prolecl him no 
Canio (from behind}: Scoundrel! Where hidest tl 
mo (laiigking cynically): Hat Ha; Ha! 
to Tonio mifi loathing): Btavo! Well done. Toniol 

Canh re-enters, out o[ breath and c 
pletely exhausted. As he turns to Nedda wilh 
■uppressed rage we hear again in the scci "^ 
laniment that dismal theme of revenge: 

paniment that dismal theme ol revenge : — - - ^ - .^_, 

whicn diroughout the opera always accompanies the scenes of Canlo's jealousy and passion. 


No one' 

That ehowe how welt be knows thai path. 

But no mattcrl 
(Furiously) : 

Because right now you-ll leU me bis name! 
Nedoa (indifferenliy): 


You!_ By God in Heaven! 

■Tis because I'd have you name him! 
Speali now! 
Nedda proudly refuses. Filled with joy because of 
Silolo't escape, she cares not what may be her own fate. 
Canto, beside himselE, rushes on her with the knife, but 
Peppe holda him back and takes away his weapon. Tonlo 
comes to Peppe 'i assistance, saying : 

Restrain yourself, good master. 
Tis best to sham awhile. 
The fellow will come back. 
You take my word for iti 

rain himself, and 

already assembling, Ntdda goes into the theatre and Canio 
remains alone, his head bowed with shame and baiSed 
CARUSO STHGiBG "visii LA oiubsa" rovonge in his soul. 

Vesti la giubba (On With the Play) 

By Enrico Ciruao. Tenor B806I 12-inch, tS.OO 

By Carlo Albani. Tenor 14097 12-inch. 1.50 

By Nicola Zerola. Tenor 6*169 10-inch. I.OO 



We now come to the most famous of the numbers in 
Leoncavalta's opera, the great Lament of Pagliaccio. Its heart' 
breaking pathos never falU to touch the listener, when sung by 
such arLsts as the Victor offers. 

The unhappy Canio, left alone after the exciting scene i , 

Ntdda, wrings his hands and cries i 

"Tq^pisy! When my h«fld"a whirl- Yel I must force myselfl 

Not^no'wiog what I'm saying or I^m but a Pagliaccio; 

what I'm doing! 
The great aria now follows, in which the unforturute Pagtia 
describes how he must paint his face and make merry for the pu 
while hi* heart is lorn with jealousy. 

Laugh. Pagliaceio, for the love thai is ended! 
Laueh for the pain thai is .gnawing your 

(//e mooa tlowli/ loieard iht itieairt, leetplng ; he itopa a 
h a ntu> fil of lotbing, he burla hit fact In hia hands ; iha 
Inio Iht Itnt.) 

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 oE the 
clown, which he pouis out not only on his faithless wife, but on himself and the occupation 
that bids him be merry when his heart is breaking. SometimeB Caruso's voice merely delights 
the ear — here he searches the heart ; and is not merely the greatest of tenors, but is the clown 
bimielf, full of the most tragic emotion. 

ACT 11 

SCENE— 5on« a. Ad I 

I Commedia (The Play) Part I. Serenata d'Ar- 
lecchino (Harlequin's Serenade) 

By Giuseppica Hu^et and Gaetano Pini-Corsi. 

(.DMhh.faaJ~Sapatt265) (In Italian] 3S174 12-incIi, *1.25 
Passing over the preparations for the play and the quarreling 
orus of the peasant* as they fight for the best seats, which is not 
leresting 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 m 
which runs throughout the 
action of the comedy n 


The sound oF a guitar, cli 
causes Columbine to utter 

Serenade, be- 
ginning : 
n which he extravagantly rhapsodizes hit 

La Commedia (The Play) Part II. E dessa! (Behold Her!) 

By Giuseppina Hujuet, Soprano; Praacttco Cicada. Baritoae; and 

Gaetano Pini-CoTBi. Tenor (In haban) *33ir4 12-mch, »1.29 

Tonia sa Taddeo. with his baiket, now peepa through (he 

e laughs in delight na Tonio tries to express his love 
by s long eiaggerated sigh. Columbine tries to suppress him by 
inquiring about the chicken he had been sent (or, but Tarda kneela, 
and holding up the fowl says: 

Sec, we are both bcfaic' Ihc? kneeling! 
His pretensiona are cut short hy Harlequin, who enters and leads 
him out by the ear. As he goes he gives the lovers a mock benediction. 

the little farce are among the most enjoyable of the series. 

Versa il filtro nella tazza sua! (Pour the Potion 
in Hia W^inc. Love !) 

By Antonio Paoli. Tenor : Giuseppina Huifuct. Soprano : 
AHATO AS TONIO Franccsco Ciffada, Baritone ; and Gaetano Pini- 

Corsi, Tenor (InltaUan) 910Z3 10-inch, tlJOO 

By Augusto Barbaini, Tenor; Giu»eppina Huguet. Soprano; Francesco 
Ciffada, Baritone ; and Gaetano Pini-Corsi. Tenor 

(D«,kk./acid—S~ P<V 265) (In Italian) 35175 12-inch. 1.25 

The lovers now partake of their feast and make merry together. Harlequin takes from 
hia pocket a little vial, which he gives to Columbine, saying: 

HAiLEeuTH: CoLUUBiNE (eagerly): 

Take this little sleeping drsuglil, Yes, give me! 

■Tis for Pagliaccio! 
Give ic him st bedtime, 
'And then bwsj. we'll fly. 

Upon the scene suddenly bursts TonIo, in mock alarm crying : 
ToNio {bawling loudlv) : 
Be careful! Pagliaccio is here! 
Trembling all over, he seeks for weapons! 
He has caught you. and 1 shall fly to cover! 
The lovers simulate the greatest alarm, a( which the excited audience is highly pleased, 
and applaud lustily. Harlequin leaps from the window, and NtJJa continues the scene by 
repeating Columbine's next lines, which by a strange chance are the very words she 
had spoken to ^JfiTSniiJ;" 

Can'.o, dressed as Punchinello, now enters from the door on the right. 

Canio iwilh suppressed rage): Pagliaccio (reilraining himself ailh difflcu 

(Taki«g «p his fori): 
CoUFMBiHE lliglitly): 


f. (fei«lly. mnc 

No, Pagtiaccio non son ! 
(No, Punchinello No 
More I) 

By Enrico Caruao. Tenor 

(Italian) 68279 12-iAcI>. *34>0 
By Antonio Paoli, Tenor 

(Italian) 92012 12-incli. 3.00 
By Nicola ZeroU. Tenor 

(Italian) 74247 12-incll. 1.50 
By Auguato Barbaini. Tenor 

(llaltan) *3S175 12-inch. 1.2S 

Throwing off entirely the maak 
of the player, Canio becomes again 
the jealous husband, and sings this 

Seat aria, which is second only to 
e KeiW la giubba in dramatic power. 

The people, "while a little pi 
zled by such intensity, loudly a 
plaud what they think is a piece 

Caruso's rendering of this great scene ia a magnificent one. The opening passage is 
delivered with tremendous power, a> 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 lofler strain as he speaks of his love for NeJJo, his faith- 
fulness and his sacrifices for her. At the close is the intense dimas, with its eplen- 
did high B flat. Other fine renditions of the air are by Paoli, Zerola and Barbaini. 


By Antonio Paoli, Tenor: Giuseppina Huguet. Soprano: Francesco 
Cicada, Baritone; Gaetano Pini-Corsi. Tenor i Ernesto Badini. 
Tenor: and Chorus (In Italian) 92013 12-inch. *3X>0 


The cloae ofCanio'i great 
alt. " No, Pagliaccio No More 1 " 
ia *greeted with loud cries □( 

Nedda it now thorouEhly 
nlarmed, but courageoualy 
facea her huaband wilh out- 
ward calm. 

bou thinli'st 

Than lo be 

Ihy lover 1 

No! b; Hea 



NtJda, in desperatioD, 
tries to continue the play, and 
as the little gavotte movement 
ia reaumed in the Bccompani- 

Come now, Taddeo, anEwcc! 
The crowd begins to laugh, but ia checked by Ctmio't appearance, which is aWming. 

Canio iviolenlly): Ah, jrou defjr mel 

>nO>: Who was itf 

As ahe sings we hear triumphantly appearing aboi 

telling of her pauion for Silvle, which is to endure even unto death. 
Canio now rushes toward her. but ia restrained by Tonio and Pcppe. 
Nedda tries to escape, but Carlo breaka away and stabs her, crying : 
C.ASLn: Take thai! 

Perhaps in death^s last agony, 
You will speak! 
NeJJa (alls, and with a last faint effort calls: 

"Oh, help me, Silvln." 
Silola, who haa drawn his dagger, rus 

Then once more is heard the tragic motive of iealousy and death, now thundered out 
by the orchestra aa if rejoicing at its final triumph. 



! Prologue, Part I — Si puo ) 

By Francesco Ciffada. Baritone (In Ualtan){,,,., ,, . , ,, ,, 
Prolotfoe. Part II— Un nido di memorie )35171 12-mcli,»l.Z5 

By Francesco Cigada, Baritone (In Italian)) 
Prologue By Alan Turner, Baritone {'" EngUahiX n j_„t • ^x 

G«T,t Into the QnJtn. Maud By Ha^J Ja^L.TtnorP^'^^ 12-mch. 1,23 

Prologue By Pryor's Band) . .. iis ;„.k i •»» 

Flying Dulchmcn Fanla>la ftj ftlH>f» Bonrfr'*** 12-lnch. 1^5 

Coro dalla campane By La Scala Chorus (In Italian) 

Che vols d'angelli 3! 

By Gtuseppina Huguet, Soprano (In Italian) 
So ben che deforme By Giuseppini Huguet, Soprano. 

and Francesco Cigada. Baritone (In Italian) , 
Nulla icordait By Giusepplna Huguet, Soprano; Francescc 

Cigada. Baritone: Ernesto Badini. Tenor (In Italian) 
La Commedia — Part I By Giuacppina Huguet. Soprano. 

and Gaetano Pini-Corsi, Tenor (In Italian) 
La Commedia — Part II By Giuseppina Huguet. Soprinc 
Francesco Cigada. Baritone: Caetano Pini-Corsi. Tenor 

(In Italian) 
Versa il filtro nella tassa suat By Augusto Barbaini. 

Tenor; Giuseppina Huguet, Soprano; Francesco Cigada. 

Baritone : Caetano Pini-Corsi. Tenor (In Italian) 2 
No. PagUaccio nan son t 

By Augusto Barbaini. Tenor (In Italian) 
Pigliacci Selection By Pryor's Band 31199 12-inch, 1.00 

{ B™Dn£i«s ^Bi/Ata"Kma.Bari°onl (/n Enjfl^)}'***' 10-inch, .75 

f Opening Chorus. "Son qua" I 

_ By U Scab Chorus (In !taliun)\^^^^^ ^^^^^^ „ 

ine, and Chona (In Italian 

351T2 12-inch, 1.2S 


' 39173 12-lncb, 1.25 


35174 12-inch, 1.25 


) 35175 12-inch. 1.25 

(Italian) (Entflish) 


iPes-kah-toh' -ne dee Pair-laau) 


Text by Carr6 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 PescatoH di Perle, May 18. 1889. First New York production 
January 11,1 8%. 


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 Picheurs 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 w^hich 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 is a most beautiful number, and considered one of the finest of Bizet's 
instrumental w^ritings. 

Preludio (Prelude) 

By La Scala Orchestra *62100 10-inch, $0.75 

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 tenipio al litnitar (In the Depths of the Temple) 

By Enrico Caruso, Tenor, and Mario Ancona, Baritone 

{In Italian) 89007 12-inch, $4.00 

By Giorgini and Federici {In Italian) 88319 12-inch, 3.00 

By John McCormack and G. Mario Sammarco {Italian) 87082 10-inch, 2.00 

By Giuseppe Acerbi and Renzo Minolfi {In Italian) *b&0b3 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: 

Zurga: g^^. ^^^^ j^^^. ^^jj ^^^ drops 

Twas a vision of beauty. And, passing through the wandering crowd 

liAUiA* She CllS3,Dl)63rS 

The kneeling worshipers astonished, ^^^ ^ strange* emotion overpowers me, 

Now murmur, 'The goddess comes! j f^^r to touch thy hand. 

Zurga: •' 

She descends from the altar Zupga: 

And, moving near to us A fatal love both our souls possess. 

*Douhk'Faced Record— For title of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 



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 w^ho 
comes once a year to pray for the success of the fisheries, and w^hom 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 Lfiila joins. 

Brahma gran Dio (Divine Brahma !) 

By Linda Brambilla, Soprano, and La Scala Chorus 

{In Italian) 'i'dSOba 12-mch, $1.25 

This is a most impressive record, the lovely voice of Mme. Brambilla showing to great 
advantage 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) 74067 12-inch, $1.50 

Leila reappears and the act closes "with her prayer to Brahma for the good fortune of the 
fishermen. Just as the curtain falls she recognizes Nadir, and contrives to let him know 
that she loves him. 


SCENE— >1 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 w^ill keep her promise and tells him of a vow she made w^hen a child to a 
fugitive who implored her to save his life. Although his pursuers held a dagger to her 
breeist she refused to betray him and he escaped to safety. 

Siccome un di caduto (A Fugitive, One Day) 

By Giuseppina Piccoletti, Soprano {In Italian) *68307 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 I" cries the stern priest. Left 
alone, the miserable w^oman broods over her unhappy plight. Bound by an oath which she 
now regrets, and conscious of her love for Nadir, w^hich may mean death for them both, she 
sinks down in an agony of despair. Nadir enters and asks her to fly w^ith him, defjring 
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 Hutfuet, Soprano, and Fernando de Lucia, 

Tenor {In Italian) 9205 A 12-inch, $3.00 

By Giuseppina Piccoletti, Soprano, and Ivo Zaccari, 

Tenor {In Italian) *68062 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 w^hen 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 tiik of opposite side see DOUBLE-FACED PEARL FISHERS RECORDS, page 268. 




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 10-inch, $0.75 

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— r^c 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 
suid 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, w^hile Nourahad 
runs to warn the Indians, and Lala and Nadir, beginning the great trio, voice their gratitude. 

Terzetto finale — Fascino etereo 

By Linda Brambilla, Soprano ; Giuseppe Acerbi, Tenor ; 

Francesco Cicada, 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 Indisms are heard returning for vengeance. Nourahad 

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 : 


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. 

68063 12-inch, $1.25 

68062 12-inch« 1.25 


Del tempio al limitar (In the Depths of the Temple) 

By Giuseppe Acerbi and Renzo Minolfi {In Italian) 
Terzetto finale — Fascino etereo 

By Linda Brambilla, Soprano ; Giuseppe Acerbi, i 

Tenor ; Francesco Cicada, Baritone {In Italian)] 

Non hai compreso un cor fcdel (You Have Not Under- 
stood) By Giuseppina Piccoletti, Soprano, and 

Ivo Zaccari, Tenor {In Italian) 
Brahma tfran Dio (Divine Brahma !) By Lina Brambilla, 

Soprano, and La Scala Chorus {In Italian) 

Siccome un di (A Fugitive, One Day) 

By Giuseppina Piccoletti, Soprano {In Italian) 
Hermes — S'io t'amo By Melis and Taccani {In Italian) 

fPearl Fishers Selection Sousa*s Bandl^^n'^'^ 

I Spinning Wheel {Spindler) Pryor*s Band]^^^^^ 

Preludio (Prelude) By La Scala Orchestra 

Ebrea—Rachele allor che Iddio [62 100 

By Gino MartineZ'Patti, Tenor {In Italian) 

Temer non so per me (I Fear Not) ] 

By Emilia Corsi, Soprano {In Italian) [63394 
Jana — Si dannato morro By Taccani {In Italian) J 

* 'Double-Face J Records — For title of opposite side see abooe list. 







10-inch, .75 

(laUu) (French) (Basliih) 


(Etl Pn-fa^-b,h) (Lth Pnh-fagt ) 


Text by Scribe. Mu«c by Giacomo Meyerbeer. First presented in Paris. April 16, 
1849. First London pioduction July 24, IS49. Fint New York production November 25, 
1634. Revived at the Manhattan Opera in 1909 with d' Alvarez, Lucas and Walter. Villa. 

JOHNOFLEYDEN,(i,tf'-fcn) the Prophet, chosen leaderof the Anabaptists. -Tenor 

Bertha, hU sweetheart Soprano 

FIDEs, {Fec'-dai/z) mother of lohn of Leyden Mezzo-Soprano 

Count OBEBTHAU ruler of the domain nbout Dordrecht Bass 


KiNAS, Ithree Anabaptist preachers {Tenor 


Nobles, Citizens, Peasants, Soldiers, Prisoners- 
Scene uni/ PerW; Holland and Germaw) ; In 1543, al ihe limt of ihc Anatapllal uprising. 

Meyerbeer's great work is certainty entitled to 
be called a grand opera, (or it is grand to the utmost 
in theme, charocler and scenes r 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 i and all these requirements 
are fully met with in Le Proph^te. 

The plot is based on the Anabaptist fanaticism 
of the siiteenth century, which agitated a large part 
of Germany and Molland. and the leader of which 
was one Bockelson, commonly called John of Leyden. 

SCENE— ^ Suiorb of Dordrecht. Holland 
Tlie story furnished by the librettists describes 
John as the son of the widow Fidis, an innkeeper o( 
Leyden. At the opening of the opera he is about 
to wed Bcrlha, an orphan. She, being a vassal of 
the Count Obalhal, is obliged to ask his permission 
' before marrying, and goes with Fidis, John's mother 

The Count, struck with the young girl's beauty, covets het 
t and orders Fldit and Berlha into the castle. 
ACT 11 
SCENE— FAe Inn of John in Ihe Saburba of Leyden 
Three Anabaptists enter and being struck with the resemblance oi John to the portrait 
of the guardian saint, David, at Munster, they try to induce him to become their leader. He 
refuses, but tells ihem of a strange dream he has had. 

The Anabaptists declare that Heaven has spoken in the dream, and promise that he shall 
yet be a ruler; but /oAn'j thoughts turn to his beloved SerlAa, and in this beautiful Pastorale 
he tells them that another and sweeter life calls to him. 


Pastorale (There's a Sweeter Empire) 

By Leo Slezak, Tenor (In German) 64112 10-inch $1.00 

Slezak, whose John is one of his greatest rdles, sings this lovely romanza with beautiful 


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 mv 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, w^ho 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 Fidis unless John delivers 
up the maiden. To save his mother's life he is forced to yield, and sees his bride carried 
oS to become the Count's mistress. 

Fidis, 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 

By Ernestine Schumann-Heink, Contralto (In French) 88187 

12-inch, $3.00 
12 -inch, 3.00 


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, by permission of 

My son, blessed be forever more! g. Schirmer. (Copy't 1899 .; 

The part of Fidis, 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 rdle 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 Fidis to believe John has been 
slain by the Count's assassins. 


SCENE — Camp cf Anabaptists in the 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 dei beati (Triumphal Hymn, *' King of Heaven'') 

By Francesco Tamagno, Tenor (Piano ace.) (In Italian) 95005 10-inch, $5.00 
By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91080 10-inch, 2.00 
By Luigi Colazza, Tenor (DouWe./ac«f-&e p. 273) (Italian) 16578 10-inch, .75 


King of Heaven and of the aitg^ls, 

I will praise Thee, "^^ 

Like David, Thy servant. 

A voice I heard — "Array thyself. 

And safely on I will guide thee." 

Praise to the Omnipotent! 

Yes, victory is on our side, 

Let's unfurl the sacred flag, 
He whom we serve is Lord 
Of Heaven and earth. 
Let's sing and march away. 
The eye of Heaven will watch over us, 
A supreme power will guide us! 
With songs of joy — with shouts of glory- 
On — on 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. 



SCENE I— A Public Squan in MutaItT 
The iniurgents have capluied the city. Tlie Prophet is received with mixed feelings, 
some denouncing him aa an impostor. Fidia, reduce to beggary, meeti Bertha, who had 
ejcaped from the Counl and come to Munster to seek John. Fldia tells hci John ii dead, and 
Bertha, thinking ihe Prophet is reipon' 
sible, sweara to have vengeance. 
SCENE U—Tht Mun,ter Cathedral 
This magnificeiit cathedral scene is 

to the rest of (he opera, bo 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'i Band 

The great symphonic march which 
occurs in this scene is by far the most 
striking instrumental number in Meyer- 
beet's opera. It is brilliant and power. 

even without the dramatic setting in 
which it is played in PtophMe, always 
produces a marked effect on the listener. 

Of the performance of this noble 
and stately march by Pryor's Band, wo 

can only say that it is superb in every ^j, denyimo his uothes— act iv 

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, Fldii sees him. and in a transport of joy greets him 
as her son. He declares she is mad, knowing it is death to both it he acknowledges her. 
She finally realizes the situation, confesses that she is mistaken, and is led away to prison. 

SCENE \—The Crypt of the Palace at Mumter 
The first scene takes place in the prison vaults beneath the palace, where Fidit, feeling 
"n that John will contrive to see her, patiently awaits his coming. She at first denounces 
Enting, prays that Heaven may soften his heart and lead 

him to repent. 

Prison Scene, Part I 

By Erneatine Scbumann-Heick. Contralto (In French) 68094 12-iiich. *3.00 

Piois (n(one): tHer wralh sul>5idts.^) 

O! my cruel destiny! Whither have ygu led Though thou hasl abandoned me, 

mef But my heart is disarmed. 

What, the wails of a prison! they arrest my Thy mother pardons thee. 

footsteps.' Yes. I sra atill a mother. 

I am no lonner free. I have given my cares that Ihou may'st be 
nertha swore my son's dea^. he denied his happy. 

mother; Now 1 would give my life. 

On his head let the wralh of Heaven fall ! And my soul exalted, will wail for thee in 

An officer enters and announces the arrival of llie Prophet. 

Prison Scene. Part II 

By E^estine Schumana-Heink. Cooiralto (In French) 88095 12-inch. *3.00 

FiJit tKcQ begins the second part of her great 

FiDSi (hsfKiiyi 



lialt H. 

i hi. 

n, delightful 



lighter of he> 


Y thy 1 

, like lightni 


ike the 

il of an utigi 


estial flaine 

lim ca 




e, Oh; eonq'i 


h thy 


m fhal 



igulf 1 



thy li 


pierce this ii 




^o. his «>U] 


: brass 

rurnace lierc< 

That he a 

iscend and „ 




:rB, Fidi, d. 


But thou, whom the world detests. 

Yes, thou, braving Heaven's behests; 

Thou, whose fell hand is reeVinR with blood; 

Far Irom my hMrtl^farf?™"^ eyes— 
Blood-sUin-d, go! 
John conEesses his sins and pleads for forgivenesii 
Di tiT, »iri ^gg„ j.„g PBOPHEi finally kneeling and receiving her blcBsing, just as a 

faithful officer enters and informs John ihal the Ana- 
baptisto 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 ia horHfied to learn that John is the F'rophtl. 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 act on fire, and goes (o the banquet halL 

SCENE II— rfte Creaf HaU of iht Paitice 

itered. crying, "Death 
and the palace falls, t 

After the Er 
the gates closed, 
and all his enem 





^"lly. ye are al 
I An tr plosion 

J Of.' 


John Ito Giant 

"^ wSii me";'""' 

We, all guilty. 


lied • 


}ur doom; 
all punishe 

with dishevelled hair 


(Italian) (English) 


(Ee Poo-ree-iah -nee) 


Book by Count Pepoli; music by Vincenzo Bellini. First presented at the Thidtre 
Italien, Paris, January 23, 1835, with a famous cast — Grisi, Rubini, Tamburini and Lablache. 
First London producton. King's Theatre, May 21, 1835, under the title oi Puritani ediCavalieri, 
First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera, 
with Pinkert, Bonci and Arimondi. 


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 w^hich 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 Walton, 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. 


SCENE I — Exterior of a Fortress near Plymouth 

At the beginning of Act 1, 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 setnpre (To Me Forever Lost) 

By Mario Ancona, Baritone {In Italian) 87014 10-inch, $2.0O 

given here by Signor Ancona, whose success in this part at the Manhattan revival is well 


Forth : 

Ah! to me forever lost, 

Flow'r of love, and hope the dearest! 

Life, to me thou 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! 



SCENE W— 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. Perell6 de Se^rola, Bass {In Italian) 55007 12-inch, $1.50 

The night was growing dark, 

And Heav'n and earth were silent, — 

Favorable the sad hour, 

Thy pray'rs §ave 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 Elvirt^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 aiFter his arrival Arthur discovers that jhe widow of 
Charles / 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. 


SCENE— r^c Puritan Camp 
Act II show^s 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, $3.00 

She recalls her £rst 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, mv 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. 





EliHra's uncle, hoping that the sight of her lover will restore her reason, begs 5/r 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 trotnba (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 1 

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 — 

He'll find support and succor. 
Sir George: 

If he in arms returns — 

He comes to shame and vengeance! 

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 casde 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 casde. They sing a lovely duet: 

Vicni fra queste braccia (Come to My Arms) 

By Maria Galvany, Soprano, and Francesco Marconi, Tenor 

{In Italian) 89046 12-inch, $4.00 

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 ray 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' $ reason returns, and the lovers are united, no more to part 


(ItalUn) (Entflith) 


iRajf-gee^ -nah dee SaW-baKi 


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 


King Solomon Baritone 

HIGH Priest Bass 

SULAMITH, his daughter Soprano 

Assad, Solomon's favorite Tenor 

QUEEN OF SHEBA Mezzo-Soprano 

ASTAROTH. her slave (a Moor) Soprano 

Priests, Singers, Harpists, Bodyguards, Women of the Harem, People. 

Scene: Jerusalem and 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, 

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 Q^een 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 rsmoves 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 lO-inch, $2.00 

By Leo Slezak, Tenor (In German) 64 1 1 5 1 0-inch, 1 .00 

A lovely melody, sung at first in mezzo-wyce, 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. 




Pieluilc to the Triloffy : " The Nibelungj* Rinff " 

Word, and music by Richard Wogner. First produced at MunicK September 22, 1669. 
Pint American production al New York. January 4, 1888. 


WOTAN. (Co'-taAn) 1 fBaKtone 


FROH. p"^' ITenor 

LOCI, (L«d'.j«:) I iTenor 

FASOLT, \p. fBau 

FAFNEB. fi-.iants |g^^ 

ALBERICH, (.4WJef.ljA)VMU I /f \ (Baritone 

MIME. {««■-«>«) p.belung. (Gnom«) \y^^^^ 

FRIOCA. (Fra'Jtah) I (Soprano 

FRElA, (F™'^A) Goddesses JSoprano 

ERDA. [EhZ-Jah) I IContralto 

WCXIUNDE, 1 (Soprano 

■WELLGUNDE, Nymphs of the Rhine Soprano 

FlOSSHlLDE. ) IConlralto 

RheingM is not o "society" opera. Played in complete darkness and with no inter- 
missions during the two houis required Eor 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 lilng 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 I— The Bottom of the Rhine 
The stage is in semi. darkness, representing the murky depths of the Rhine, and the 
hghl ghmmerins on the surface of the water above shows but faintly the three fUiine 
maidens guarding the RhlnegoU. 



Hiey sing their quaint songs ai they float about the rock which conceaJa the treasure. 

Alierich, prince of the Nibetanga, 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 
dte sun rises, the gleam of the Rhlntgotd 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. 
Alherich, having failed in his amorous attempts 
towards the Naiadi, 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 tost treasure. 

SCENE II— .,4 Mountain Top. Showing the CaalU ,.„ „ ,cj ,.,„ 

ofWalhallo IUE„ Of I„3 »HlN£GOLt^SC£»E I 

During this darkness the scene changes and as the stage becomes lightet we see Wal- 
kalla, the abode of the gods, a wonderful castle built for Woian 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 slepL Wotan is oveijoyed at the glorious sight, but the more practi- 
cal Frtclta reminds him of the price which he had agreed to pay the giants for this godly 
dwelling ; this being the surrender of Freio, goddess of youth and beauty. Wolan tells het 
that he never intended to keep his agreement, the god Lege having promised to show him a 
way to evade payment. 

Fnda now hastily enters, closely pur. 
sued by the giants Fasoll and Fafna, who 
call upon Wotan to deliver the goddess 
to them as agreed. Wotan repudiates his 
promise, saying that it was made only in 

1, Wot<. 

r finally realizi 

. ■ Fttia to the giants. Loge, however, 
lelU them of the Rhinegold, saying thai if 
thu treasure could be stolen from Atbrrtch 
by Wotan, it might be accepted by the 
giants in place of Frela, Wotan refuses to 
entertain this plan and the giants seize Frtia 
and carry hei off, declaring that if the 
Rhlnegold is not in their hands by night the 
original bargain must stand, and Frela be 
lost to the god* forever. 

Left alone, the gods realize the serious 


predicament they are in, especially ai it ii seen that, deprived of their youth Koddeu. 
they are suddenly aging. IValati thereupon decide* to secure the NiMunga' gold, and 
go«a with Loge in search of Aihtrich. A vapor ariaei from the earth, concealing the Mage, 
and when it disappears the scene has changed. 

SCENE \\\~AlbcHch; Cave 

Alhttich, since he has acquired the RhInegolJ, has become more anogant and cruel than 
ever, and compels Mime and the other Nlbdonga to continually [oil and slave to bring him in 
more gold. At the beginning of the scene he ia berating Mime for loitering over his Cask of 
making a Tamhdm, or magic cap, fashioned from the RhinegoU, and which gives the wearer 
the power to become invisible. [Volan and Loge now enter on this scene and are rudely 
greeted by Alberlck, who demands their business, and holding out the Ring bids them 
tremble at his power. They at first craftily (Matter 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 Tainhelm, 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 [he [oad and seizes [he Tamhelm. thus robbing Alberich of hU power. His 
natural form returns and they bind him and start for [he uppet^ earth. The scene changes 
again to the mountain summit. 

SCENE IV— Some ■» Scene // 

Wolan and Loge enter, dragging the helpless Alberich, who is beside himself with rage. 
They demand (hat he give them his hoarded store of gold as the price of his freedom. He 
reluctantly obeys and summons the Nibelonp, who instantly swarm up from below carrying 
the hoard. He then asks to be set free, but IVolan demands also the Ring. Alberich is 
horrified, but is finally compelled to add ii to the pile of gold. He then sings his bitter 
and ironical air, Bin ich ruin fiel f 

Bin ich nun frei? (Am I Now Free?) 

By Otto Goriti, Baritone {InGeiman) 64203 10-inch, 11.00 

He lays a frightful curse on the Ring, pre- 
dicting that it will bringmisery and death to each 
until it ia restored to him again. 

LSEKiCH (with liiller irony): 
Am I now free?— 
Really free? 

r death! 

All shall lust after its deliahis, 
But none shall employ Ihem tt 

Aye the murd;rer'sT>ranJ it sh 


He vBi.i.he> and fVolan, 
who hu paid little attention 
to his curling^ dons the 
Ring, gazing at it in admira. 

for iheir pay, and demand 
that enough gold ihall be 

tiled around Fitia to hide 
er completely from sight. 
ThU is done, but when all 
the gold ia piled up Fa/ner 
says there is still one small 

Weiche, 'Wotan, weiche ! (Waver, Wotan) 

By Ernestine Schumann- Heiok. Contralto (In Qt 

( Wotan 'i responses are sung by Mr. Witherapoon) 
She warns him aolemnly that the Ring is cursed and charges him I 

cevice vUible. and insist. 
that it be aied with the 
Ring. Wotan refuses, and 
the giants are about to seize 
Fraa again, when Erda, the 
earth goddess, rises and 


ir appeal 

nj 88092 

t2-inch. *3.00 

Quit the 

he endless 

A dismal (Uv dawns for the ^sir: 
O render wUely the ring[ 
iSkt bcgiaa to sink ilnaly ihio Hit earth.) 
WoiAB : 

Wa " and''?mparrmore'"wi5^Dm" ' 

I've warned thee now; thou watt's! enough; 
Pause and ponder truth! 
(She compltuty diiafptari.i 

Mme. Schumann-Heink sings this powerful number with dignity 
and dramatic force. 

Wolan 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 Faaoll is killed by Fa/ner; after which the 
murderer coolly proceeds to collect the gold and then deparU. 

Donntr, 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 

HOME. AS ERDA P™"'* "croM the bridge to WMalh the voices o( the Rhine 

maidens can be heard from below, still bewailing the loss of their gold. 

Rhine-nyufhs (fnm briow): In the wave thy pure manic waltel 

Rhinegoldl Barest gold! What is of worth dwells l>ul in the waters! 

O miglil but again Base and bad those who are throned above. 

(.^1 Iht gods slomly oca the bridge to the caille. the airtatn falU.) 



Text by Piave, adapted from Victor Hugo's drama Le Rol a 'Amate. Music by Ciusepp 
Verdi. Fir»t produced in Venice, March II, (851. First London production at Coven 
Garden. May 14, 1853; at the liallen,, Pati^ January 19, 1857. Fir»t New York productioi 
November 2, 1837. 


RIGOLETTO, a hunchback, jester to the Duke Baritone 

Duke of MANTUA, a titled profligate Tenor. 

GiLDA, QcJ-dah) daughter of RLgoletto Soprano 

SPARAFUCILE, {Spahr-i.h-{>»^hat) a hired assaraln Bass 

MADDALENA, {MadJaUav -nah) hi» sister Contralto 

Count MONTERONE («!«*«*'.«*) Baritone 

Count ceprano Ban 

Courtiers, pages, servants. 

Scene and Period : Mardaa and etdnlty ; ilileenlh century. 

The story tells of the gey and unprincipled Duke of Manlua, who U assisted in his 
crimes by his icster. RlgoUlto. a hunchback. The father of one of the DateeS victims is 
mocked by Rigoletto and launches upon him a father's awful curse, which stuns and sobers 
the jester, aa he, too, has a daughter, Gilda, unknown to the court. 

On his way home Rigolello meets a piofessional assassin, Sparafucllc, who offers, for • 
price, to kill any enemy he may have. Rigolello says he may need him later. The Du^i, 
in the guise of a young student, has already met Gilda, not knowing who ahe is, and the 
young girl has fallen in love with him. When Rigoletto has left the house the Duke't 
caurtiera abduct Gilda and take her to the Palace. The father's rage is terrible to wltneis, 
and he goes to the Palace, but too late to save his daughter. She pleads for the Duke'i life, 
but Rigolello swears to kill Him, and arranges with the assassin, Spara/ucile. to accomplish 
the deed. The Duj^e is lured to a lonely inn by Sparafuale's attractive sister, Maddalcna. 
and is about to be tnuidered when Maddalcna, who has taken a fancy to him, bega for his 
life. Spatafucih consents provided a substitute should happen along before midnight. Olda, 


whom Rigoletlo had brought hither (disguiaed as a page) in order that she might witness the 
fickleness of her lover, has been Hstening to the conversation, and now resolves to save the 
Duke'i life at the cost of her own. She enters the hut, is stabbed by SpatafuciU, who 
delivers the body to Rigoltllo according to agreement. Rigoletlo a about to cast the body 
into the river when he hears the Dulft's voice in the distance. The wretched man opens 
the sack, sees his daughter and falls senseless on her body. 


SCENE \— Ballroom In Iht Dukt'' Palxce 
As o f£te is in progress in the ducal residence, the Du^ 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 gitl at church, but knovi^ nothing of her except that she is visited often by a man 
who is supposed to be her lover. The Duk' tlien sings his first air. Quale o qatlla. 

Questa o quella (*Mid the Fair Throng) 

By Enrico Caruso. Tenor (/n Ilalian') 8701 S 10-inch, I2.00 

By Florencio Constantino, Tenor {in Italian) 64069 lO-inch. 1.00 

This melodious number is perhaps the best of the Dulte'i solos, though usually cast 
somewhat in the background by the popular La donna t mtJilU, In it the Duk' announce* 
himself as a man of pleasure, sets forth hia code of morals, and boasts of bis conquests. 
'Mid Che fair throne ttaat sparkle around me, As a dove flie;. alaim'd. to seek shelter. 

Not one o'er my heart holds sway; Pursued by some vulture, to bear it aloft 

Though a sweet smile one moment may in flighl. 

charm me. Thus do I fly from constancy's fetter: 

A glance from some bright eye its spell E'en women's spells I shun— all their efforts 

All aliiie^may a^iract, eai:h in Inrn ma; please; A husband that's jealous I seorn and despise. 
Now with one 1 may trifle and play. And I laugh a1 and heed not a lover's sighs; 

Then another may sport with and tease— If a fair one take my heart by surprise. 

Yet all my heart to enslave their wiles I heed not scornful tongues or prying eyes, 
Caruso's interpretation of the Duj^e 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 Qlda 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. 

- I 


Constantino has made a great success as ihe Dakf- both at the Manhattan Opera and in 
Boston during the past season. He sings this gay aic wilh grace and abandon. 

After making another enemy in the person of the Count Ceprano, by his marked atten- 
tian lo the latter's wife, the Dukt departs. Manilla enters and eagerly announces to the 
courtiers a rich discovery. Rlgolello, the Dul^e 'a jester, is in love I The courtiers refuse to 
believe this, as Rigolctio is known as a confirmed woman-halei. Manilla insists that the 
jester makes frequent visits to a young girl. The nobles, who all hate Rlgolello for his cruel 
tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Cepratio 

The voice of the aged Count Monleront, whose daughter is one of the lecent victims of 
the Dukt. is now heard outside demanding admittance. He throws aside the guards who 
seek lo slop bin), and entering, denounces the Du^r for his Crimea. 

Ch'io le parli (I WUI Speak to Him) 

By Francesco Cigidi, Baritone: Aristo- 
demo Sillich. Bass : La Scala Chorus 

(In Italian) *6B190 12-inch. *1.23 

Rigolelio 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 ate horrified, 

RigoUlto 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. 

Monlerone is removed by the guards, and the 
scene changes to the street in front of Rigolello'i 

SCENE II— .4 Siml : Rigolelio 'i Collage on one ttdt, 
oppesitt the Palace of Count Ceprano 
The jester enters, brooding with superstitious 
fear over the curse ^vhich bad been laid upon 
him. He is accosted by ^furq/iicj/e, a professional 
assassin, who offers to rid him of an enemy if he 
has one. Rlgolello looks at him thoughtfully and 
says that if he has need of his services he will 
inform him. Sparafaclle departs and Rlgolello 
delivers his famous monologue. ^ct i scene ii 

Monologo— Pari siamo (We Are Equal) 

By Mario Sammarco. Baritone (/n llallon) 88320 12-mch. »3X)0 

By Antonio Scotti. Baritone (In Italian) 88032 12-inch. 3.00 

By Emilia de GogorEa. Baritone (In Italian) 88179 12-incli. 3.00 

By Titta Ruffo. Baritone (In Italian) 92041 12-inch, 3.00 

By Ernesto Badini. Baritone (In kalian) *4»032 10-inch. l.OO 
He looks at the retreating form of the biavo and says; 

RiGOLEiTo: Tdl5 mc, between sleeping and wakinji 

Yon assassin is my equal— "Come, buffoon, I would laugh nowl" 

And he their laughing stock! Still 1 hear it; '(is ringing in my ears! 

Yonder the ray maMer, My soul is troubled— fear I some misforlunei 

Youthful and brilliani, rieh and handsome. Ah, no, this is folly! 

• Doahh-FcaJRcarJ—Fni tttk tfopi.«lli ilJt h DOUBLE-FACED RIGOLETTO RECORDS. »af294. 


Five records of (his great number are here presented, 
sung by famous exponents of tke port of Rlgoletlo. 

The jester enters the court-yard and is affectionalely 
greeted by Gllda, 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. Rigolello avoids her question and sings a pathetic air: 

Deh non parlare al misero (Recall >Jot 
the Paat) 

By Antonio Scotti, Baritone 

(In Italian) 85031 12-iach. tS.OO 
a which he begs her to refrain from questions regarding 

their past hi 
He em 

embraces her tenderly, then, recalling the curse, 
solemnly enjoins her to keep within tke house and never 
venture into the town. Gllda says she has only been to 
Mass each Sunday, but does not tell him of the student 

with whom she had exchanged fond glances. RigoUllo 

EAMHAPco AS PibOtETTD summons the maid. Gloeanna^ and questions her, besin-. 

ning a lovely duet, full of pathos. 

Veglia o donna (Safely Guard This Tender Blossom) 

By Maria Galvaay. Soprano, and Titta Ruffo. Baritone 

(In Italian) 91500 lO-ioch. »3.00 
He warns the maid to always closely guard her mistress from any danger which may 

R]c;oi£Tio: Gilda: 

Safely guard this tender blossgrn. Ah; such fear for me revealing. 

Which to th« I now confide; Father dear, why IhuB display? 

In her guileless heart and bosom One from whom there's no concealing 

May no thought of ill belide; Guides me ever on my way 

From the arts of vice protect her, From on high my mother's spirit 

May its snares be laid in vain; Leads me on wilh tender care; 

Her falher will from Ihee expect her While this heart bears life within it. 

Safely brought to him again. 'Twill defy each artful snarel 

Rigolello bids his daughter a lender farewell and takes his departure. The Dul/t, again 

dressed as a student, now enters, having previously purchased the silence of Gloeonna, 

Gllda a alarmeci 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 deir anima (Love is the Sun) 

By Giuseppina Huguet. Soprano, and 
Peraando de Lucia. Tenor 

{In Italian) 92056 12-inch. *3.00 
By Alice Nielsen. Soprano, aitd Florencio 
Constantino. Tenor 

(In Italian) T4063 12-inch. l.SO 
He soothes her fears, telling her he loves her with a pure 


blight e 

Footsteps are now heard, and after a tender farewell he 
leaves, after telling her that his name is Walter Malde. 

Gitda remains pensively gazing at the gate through which 
the pretended student has departed. In rapturous soliloquy 
■be sings : 


Caro nome (Dearest Name) 

By Lui»a Tetrazzini. Soprano 
By Marcella Sembrich. Soprano 
By Nellie Melba. Soprano 
By BcMic Abott. Soprano 
By Graziella Pareto. Soprano 
By Edith Helena, Soprano 
By Marie Michailowa. Soprano 
Then the lovely nir, Cam Nome, begins. 

(/n Italian) 




(In Italian) 




(In Italian) 


12- inch. 


{In Italian) 




(In Italian) 




(In Engli,h) 

•3506 T 



{In Ruulan) 


10- inch. 


Name oriove thai fTdore, ^" 
Thou to me aic ever near. 
Ejr'ry thought to Ihee will fly, 


Oh, . 

e berove. 


Tliia delightful long, with its grace, delicacy and coloring, has never been aurpassed 
and the scoring for orchestra, especially in Verdi's use of the wood- wind, it admitable. 

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 hei voice shows in an unusual de- 
gree that luscious srnoothness. golden purity and perfect equality for which it Is noted. 

The character of Cilda 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, 
Waller Malde, who has secretly won her heart. Nothing could be more perfect in it* way 
than Mme, Sembrlch'a singing of this beautiful number. 

Tetraizini'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-FaceJ Record — For etlt of oppfol^ til 




Night has now fallen and 

the courtiers, led by Ccprano, 
enter, wearing maskB. Rigo- 
Ullo returns and U much 
alarmed to see them in thii 
neighborhood, but his fears 
are allayed when they an- 
nounce that they have come 
to carry off Ctprano 's wife, as 
he is well aware that the Dulft 
has had designs on ihat lady 
far some time past. He tells 
them Ceprano'i palace is on 
the opposite aide and offers to 
help them. They insisl that 
he must be disguised and 
contrive to give him a mask 
which covers his eyes and 
ears, and lead him in a circle 
back (o his own balcony, giv' 
ing him a ladder to hold, 

gagged with a handkerchief, and she is carried away. 

Rigcdetto, suddenly finding himself alone, becomes suapicio' 
finds himself at his own balcony. Frantic with fear he rushes ii 
and falls in a swoon as the curtain descends. 


SCENE-.4 Matl in the Dake't Paloct 
The courtiers enter and tell the Dukt thai they have captured Kigo/eWo'j 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, Scorrendc unite, 

Scorrendo unite remota via (On Mischief Bent) 

By New York Grand Opera Chorus (/n Italian) 64049 10-inch, fl.OO 

which gives the details of the huge joke they have played on Rigidelto by making him assist 
in the capture of his own mistress. 

Unio a lonely abode directed. We tfaen deiiir'd hiTii to hold the ladder^ 

When shades of evening were falling fast. Ills eyes were bandag'd. he did obey. 

Ily dark'ning shadows we were protected U'e swiftly mounted to tbe room, and found 

Until our game we spied at last; her. 

With timid footsteps she scarce came nigh us. The sUrtled beauty we bore away! 

wLn^Rigo[ct'to'^7""°"h=n"ime*'by"us, Wondrousl il must be my love, my lost one: 

With angry brow and ill at eai^e. Covbtiejis: 

And Ihal the ioke mijiht be all the madder. When he di-cover'd how we'd fooled him, 

We said Ceprano's wife should be our prey, No doubt he eurs'd till break of day: 

When the DuJ^e leems that Gllda is in an adjoining room he joyfully goes to her, saying 
that her fears will be soothed when she discovers he is the Waller Malde she loves. 

Then occurs one of the most dramatic scenes in the opera, and the greatest opportunity 
for RigoleUo. This scene has been recorded in its entirety by Amato, one o( the greatest of 
Rigolelloi, assisted by Bada, Setti and the Metropolitan Chorus. 

Povero Rigoletto ! (Poor Rigoletto !) 

By Pasquale Amato. Baritone, with Bada. Setti and Metropolitan 

Chorus ]n Italian 88340 12 tS.OO 

Rigoleilo'i voice is now heard ouuide, singing a careless air. He enters, affecting in- 

ditference, but trying to find some clue to Gllda's whereabouts. A page enters with a mes. 

sage (or die Dakf and the courtiers tell him their master caruiot be disturbed. RigoleUo 

listens, his fears becoming confirmed, and he exclaims: 

Ah, she 'must be here then! The maid whom you last nietat 

Co"aT^EHsf'(afec!infl iiirfime): Who? Ah^she is there, 1 know ill 


Courtiers: If a sweetheart you've lost, Rigoletto: 

Go somewhere else to seek her! Yes, my daughter! 

Rigoletto {with terrible emphasis) : (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! stand back, I tell ye I 

What, his daughter! 

His rage, now terrible to witness, is expressed in the second part, Cortigiani, oil razza. 

Cortigiani, vil razza dannata (Vile Race of Courtiers) 

By Pasquale Amato, Baritone (In Italian) 88341 12-inch, $3.00 

By G. Mario Sammarco, Baritone (In Italian) 88315 12-inch, 3.00 

By Titta Ruffo, Baritone, and La Scala Chorus (Italian) 92066 1 2-inch, 3.00 

By Emilio Sagi-Barba, Baritone (In Spanish) 74161 1 2-inch, 1.50 

By Renzo Minolfi, Baritone (Oouhlt-faced— See page 294) 16573 10-inch, .75 

He at first denounces them as abductors and assassins, then breaking down, asks for pity. 


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 thee 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? 

rupted.) 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, somew^hat ashamed at the turn of affairs, obey, and Gilda begins her 
pitiful confession. 

Tutte le feste al tetnpio (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, 3.00 

By Laura Mellerio, Soprano, and Ernesto Badini, Baritone 

(In Italian) *45000 10-inch, 1.00 

By Giuseppina Hu^uet, Soprano (In Italian) *62083 10-inch, .75 


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 light 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. 


PUngi fanciuUa CWeep. My Child) 

By Maria Calvany. Soprano, ao4 Titta Ruffo. Bariione 

(/o Italian) 92S02 12-iacli. •4.00 
By A. Cassani. Soprano, and F. Federici, Baritone 

{In Italian) *4503a lO-inch, l.OO 
The Couni Moniemne now passes ihraugh the hall under guard. He pauses before the 
Oui^'i portrait and exclaims: 

iKxit. guarded.) 
filgohllo, Kazine after Monlerone, grimly says thai vengeance i 

: be long delayed. 

Si vendetta (Yes, My Vengeance) 

By Maria Galvany, Soprano, and Titta RufFo, Baritone 

{In Italian) 91901 lO-inck. «3.00 
By Laura Mellerio. Soprano, and Eraeito Badini. Baritone 

(/n /(a/ion) ♦45000 lO-ioch, IXM) 
He in turn gazes on the Dalf'' portrait and sings fieicelyj 


But 'iwill not be long thus, tbe avenger 

2\ 7 a 

n my heart there's nought of anger.) 

iou shall fee! a father's wrath! ^"^^ 

Oh!'for?ive him! 

Ah, might 1 aver! [he wrath of Heaven! 

* DtaUe-FaaJ Rtceid—Fat titk ofoppntUt tii 




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 b^ a table polishing his belt, unconscious of what is spoken outside. 

Rigoleito and Gilda, the latter in male attire, now approach the inn. Rigoleito pityingly 
asks his daughter if she still can love the Duke. She confesses that she does, and he 
exclaims : 


Thou lov'st him? 

Rigoleito : 

Still to love him is mere infatuation. 

I love him. 


Ah, tender heart of woman! 

Oh, base despoiler! 

Thou my child shalt yet have vengeance. 


Nay, rather pity. 


And if I could convince thee that he is 
worthless, wouldst thou still then love him? 

Gilda : 

Perhaps. Ah, he does love me I 

RiGOLETTO (leads her towards the house to look 
through a fissure in the wall): 
Come here, and look within. 

She does so, and is startled to see the Duke, 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 

By Florencio Constantino, Tenor 

By Giuseppe Acerbi, Tenor 

This familiar canzone, beginning 

(In Italian) 87017 
{In Italian) 64072 
{In Italian) *62083 

lO-inch, $2.00 
10-inch, 1.00 
10-inch, .75 

L«don>iiainio-bi*l«<iualpitt>iiualven-to, nm^ted'ac • ceo'to e dl pen sie • lo 
ir0«Mvi- ftT/c* • U^/alMal'kr'getktr^Mov'd like the/ea^therbonuty Ike bree-Mti 

is perhaps the best know^n 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. 


Woman is fickle, false altogether, 

Moves like a feather borne on the breezes; 
Woman with guiling smile will e'er deceive 

Often can grieve you, yet e'er she pleases. 
Her heart's unfeeling, false altof ether; 

Moves like a feather borne on the breeze. 

Borne on the breeze, borne on the breeze! 
Wretched the dupe is, who when she looks 

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 etfectiveness. 
Other renditions are given at varying prices. 

* DoubieJ^aceJ Record— For title of opposite side see DOVBLEJ^ACED RIGOLETTO RECORDS, page 294, 



Al the close of [he Duke'' song Sparnfoclle 
enters wilh the wine. He knocks twice on the 
ceiling and a young girl comes down. The Dulgt 
tries to embrace her but she laughingly escape* 
him. Now occurs the great Quartet, one of the 
most famous of concerted pieces. 

Quartet — Bella figlia deiratnore 

(Fairest Daughter of the Graces) 

By Bessie Abon. Soprano; Louise 
Homer, Cootralto : Enrico Caruso, 
Tenor: Antonio Scotti, Baritone 

(/n Italian) 96000 12-iach. t6.00 
By Marcella Sembrich. Soprano; 
Mme. Sevecina. Contralto ; Enrico 
Cani*o, Tenor; Antonio Scotti, 

(In Italian) 96001 12-inch. 6.00 
By Giuseppina Huguel, Soprano: 
Emma Zaccaria. Meizo-Soprano: 
Carmelo Lin lirotti. Tenor ; Fran- 
cesco Cigada. Baritone 

(InltaHan) "•'eSObr, 12-inch. 1^5 
By Ciuseppina Hu^uet Soprano : 

coHSTAKTiBo AS THE DUKE ACT 111 Emms Zsccarla. Mczzo-Soprsno ! 

Carmelo Lanzirotti. Tenor: Fran- 
cesco Ciffada, Baritone 

(In Italian) 58359 12-inch. 1.00 
31471 la-inch, 1.00 
*16276 10-inch. .75 
Among the musical gems with which the score of Rigoletto ahaunda, none is so well 
known and universally admired as this fine number, sung by the Daku, Gllda, Maddaltna 
and Rigolello. it is undoubtedly the most brilliant and musicianly of all Verdi's concerted 
pieces, and the contrHsting 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 
renditiana, are offered by the Victor. The singers who have been engaged for these records 
are all noted for their artistic inteiprelations of the characters represented. Caruso's Dal(^, 
with its glorious outpourings 
of luscious voice in the lovely 
airs: Sembrich 's perfect por- 
trayal with it. wonderful 
vocalization: Abott's girlish 
and brilliantly sung imper- 
sonation; Homer's MadJaUna. 

to attractanyDuke. and whose 
one vocal opportunity occurs 
here; Scotti's truly wonderful 
and superbly sung Jester, one 
of the moBt powerful im- 
personations on the operatic 
stage — all these are familiar 
and admired portrayals ; while 
the artists who render die 



TTie situBtian at the opening of the ocl u a mo»l dramBtic one. The Duh.', K»y and 
careless, is making love to MaddaUna in the inn of Spanfuctlt, the bandit, all unconacious 
that the auasain hired by Rigolello is waiting (or his opportunity. 

He sings, beginning the quartet! 

Fairest daughter of the graces, 

Wil^ onrtendirr"wo«f rJVv^eslorE me. 
End the panK, the pangs of unrequited love. 

I appreciate j-ou rightly. "'^ 

Ah, Y^a^ to think''hQ"many 

Yet your lender tale may move! 
Rlgohtto, who desires to prove to Cllda that her lover 
is false, bids her look through the window of the inn at 
the scene within. The unhappy giil, convinced, exclaimai 

Silence, thy t< 
Thou must sh 

iE"..'.';s 1 

The strength i 

will not fail 

I Bmoothneaa, and the manner in 
IB brought out, is moat remarkable, 
lous, and copies of the records have 
1 the collections of music lovers 

The blending of the four voices is marvelous in lb 
which every syllable and every note of the difBcull music 
The sales of these wonderful reproductions have been enom 
made ^eir way to every part of the world, and are \) 

The Dul(e now goes to his bedroom and is soon asleep. Rigoleilo bids his daughter go 
to Verona with all speed and 
he will meet her there. She 
reluctantly departs and Riga- 
Ittto pays Sparqfacilt half his 
price, the remainder to be 
paid on the delivery of the 
body of the DuJ^ at midnight. 
Rigoleilo goes away just as 
GltJa, who has disobeyed her 
father, returns and tries to see 
what is going on inside the 
house. Sparafucile enters the 
house and MaddaUna, who 
has taken a fancy to the Dutit, 
begs her brother to spare his 
life, delicately suggesting that 
he kill Rigoleilo and take 
the money from him. Spara- 
facile is indignant and pro- 
tests that he has never yet 
failed in his duty to his em- 
plovers. Maddalena pleads 
with him and he finally says 
if another guest should enter 
he will .IdU him instead of 
thcDuH r-tn-n oilda fibds hek loveb false 


During this dramatic scene a storm is raging, and in addition to the stage effects of 
thunder and lightning Verdi has used the elective 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) *68190 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. Sparafucilt, fearing that Rigoletto 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 vanish'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 i 

Here the buffoon is monarch! Away, now! 

He is about to drag the sack towards the river, when he hears the voice of the Dtik^ 
leaving the inn on the opposite side. 


Woman is fickle, false altogether, etc. 
Rigoletto {tearing his hair) : 

That voice! Am I mad? What fiend deludes 

No, no, no! here I hold him! 

{Calling to the house.) 

Hola, thou thief, thou bandit! 

{The Duke's voice 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 w^hich is unfortunately omitted in American performances of the opera. 
However, the Victor ow^ner, 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) 92506 12-inch, $4.00 
By Giuseppina Hu^uet, Soprano, and Renzo Minolfi, Baritone 

{In Italian) *68067 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! ray angel, look on thy father! Oh, my daughter! 

The young girl, who is not yet dead, opens her eyes and cries feebly: 


Ah, who calls me? Rigoletto: 

Rigoletto: Heaven's avenging 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 forgive her. 

Oh, my father, for him that I cherish. From yonder sky, with the blest angels flying, 

I deceived thee, and for him I perish. Comes my mother to welcome me home! 

* Double-Faced Record— For title of opposite side aee DOUBLE-FACED RIGOLETTO RECORDS, page 294. 




a faibcr 

0/ G.U 


(Ch 'io le pirli (I Will Speak to Him) \ 

By Cig>da. Sillich. and La Scab Choruf (/n haUan) I 
|Tempe»ta— Somitflia un Apolla (He*a Fair m Apollo) 
I By Liada Btambilla, Maria Cappicllo. Ariiiodemo Sillich. r 
I aad La 5cal> Chorus {In Ilalian)] 

/Caro nome (Dearest Name) By Edith Helena {in Englhh)\„,^,, 
\ Sonnawtuta-Ah. non glungc By Edifh Helena (EngftjA)/^^""^ 

Quartet— BelU figlia dell' amore (Fairest Daughter of the 
Graces) By Ciuseppina Huguet.EmmaZaccaria, Carmelo 

68190 12-inch, *1JI5 

(In Italian) 68067 12-iach, 

{In llallan)] 
{In Italian)} 


I^nzirotti, and Francesco Cifiada 
Lassil in cielo (In Heaven Above) 

Huguet. Si^rano.ind RenzoMinolfi. 
/Monolago — Pari aiamo By Ernesto Badi 

tPiangi fanciulla By Casaani and Federi 

(Tutte le feate at lempio (On Every Festal Morning; 
By Laura Mcllerio and Ernesto Badini (In llalian) I ..-,„-, 
Si vendetta (Yes, My Vengeance) 4»UOO 

By Laura Mellerio and Ernesto Badini {In Italian)} 
ICortigiani. vil razza dannata (Vile Race of Courtiers) | 

i By Renio Minolti. Baritone (In llallan) ^16573 

I Lakfne—Fantaiiit aax dtoim By M. Rocca. Ttnor UnFrench)] 

Tutte te feste al tempio (On Every Fesul Morning) ] 

\ By Giuseppina Huguet. Soprano (/n llalian) >620B3 

iLa donna e mobile By Giuseppe Acerbi. Tenor illalian)] 

JRigoletto Quartet By Arthur Pryor's Band)^, 

1 Ptacemakei Match 



f Rohiihr^oh eel Dec-Ill^ -oaUBhl 


{R<,h-hchr.lel< Dtt^h'^O 


Words by Scribe and Delavigne; music by Ciacomo Meyerbeer. First presented at the 
Acndimie, Paris, November 21, 1631. In London, and in English, imperfectly, as The 
I>emon, or the Mystic Branch, at Drury Lane, February 20, 1832; and as The Fiend Father, or 
Robert of Normandy, at Covent Garden the day [ollowing; as ftobert the Devil at Drury 
Une. March I. 1643. In French at Her Majesty's Theatre. June II. 1832. In Italian at Her 
Majesty's Theatre, May 4. 1847 (first appearance of Jenny Lind and Staudigl). 


ROBERT, Duke of Normandy Tenor 

Bertram, the Unknown Bass 

flAMBALDO, a minstrel Tenor 

Isabella. Princess of Sicily Soprano 

Alice, foster sister of Robert Soprano 

Knights, Courtiers. Heralds, Pilgrims, PeasantB, Chaplains, Priests, Nuns, etc. 

Although Meyerbeer had 
produced several operas, most- 

unlil the production of Robert 
le Diable in 1831 that the 
genius of the composer became 
known. The opera met with 
an unparalleled success and 
really made the fortune of the 
Pans Op*ra with its splendid 
scenic effects, brilliant instru- 
mentation, vigorous recitative 
and its heroic and partly 
legendary story. 

Rcherl. Dt-ktcfNoTjnauJy. 
who was called Robert Ihe Deeit 
because of his courage in 
battle and his successes in 
love, is banished by his sub- 
jecU and goes to Sicily, where 

ALicii SNO BEBTBASi ACT II gj,\ 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 Robtrl. 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 haiella, whom he loves. 

The second act shows the entrance to the Cavern of Sat 

Spirits are collected, and where occurs the great scene for Bertr 

Valse Infernal, "Ecco una nuova preda" (I Have W^ell Spread 
My Toils) 

By Marcel Journet, Bass, and Metropolitaa Opera Chorus 

(InFroKh) 74282 I2-ioch. *I.SO 
Bertram promises the Demons that he will complete the ruin of Ro&trf and the fiends 
rejoice at the prospect of adding another soul to their company. 


capture' ^'*"* "'^ °"' '"° " To dr'own'their remorse in hellish mirth! 

One inor. gainedl glorious conqueet, Infebkal Chohus (from Iht cavern): 

Al which demons must rejoice! Ye demons, who Heaven and its laws defy. 

lA sublerraneous naist is heard; darkness The sound of your revels now mounts to the 

falli. Bertram, under the control 0/ the sky. 

evil one. ieeii on ytnhoh jey.} Your voices lift high! 

King of fallen angels! rulir mine! ■ " * Praise the master who reigns over ns. 

He is here! ■ ■ " He awaits me! • ■ • Sing aloud in lusty chorus! 

1 hear the noise Praise the Master, yes praise! 

Joumet gives an impressive rendering of the utternnces of the fiend, Bertram, while ihe 
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 lovei, overhears thU infernal 
baigain and determines to save him. Roiierl, dejected over the loss of his honor and 
wealth, meets Btrlram, who promises that all shall he restored to him if he will have the 
courage to visit the ruined ahhey and secure a magic branch, which can give wealth, power 
and immortality. 

The next scene shows the ruins, where Btrlrean invokes the aid of the buried nuns in 
completing the downfall of Robert. This famous invocation is sung here by Plangon with 
spirit and power. 

Invocation — Nonnes, qui reposez (Ye Slumb'ring Nuns) 

By Pol Plaafoa, Baritone {In French) 8512S 12-inch, *3.00 

Bertiam speaks of the founding of the convent and of the false nuns who lie buried 
here, and calf* upon them to arise. 

To Heaven's cause hequealhed by Si. For an hour forsake your sepulcher beds, 

Rosalie. King of Hell, it is 1 who calls you. 

Here lie buried the false daughters 

The spectres arise, and 
when Roierl appears they 
dance around him and lead 
him to the grave of St. 
Roialie. 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 
Iiabetla'i room to carry her 
oS. In this scene occurs the 
famous air for habdla, "Oh, 
Elobert. My Beloved." part of 
which will be found in this 

Selection, includinjj " Oh, Robert, My Beloved" 

By Arthur Pryor's Bind (poiAlt-faciJ) 39064 12-iach. •1.2S 

Moved by her entreaties, he yields to the promptings of hii good angel and breaks the 
branch, thus destroying the spell. 

In the last act Bertram renews his efforts to induce RiAerf to sign an eternal contract. 
Tired of life, he is about to yield when Alice appears and tells him of the last words of hia 
mother, warning him against the Fiend, who is in reality Robert'i father. The clock strikes 
twelve, and the baffled Fiend disappears, while the cathedral door opens showing the 
Prlncets waiting for the reformed Robert, 



(Le Rwah deh Lah-how/) 



Libretto by Louis Gallet; music by Jules Massenet. First production at the Grand 
Op6ra. Paris, April 27, 1877; and at Covent Gardeti, Royal Italian Opera, June 28^ 1879. 


ALIM, King of Lahore Tenor 

SCiNDIA, his minister Baritone 

TiMUR, a priest Bass 


SITA Soprano 

K ALEID, confidant of the King Mezzo-Soprano 

Time and Place : India ; the eleoenih century , during the incursion of the Mohammedans, 

This early work of Massenet's is founded upon an Indian subject, and deals vrith the 
Mussulman invasion. It is noted for its brilliant ballet, illustrative of an Indian paradise. 

SitOt 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 w^ar with the Mussulmans, is betrayed to the enemy by 
Scindia, and is killed in battle, w^hile Scindia seizes his throne and carries aw^ay Sita, 

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 w^hen Sita dies. On his return he finds that 
Scindia has secured the throne and forced &ta 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. 


The Sultan's barb'rous horde, who had so 

gladly riven 
From us fair Lahore, 
By our own might have from the field been 

From care my people free. 
Loudly sound lortn my praises! 
O promise fair of joy divine, Sita, ♦»♦»»•»»»•*♦« 

Thou dream of all my life, Sita, my queen thou soon shalt be I 

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 



Words by Baibier and Cerii, afler Shakespeare's drama. Music by Charles Gounod. 
First produced at the ThAUre Lyriquc. Paris, April 27, 1867. First London production July 
1 1, 1867. Presented in Anieiic:a, 1868. wilh Minnie Hauk. 

Some famous American productions occurred in 1890, with Patti, E^velli, del Puente and 
Fabri; in 1891. with Fames (d*but). the de Reszkea and Capoul; in 1898. uritb Melba. 
Saleza. de Reszke and Plan^on ; and more recendy with Farrar as Jalltl. 


JUUET. iJooJcc^) daughter of Capulet . . Soprano 

STEPHANO, {Sicf'-ah-mh) page to Romeo Soprano 

Gertrude. Juliet's nurse Mezzo-Soprano 

ItoMEO Tenor 

TYBALT. {TtOohf) Capulel's nephew Tenor 

BENVOUa (Btn-w'-fci-oA) friend of Romeo Tenor 

MERCUTIO. {Mtt-kea' -thrt-oh) friend of Romeo , , Baritone 

Paris. (PoA-w') Capulet's kinsman , . Baritone 

GREGORIO. Capulet's kinsman Baritone 

Capulet, {C<a-<--ld,') a Veronese noble BasEa.Cantante 

Friar Laurence Bass 

The Duke of Verona Bass 

Guests; Relatives and ReUiners of the Capuleta and 

The action toka place at V™na. 

Romeo and Juliet over- 
Gounod having written for the 

lovers some of the most emo- 

and the opera has even been 
called "a love duet with occa- 
sional interruptions," It is of 
rse 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 bstened 
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 
page5fc^A(ino, has been added. 


SCENE — Ballroom in Capulet's House, Verona 

Tlie cuEtain rises on a scene of festivity. CapuleU a 
Veronese noble, is giving a masked f6te in honor of his 
daughter Juliei *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 Plan9on, Bass {Piano ace.) 

{In French) 81035 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. 

12-inch, $3.00 
12-inch, 3.00 
12-inch, 1.50 



Valse (Juliet's Waltz Song) 

By Louise Tetrazzini, Soprano 

{In Italian) 88302 
By Emma Eames, Soprano 

{In French) 88011 
By Blanche Arral, Soprano 

{In French) 74151 

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. 

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 asre or sadness 

Born of fantasy golden, Threw their shade o er my brow I 

Three records of this delicate w^altz, 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 


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 I 

Claim, then, unsparing, that for my daring 

I one soft kiss be fined. 

Kiss, that effaces unworthy traces. 

This hand hath left behind. 

Thy hand, good pilgrim, this fine but 

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. 

But, ah me! I not such as this. 

Palm unto palm, not red lips meeting. 

Is a holy palmer's kiss! 

To palmer and to saint, have not lips too 
been given ? 

Yes; but only for prayer! 

Then grant my pray'r, dear saint, or faith 
may else be driven, 

Unto deenest despair! 

Know, the saints ne'er are moved, 

And if they grant a pray'r, 'tis for the 
prayer's sake! 



Titialf. ■ bot-headed member of the CapuUl fomlly, recos- 
nizea Romto through hia maik. and threaten* to kill him for 
bia preaumption in coming to the houie of hia enemiea. 
CaeaUl reatraine Tuhtdl and the dancinz lecoromences aa the 
curtain (alU. 


SCENE — Capulet'i Garden; JuUtl'i Apartmenti About 

rally from Shakespeare, about the only variation 

Ah ! leve toi soleil (A 
Faireat Sun) 

By Charlea Dalmorei. Tea 
(InFrench) SS12I 12 
By Leo Sleiak, Tenor 

{/n Gtnnan) 61204 10 

h night's dark shades. 

r^ bgJds^ he "resse" "1 
tpeakelh. Ah! how c 

Juliet appeaia on the bal- 
cony and Romeo conceali him- 
self. She apeaka to the atara 
of her new-found happineaa. 


A long Bcene between the lovers is interrupted 
by Giegorlo and some retainers, who are Reaiching 
for Romeo. He conceals hiniBelf. and on Cheii de- 
parture (he duet is resumed. 

Ne fuis encore (Linger Yet a Moment) 

By Alice Nielsen, Soprano, and Florcneio 
Constantino. Tenor 

[In French) 64091 10-inch. >1.00 


Good nighl, love. 

On Ihine eyes slumber dwfll, and swool peace bu 

In Ihy bosam; would 1 were sleep and peace 

SCENE \—Thi Cell of Friar Laurence 
Romeo and Julid meet by appointment in the Friar's cell to ask 
at Brat protests but finally consents, hoping the union will btin 
gether in friendship. The marriage takes place, and Juliet returns I 
SCENE II— A Siteel In Verona 
Slephano enters, seeking bis master. Observing the residence 
sing a tang, thinking Romeo may still be lingering near the house. 
ail has been given by Rita Fornia. 

Chanson de Stephano (Page Song) 

By Rita Fornia. Soprano (In French) 74211 12-inch. *1.90 

This brilliant young so- 
prano, who has just been en- 
gaged by the Victor, has made 

Metropolitan in this r&le, her 
fresh and youthful voice being 
admirably suited to the music 
of the Page, while in the 
recent revival of Romeo her 
singing of Slephan 
pronounced one t 
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 ate 
interrupted by Mercutio and 
Ti^ali, who begin to quarrel 
with Gtegorio. Romeo enters 

but is insulted and forced to fight, killing Tybalt. The action comes to the ears of the 


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. 


SCENE— 7u/ic/'3 Room 

Romeo has made his way into Capulefs 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 

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 
father and Paris approaching, she drinks the contents of the phial, and 
[growing faint, apparently expires in Capulet* s arms. 


SCENE— rAc 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 mouHifuI 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 I 

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 : 



Alas! I believed thee dead, love, and — 

I drank of this draught! 

(Shows the phial.) 

Of that draught! It is death! 

(Taking the phial.) 

Ah ! thou churl 

To drink all! No friendly drop thou'st 
left me, 

So I may die with thee! 

(She flings the phial away, then remember- 
ing the dagger, draws it out.) 

Ah! here's my dagger still! 

Now, happy dagger, behold thy sheath I 

(She stabs herself. With a supreme effort 
Romeo half raises himself to prevent her.) 

Hold! Hold thy hand! 

Ah, happy moment. 

My soul now with rapture is swelling, 

Thus to die, love, witn thee. 

(She lets fall the dagger.) 

Yet one embrace! I love thee! 

(They half rise in each other's arms.) 

O heav'n grant us thy grace! 

(They die.) 


Selection from the Opera 

By Pryor*0 Orchestra 91359 

ll-inch; 11.00 



iSahm^ -tahn' a^ Doh'-ke-/ah') 



Text by Ferdinand Lemaire ; muiic by Camille Salnt-SaSn* (Sahn'-Sabm'). First produc- 
tion at Weimar, undei Liazt, December 2, 1877. In France at Rouen, 1890. Performed at 
Covent Garden, in concert form, September 25, 1893. First American production February, 
1 895, with Tamagno and Mantelli (one peif ormance only) . Revived by Oscar Hammerslein, 
November 13, 1908. 

Ca«t of Characters 

DEULj\H Meiio-Soprano 

Samson , Tenor 

High PiyEST of DACON Baritone 

ABIMELECH, Satrap of Gaza Firrt Bass 

An Old Hebrew Second Bass 

Philistine Messenge-* Tenor 

First Phiustine Tenor 

Second Philistine Ba™ 

chorus ai Hebrews and Philistines. 

Time and Place; 1 150 B. C. ; Gaz. 

ler. eicelhng in every branch of the art of music, he is 
undoubtedly the most versatile musician of our time. He 
has held a commanding position on the concert stage 
since 1846, when at the age of ten he gave a concert in 
Paris. On October 15, 1906, he pUyed one of his own 
concertos at the Philharmonic concert in Berlin. Sixty 
years before (he publici In all the history of music 
there is no more wonderful career than that of the com- 
poser of Samson, who a few years ago visited America 
for the lirst time. 

Samion el Dalila may be called a biblical opera, 
almost an oratorio, and the polished beauty and grace of 
this great composition has caused it to be pronounced 
Saint-Sa#ns' masterpiece. The religious and militant 
flavor of the Jewish nation is finely expressed in the 
score, and the exquisite love music is more or less familiar 
by its frequent performance on the concert stage. 


SCENE — A Public Sqaart In Caia 
The opera has no overture. The first scene shows a 
square in the city of Caia. where a crowd of Hebrews 
are lamenting their misfortunes, telling of the destruction 
ir altars by the Gentiles. 


Figlia miei v'arrestate (Pause. My 

By Charles Dalmorei. Tenor 

(In French) 8T08T lO-inch. »2,00 
By Amtoaio Paoli. Tenor 

(/n llalian) 91078 lO-inch. 2.00 
By Nicob Zerola 6*113 iO-inch. l.OO 

S*M£ON {coming oirl from iht IhroKg): 
Let us pause. O my brolhers. 
And bless the holy name of the God of our 

To our God, as before! 
The Hebrews are cheered by 5ani»>n'j words, but 
their mood sooti changes when a number of Philistines 
enter and revile them. A fight occurs, and Samion 
wounds Ahimtlech. The High Priest of Dagon comes 
out of the Temple and curses Sam«,r,. 
DALUOREE AS SAMSON From the Temple aow comes Delilah, followed by 

the Priestesses of Dagon, bearing flowers and singing of 
Spring. Dditah speaks to Sainion and invites him to the valley where she dwells. He prays 
for strength to resist her fascinations, but in spite of himselE he is forced to look at her as 
she dances with the maidens. As the young girls dance Delilah sings to &unnin the lovely 
Song o/ Spring. 

Printemps qui commence (Delilah's Sonf of Spring) 

By Gerville-Reache, Contralto (/n French) 88244 12-iitch, *3.00 

Uelilait: ... In vain all my beauty: 

B?fght hopt^they are bringing, iSliVeaiti%'ndly ai Samsan.) 

All hearU making glad. When night is descending. 

The soft air effaces ' Bewailing my fate, '"*' 

All days that are sad. For him will I wait. 

The earth glad and beaming. Til[ fond love lelurning. 

With freshness is l«ming. In his bosom burning 

May enforce his return! 
Sami^ shows by his hesitation and troubled bearing that Delilah has shalcen his 
resolutiotis, and as the curtain (alls he is gazing at her, fascinated. 


SCENE— £Wi/aA : Home in ihc Valley of Soreck. 
Delilah, richly attired, is awaiting the coming of Gannon, and muses on Ker coming 
triumph over his affections, and the plot to secure his downfall. In a fine air she calls on 
Love to aid her. 

Amour viens aider (Love, Lend Me Thy Might) 

By Louise Homer. Contralto {In Fttncl^ 88201 12-inch. (3.00 


O Love! in my weakness give power! Could he only drive out the passion 

Poison Samson's brave heart for me'. That remembrance doth now preserve. 

'Neath my soft sway may he be vanquished; But heis tinder my dominion; 

Ev'ry thought* of me he would banish, 'Tis \ alone tKat''can'"hold hi^n^-^ 

And from his tribe he would swerve. Til have him captive at my feetl 

After a scene between Delilah and Dagon, who urges her not to fail in her purpose, 
Samaon arrives, impelled by a power he cannot resist. 

Delilah greets ^im tenderly, and when he bitterly reproaches himself for his weakness, 
she sings that wonderfully beautiful song of love and passion. 

NOTE.— Ten DB ifaii p*se Crom DiMn Editioa by imcimoa. Copt'i 1 S9$. OUnr Dian Co. 


Mon coeur s'ouvre a ta voix (My Heart 
at Thy Sweet Voice) 

By Louuc Homer, Contralto 

(in French) 88199 12-iilch. 13.00 
By Schuminii-Hcink, Coatralto 

(In German) 8B190 12-inch. 3.O0 
By Jeanne Gerville-R£ache, Contralto 

[In French) 68184 12-ineli, 3^)0 
By EIuc Baker. Contralto 

{InEngUih) *I6192 10-inch. .75 

This lovely air of Delilah, perhspg the most beautiful 

contralto air ever written, and the most familiar of the 

numbers in the opera, is in the repertoire of almost 

every contrako. 

This quotation from the affective traiulation by 
Nathan Haskell Dole is from the Schirmer libretto. 
(Copyright 1892, G. Schirmer.) 
My heart al thy sweet vaice opens wide like the flower 
Vhich the niorn-s kisses 

Tell iV rove''5tilt unshaken! 
O. Eay thou wilt not now leave Delilah again! 
Repeat thine acienla tender, evVy passionate vow, 

4 thou dearest o£ men! 

Four records of this well-known air are listed here. 

rK.v„ ■ V .«Ari,^ .« «., ., . Mme. Schumann-Heink sing, it in a manner which dis. 

DALiLA ^j^^^ ^^^ ^,^j^^ melodious contralto, and she delivers the 

lovely music with warmth and feeling: while it is aung by Mme. Homer with an intensity 

of sentiment and a beauty almost incomparable. Mme. Gervllle-R*aehe'« performance of 

Delilah was one of the sensations of the late Hammeratein season, her rendition of Delilah 't 

song being particularly admired ; while a record in English is contributed by Miss Baker. 

Dtlllah now ask* that Samion confide to her the secret plans of the Hebrews, and when 
be refuses she calls the Philistines, who are concealed, and Samton is overpowered. 

ACT in 

SCENE I— A Priion al Gaza 
Samaon is shown in chains, blinded and shorn of his hair. As he slowly and painfully 
pushes a heavy mill which is grinding com, he calls on Heaven to forgive his offence. 
A file of guards enter and conduct him to the Temple, 

SCENE \l~A Magnifictni Hall in the Temple of Dagon 
The High Priests and Philistines, with Delilah and the Philistine maidens, are rejoicing 
over the downfall of their enemies. The music of the opening chorus and the Bachanalhaa 
been given here in a fine record by a famous Spanish band. 

Coro y Bacanal (Chorus and Bachana!) 

By Banda Real de AUbardcros de Madrid *62660 10-inch. *0.IS 

They have sent for Samson to make sport of him. Delihh approaches him and taunts 
him with his weakness. He bows his head in prayer, and when they have wearied of their 
sport Samton asks the page to lead him to the great pillars which support the Temple, He 
offers a last prayer to God for strength to overcome his enemies, then, straining at the 
pillars, he overthrows them. The Temple falls amid the shrieks and groans of the people. 

fMy Heart at Thy Sweet Voice By Elsie Baker (In Engli,hJ\^^^^^ 10-ineh. 10.75 
\ Manon — Laughing Song By Edith Helena (In Englah)) 

IChorus and Bachanal By Banda Real de Alabarderosti-i.- ,. ■-->. tk 

1 Mir ^uet from 2nd Symphony (Haydn) ^ Banda Real]*'^*'*^ IO-u>ch. .79 

'DtulkJ'aceJ RicorJ—Fur Hlh 





Text by Rossi; music by Gioachino Antonio Rossini. It is founded on VoItaire*8 
tragedy Semiramis, First produced at the Fenice Theatre, Venice, February 3, 1823; in 
London at the King's Theatre, July 15, 1624. In French, as Semiramis, it appeared in Paris, 
July 9, I860. 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 1894 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 

MITRANES, of the royal household Baritone 

Magi, Guards, Satraps, Slaves 



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 ; Semiramide, the Queen, 
assisted by her lover Assur, has murdered her husband, King Ninus, who, in the second act, 
rises in spirit from the tomb and prophesies the Queen's downfall. 


By Police Band of Mexico City *35167 12-inch, $1.25 

By Police Band of Mexico City 31676 12.inch, 1.00 

By Arthur Pryor's Band 3 1 52 7 12-inch, 1 .00 

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. 

* Double-Faced Record — For title of opposite side soe next pose. 



The Btl ragffio, a favorite cavatina with all prima 
donnaB, and a briltiant ikncl imposing air, cxx:urs in the 
lint act. The scene shows the Temple of Belus. where a 
religious festival is in pTogreu. Semlramlde is about to 
announce an heir to the throne and has secretly deter- 
mined to elect Anacea, a young wanior. with whom she has 
fallen in love, unaware that he is in reality her own son. 

Bel nggio lusinghier (Bright Gleam of 

By Marcelta Sembrich. Soprano 

{In Italian) 88141 12-inch. I3.00 

Ilcnce sU mv doubts have fled 
No more I (»L the sway of g 

RoBsini, 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, Bd ragglo is not 
sufficiently elaborate to show the skill of a Sembrich, 
and the additions with which the dim 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 aifin prrme hrillo, and the aatonishing arpeggio up 
to C sharp on the dal mio pensier which follows. The ensuing 
canlaiiltit sung with all the legato and grace which it requires. 
its principal figure being also additionally embellished. 


i Overture By Police Ban4 of| 
M""'lf.S''o,. 5/) , "'" 12-ta.l.. •■•25 

By Arthur Prgori Band\ 


Second Operi of the RbineKold Trilo^ 
Wortls and muaic by Wagner. First produced at Bayreuth, Auguel 16, 1876. It was 
given in French at Bruraeia. June 12, IS9I. and aubiequently at the Opba in Pari*. In Lon- 
don (in English) by the Carl Rosa Company, in 1898. First American production in New 
York, February 1. 1886. 


Siegfried Tenor 

Mime (M«'-m«) Tenor 

The Wanderer (Wotan) Baritone 

ALBERIC {Ahfitr^) Baritone 

FAFNER {fo/.«r) .Bats 

ErDA (eAr'-rfoA) Contralto 

BRUNNHILDE {,BnKn.kir -dak) Mezzo-Soprano 

There is little of tragedy and much of lightnesa and the joy ol youth and love in this 
most beautiful of the Ring Cycle, which tells of the young Sitgfried. — imp^uous, brave, joy- 
ful and handsome ; and Brtinnhllde, the god-like maid — 
unielAsh, lovely, innocent, who Rnds she is but a woman 
after all. 

After Sicgtmde had been saved from the wrath of Wotan 
by BrannhiUt (related in the last part of Watkii't). she 
wanders through the forest and dies in giving birth to the 
child SlegfrleJ, who is found and brought up by Mime, the 

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 BrUnnhiUt, the fair maiden who 
sleeps on the fire -encircled rock. He follows the guidance 
of one of the birds, cuts through 
the apear of Wolan, who endeav. 

the flames. On the top of the 
rock he beholds the sleeping 
Valkyrie covered with her shield. 

Heremovesthearmor.andBrtlnn- siEtfUicD and the swobd 

hlUe 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 ; BrOnnhlUe has opened her eyes. He looks at her in 

recogniies him as Slt^fleJ, and hails him as the hero who is to 
save the world. This part of the trilogy ends in a splendid duet. 


SCENE— /J Fotat. Al One Side a Cave 

Mime, the Niblung. brother of Alberic. found SieglinJe in the 

forest after she had escaped from Wolan. and brought up her 

child, knowing that it was Siegfried, who was destined to kill Fafu« 

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 

mss K% uiUE Bword for Siegfried. 

Siegfried and the Dragon 


Zwan^^volle PU(feI (Heartbreakiiif; 


By Albert Reisa, Tenor 

(/n Ccmxin) 74235 12-iach. *1.50 

Mr. Reiss' wonderful cWacler itudy of Mime, the 
dwarf, has been one of the moit impreaiive features of 
(he Metropolitan peiformances during the past few 
yean. Hii impcTBOnation gains each year in the sar- 
donic and malignanl side of A/ln»'i nature, but is always 
amusing, nevertheless. Tlie artiil'i portrayal, dramatic- 
ally and vocally, leaves nothing to be desired, and in 
the epiaodes where the dwarf is most abject and fawn. 
ingly malicious he is superb. 

Siegfried, in forest diess. wilh a horn around his 
neck, bursts impetuously from the woods. He is driv- 
ing a great bear and urges it with merry roughneaa 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 Mirr\e about his childhood, 
and the dwarf tells him reluctantly about his mother „,„„ „ ,„,„ 
and about the sword his father had broken in his last siEcmiED hike and the 

fight. Siegfried demands that Mime shall mend his bea»— *ci i 

father'sBwordwithout delay, and gaesback into the forest. 

IVolan now enters and in answer to Mime '3 questions says he is the [Vanderer, 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 waa his mother's wish that he should 
learn fear. " What is this fear }" says Siegfried, and Mime attemps to describe it. 
Miue: Fellest thou ne^er in forest dark. 

At gloammg hour ic gloomy spot.. 
Ft^tMt^t^hou^th™^ no grisly gru«orr,«,ess groiv 

Bslefullest ehudd'erB shake tfay whole body. 
All thy »n»e5 »nk and (orsakir Ihee, 
In thy hreast hursting and hig 

Sie^ried regretfully admits that he has never felt 
any such sensation. Miml, 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. 

SCENE— TAe Dragon't Cave In the Foreal 
F(^ner, who has changed himself into a dragon, 
the better to guard his gold, dwells within a cave, keep- 
ing constant watch. Alheric is spying near by, hoping to 
regain the treasure by killing the hero whom he 
_ knows will overcome the Dragon. The Wmdere, en- 

MiuE AT THE ABviL ACT I ,j.jj ^jj wams Jllberic of the approach of Siegfried. 

Alheric wakes the I>ragon and offers to save its life in return for the Ring. Fo/n er contempt- 
uously refuses, and makes light of the hero's prowess. Wolan departs, laughing at the dis- 
comRted Alheric, who hides as Siegfried and Mims approach. The latter is still trying to 
terrorize Siegfried with awful descriptions of the £>ragon. but Siegfried laughs at him and 
finally drives him away. 


The young hero, left alone, biIb dawn under a tree and 
meditBtei about hia mother, whom he pictures as gentle and 
beautiful. His dreaming is ended by the long of the birds, and 
he resi'etB that he cannot underatand their language. He answers 
their song with a blast of his horn, which disturbs Fafnet and the 
Dragon utters an awful roar, which, however, only makes the 
yourti laugh. The Dragon rushes upon him, but 5ieg/rf«/ 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. Mint 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 impersonatora of these rOlea, Goritz and 

W^ohin echleichst du ? (NVhither Slinkest 

By Otto Goritz, Baritone, and Albert Reiss, Tenor 

(/nCemon) 64215 10-inch. »1.00 khaus as sieofriid 

Albebic: Miue: 

Wither slinkest Ihou, ha&Iy and sly, slippery What I have^ed with shrewdest toil shall 

QUldst thou ere, ft 
Ik Ring made* the 



7^^ n 

ms^hlve rWd^ll 

,ee. ,h.u re 

Ry the boy's exploit 

Shalt Ihou, booby^ be belter. 

A bantling'! 
lid this begi 
I and blusle 
*ell nigh as 


r from'tG/ ensnar 

-the Ring I— 

he Ring lo tl 
|] 90on^ shal 

Nought lalk n 
Untd Ihre I'll 
For Siegfried 

r of It 

They hide themselvea at SitgfritJ cornea from the cave with the Ring, the value of 
which he does not yet comprehend. TTic bird's voice i« 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. Horrilied to 
learn that Mime is planning to kill him, he strikes down the dwarf 
and throws his cor^tse in the cave, rolling the body of the Dragon 
before the entrance. 

Wearying of his adventures Sieg/rieJ reclines under the tree and 
asks the bird to sing again. This bme the aongster reveals to him 
that BrUnnhilJe lies steeping, waiting for the hero who is able to 
reach the fire- encircled spot. 
The Rird: 

Hev! Siegfried has slain now the sinister 

Brunnhilde awaked by faint-hearl nf>r: cu.r. ■■■«[■ 

But by him who knows not fear. u" 

He laughs with delight, saying, "Why. this stupid lad who knows not fei 
and follows the bird, who flies ahead (o guide him to BrlinnhilJe's fiery couch. 


SCENE— ^ mid Region al the Fed 0/ a Rocky Mountain 

The act opens with a long scene between ErJa and Wolan. The god s __._ 

earth goddess wife and tries to consult her regarding the coming deliverance of the world 
throu^ Siegfried and BrUnnhilde. TTie goddess, however, is confused and bewildered by 
Wotarii 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 Wolan 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: 

Ha! Heavenly glowl brighlenins glarer Throufh fire will I (are to my bride! 

Roads are no» opening radiantly round me! Oho! Oho! Aha! Aha! fiaily! Gailj! 


Aa the hero plunges fearleasly through 
the fire the flaiiieB gTBdually abate, and when 
he reaches the sleeping; Brtlnnhilde they die- 
out completely. Siegfried approaches tho 

her helmet. He is speechless with admira' 
tion, and naively aslcs if the strange emotion 
which he feels can be fear. Finally, when ho 
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 Biilnnhlldc he finally seizes her 
in his arms. Frightened, she repulses him, 
DiaHiKi b«innhilde's fie»v couch crying: 

Ewiff war Ich (Deathless 'Was I) (Briinnhilde's Appeal to 

By Johmna Gidski, Soprano 

(Jn German) 88186 I2-tnch. *3.00 

O Siegfried, happiest hope of the 
Life of the universel Lordliest 

Press not upon me'thy ardent rer 
Master me not with Ihy conquer 
Saw'st e'er thy face in crystal fli 
Did it not gladden thy glance? 

urface broken and lUwed 

But the impetuous hero resumes hia wooing, and love finally 
[Xinquers the god-like maiden. She laughs in a transport of love, 
siclaiming : 

Gladly yield to thee blindly. 
ond throws herself into Siegfried's 

to death; 
hall* lofty and vast. 

Siegfried Fantasic By Sousi's Band 31621 12-inch, >l.00 

A superb record of some of the most famous portions of Wagner's great music drama. 

(lolilD) (En«IUh) 



Libretto by Felice Romani; music by Vbcenio Bellini. Produced at the Teairo Canano, 
Milan, March 6, 1831 ; Patis. October 26, 1831 ; and at the King". Theatre. London, July 28th 
of the same year. At Diury Lane In English, under the Italian title, May I, 1833. First 
performance in New York, in English, at the Park Theatre. November 13. 1635. with Brough. 
Richings. and Mr. and Mrs. Wood. First performance in Italian in New York. Palmos 
Opera Company. May 1 1, 1644. Revived in 1905 at the Metropolitan with Caruso, Sembrich 
and Plan^on; at the Manhattan Opera. 1909, with Tetrazzini, Trentini, Parola and de 

Segurola. __^^_ 


Count Rudolph, lord of ihe village Baw 

Teresa, milleress Meizo-Soprano 

AMINA. orphan adopted by Teresa, betrothed to Elvino Serrano 

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. 

Tht tctiK h laid In a Stula olllagt. 

How our grandfathers and grandmothers doted on thi> fine old opera by Bellinil In 
the '30'b 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 — Malibren, Pasta, Jenny Lind, Getster, 
Campanini, Grisi— and in the '60'i and '70'b it continued to be papular. 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. 

SCENE— ^ yitlagt Cnen 
The peasants are making merry in honor of the marriage of Amlna and Elvino. Llaa, 
the hostcN of the inn, enter* and give* way to bitter reflectioiw, She also lovea Seine, and 



Ker jealousy finds expression in a melodious air. Sounds So Joyful. Alessio, a villager who 
fancies Lisa, tries to console her, but she repulses him. Amino and her friends enter, fol- 
lowed soon after by Eloino, and the marriage contract is signed. Elvino 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, $4.00 
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 flow^ery 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 ravoiso. 

Vi ravviso (As I View These Scenes) 

By Antonio Scotti, Baritone 

By Antonio Scotti, Baritone 

By Perello de Segurola, Bass 


As I view the scene, how familiar that mill- 
stream, yon fountain, those meadows! 

Oh remembrance of scenes long vanished, 
Soft enchantment long lost and banish'd. 

(In Italian) 
(In Italian) 
(In Italian) 




12-inch, $3.00 
10-inch, 2.00 
10-inch, .75 

Whert my childhood serenely glided, 
Where the joyous moments new; 
Oh how peaceful have ve abided. 
While those days nougnt can renew! 

Tw^o versions of this noble air are given here — one by Scotti, 'whose. Rudolph is alw^ays 
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^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 

Ah ! fosco ciel ! (When Daylight's Going) 

By La Scala Chorus (In Italian) *62642 10-inch, $0.75 


When dusky nightfall doth shroud the sun- 
And half repulses the timid moonbeam. 
When thunder boometh; where distance loom- 

Floating on mist, a shade appears! 
In filmy mantle of pallid whiteness. 
The eye once gentle now glaring brightness, 
Like cloud o'er Heaven by tempest driven, 
Plainly confest the phantom weart ! 


You are all dreaming; 'tis some creation 
Of mere gossips, to frighten youth. 


Ah, no such folly in our relation ; 

We all have seen it, in very truth. 

And wheresoever its pathway falleth 

A hideous silence all things appalleth; 

No leaflet trembles, no zephyr rambles, 

As 'twere a frost the brook congeals. 

The fiercest watchdog can nought but cower, 

A mute true witness of its fell power. 

The screech-owl shrieking, her haunt seeking, 

Far from the ghost her dark wing wheels. 


'Tis fripht for youth. I will discover 
What hidden mystery your tale conceals. 

The stranger now desires to retire and is shown to his room. Amino and Elvino 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. 

'*' Douhle-Faoed Record — For title of oppoetie iide tee list on page 3/8. 



ACT 11 

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 

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. 

Amino 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 Amirui, 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 
pu2Ezled at 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 Hu^et, Soprano ; Aristodemo Giorgini, Tenor ; 

and Chorus {In Italian) 88255 12-inch, $3.00 

Amina: 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. 


SCENE 1 — 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 W—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 Eloino 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 Illvino 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. 



Ah ! non credea mirarti (Could I Believe) 

By Luisa Tetrazzini, Soprano (In Italian) 88305 12-inch, $3.00 

By Graziella Pareto, Soprano (in Italian) 76003 12-inch, 2.00 

Perhaps the most effective part of the opera Ues 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 in terror, fearing to awaken her. It opens with a beauti- 
ful cantahile 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 happmess. 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 : 


Ah! must ye fade, sweet flowers, 

Forsaken by sunlight and showers, 
As transient as lover's amotion 

That lives and withers in one short day! 

But tho' no sunshine o'er ye, 
These tears might yet restore ye. 

But estranged devotion 

No mourner's tears have power to stay! 

— From the 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 tjrpical 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 am£izing 
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 rdle, 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 ftleep-walking scene is given with a delicacy which is 

Ah. non giunge (Oh Recall Not One Earthly Sorrow) 

By Luisa Tetrazzini, Soprano 

By Marcella Sembrich, Soprano 


Do not mingle one human feeling 
With the rapture o'er each sense stealing; 
See these tributes^ to me revealing 
My Elvino, true to love. 

{In Italian) 
(in Italian) 

88313 12-inch, $3.00 
88027 12-inch, 3.00 

Ah, embrace me, and thus forgiving, 
Each a pardon is now receiving; 
On this bright earth, while we are living, 
Let us form here a heaven of love! 



rVi ravviso (As I View These Scenes) 

J By Perello de Segurola, Bass (In Italian) 

jPrcndi Tanel ti dono (Take Now This Ring) 

[ By Emilio Perea, Tenor (In Italian) 

Ah I fosco ciel ! (When Daylight's Going) 

By La Scala Chorus (In Italian) 
Lohengrin — Coro Nuziale By La Scala Chorus (In Italian) 

62092 10-inch, $0.75 

62642 10-inch, .75 




(Cent t><,ff-.n«in) 





Text by Jul« Barbier. Mu.ic by Offenbach. First performance bi Parifc February 10, 
aSI. First United States production October 16. 1882, at Fifth Avenue Theatre. Revived 
t the Manhattan Opera House, New York, November 27, 1907. 


The Poet Hoffman Tenor 

NICLAUS, his friend Soprano 

Olympia, ] 

ANTOMa'^ the varioualadie. with whom Hoffman faU. in love. . . .Soprano. 

Stella. ' J 

m^Vf^O 1 *•" t.ppon«.t.. CThese three rflle. are u.u«Ily sung 

Luther, an innkeeper Bass 

SCHLEMIU Giuliettae admirer Baas 

SPALANZANI, an apothecary Tenor 

Councillor CRESPEL, father of Antonia Baas 

Offenbach's deli( 

after the diMatrous fii 

especially the brilliani 
and delighted audieni 

litful and fantastic opiro comlque, first produced at Paris in l&BI, has 
'er performed, although it was tabooed in Germany for many years 
i at the Ring Theatre in Berlin, which occurred during the presents. 
that house. Its American successes are familiar to opera-goeis, 
and altogether admirable Hammersteio production, which drew large 


This introductory s 

ral yea 


urs in Nuremberg at Luther's tavern, a popular student 

the favorite of all. 
enters with his 
friend Nicholas and 
joins in the merry- 
making. In response 
to calls for a song, 
Hi^nian sings the 
Ballad of Kltln-Zach. 
and then volunteers 
to relate his three 
love affairs. This 
proposal is greeted 
with enthusiasm, 
and as Huffman be. 
gins by saying "The 

Olympia," the cur- 
I tain falls. When it 
! rises, the first tale of 

actual petfor 



lomatona, has perfected a marvelauB mechanical figure of 
a young girl which he calls Oiympia, pretending it is his 
daughter. Hoffman and Nicholas call upon him, and during 
Sfiatanzani's absence, Hoffman discovers Olsmpla. and falls 
in love at sight. Unable to take his eyes from the doll' 
like perfection of the figure, he eipre»se« hi> infatuation 
in a beautiful air. 

C'eBtelle CTiflShel) 

By Charles Dilmoro, Teaor 

On French) 67069 lO-inch. *2.CK) 

Dalmores makes a great 
success in the part of Hoffman. 
This rAle calls for a handsome 
appearance, a gallant bearing, 
and enduring vocal powers. 
and this tenoi fills these re- 
qtiirements admirably. H e 
sings this beautiful air with 
graceful fluency and much 
warmth of tone. 

Nichola, tries in vain to „.,,,.„„,. 

prevent his friend from mak- _„. i,„H.iiTrAi non .rx i 

ing a fool of him>elf, 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 Rgure and she falls to pieces 
before his astonished eyes. 


This adventure concerns the LaJy Ciullttta, who resides m 

DAi,MoiiE3 AS HofFUAH Vcnice. Among her many friends are Hennann and Nalhanael, 

and the latter, fearing the power of the lovely coquette, tries to 

get Hermann away, but ho insists that he is proof against her [ascinationa. Daptrtullo, the 

real lover of the lady, hearing this boast, induces Glulltlla to try her arts on the young 

man. She succeeds, and Hoffman, madly in love, challenges Giulltlla'i protector, ScMtmll, 

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 BaicBroUt, with its languorous, fascinating 
rhythm and charming melody. 

Barcarolle— Belle Nuit (Oh. Night of Love) 

By Gcraldine Farrar and Antonio Scotti (/n Ilalian) 67902 lO-inch, »3,00 

By Mr. andMrs. Wheeler (0«i&b.fn«if—5«f>.iJ/)(£rvM) 16827 10-inch, .79 

By the Victor Orchestra, with duet for two violins 9333 10-inch. .60 

By the Vienna Quartet 9794 lO-inch. .60 

This popular Offenbach number, which is given as a duet in the Venetian scene and 
afterwards as an instrumental intermezzo, is one of the best known examples of the barcarolle. 
As the name implies, it wns originally a song or chant used by the Venetian gondoliers. 


and its dreamy melancholy (uggeMs the calm of a perfect moonlight night. Mr. Scoiti 
and Miw Fairar have lung it delightfully, (heir voices blending in the lovely aerenade with 
charming sffecl. The inalrumental renditions are exquisitely played with a graceful light- 
someness wholly pleasing, while those who prefer a vocal record at a popular price will 
find the rendition by ihe Wheelers a very fine one. 

O Nliht of Love 
Beauteous night, O night of Idvc, ^ Far away where we may yearn, 

Smile Ihou on our enchantment: For time dslh ne'er return. 

Radiant night,, with stars above, Sweet lephyis aglow, 

Fleetfng''lii^e"<&lh ne'e7*eturn Ki|ht™ 'love,''o'n?St*rf love! 

But bears on winp our dieaming. rrnii dkbu Rintkn-CopT'tina; 

In this act is also the air aung by Da/icrtullo to the sparkling diamond, which he aasrs 
never yet failed to tempt a woman. 

Air de Dapertutto (Dapertutto's Air) 

By Mirccl Journel. B»s (In French) U103 I2.inch. $1.50 

Journet delivers this song of the swaggering, garrulous Venetian bravo with much spirit. 

ACT in 
The third adventure of Hoffman introduces us to an humble German home where 
AnfoniOt a young singer, has become the victim of consumption. She is forbidden to sing 
by her father, but a Dr. Miracle, who is the secret enemy of the family. Svengali-like. urges 
her on, and Hoffman, who knows nothing of the poor girl's affliction, sees her literally sing 
herself to death, and she dies in his arms. 


The epilogue shows again the tavern of the prologue, where Hoffman ia apparently just 
concluding his third tale, hiaving tried three kinds of love— the love that ia inspired by 
mere beauty, the sensuous love, and the affection that springs from the heart — he says he 
has learned his lesson, and will henceforth devote himself to ait, the only mistress who will 
prove faithful. He bida farewell to another of his flamea, Stella, an opera singer, and aa the 
curtain (alls i* left alone, dreaming, while the Muse appears and bids him follow her. 


Contes d'Hofhnan Selection By Victor Concert Oreh. 31620 12-mch. *1X>0 

(Barcarolle — O, Nitfhi of LovtT By Mr. and Mrs. Wheelerl , , _, - , . . „. _- 

i FalMUa SeltcUon (oon Suppe) ^ Pryar-t Bandf*'^^^ lO-mch. .75 


Words and music by Richard Wagner. First presented at the Royal Opera, Dreiden 
October 20. 1845; at the Grand Opera, Paris, March 13, 1661. First London production a 
Covent Garden, in Italian, May 6, 1S76. First performance in English took place at He 
Maiesty's Theatre, February 14, 1882. First New York production April 4, 1859. 

Hermann, Landgrave of Thurin 


Wolfram von Eschenbach 



heinrich der schreiber 

Reinmar von Zweter 

A Young Shepherd Soprano 

Four Noble Pages. Soprano and Alto 

Chorus of Thuringian Nobles and Knights, Ladies, Elder and Younger 
Pilgrims, and Sirens, Naiads, Nymphs and Bacchantes. 

Scene and Period: VicirJIy <tf Eiienach ; beginning of ihe tkrletnlh cenfur;/. 




my people who 


J the 

; IH— 

opem, but who do not care for Wagner's Ring Operas, with 
their Teutonic myths and legends, and their long and some- 
timei undeniably tedious scenes. But TannhHater, with its 
poetry, romance and passion, and above all its characters, 
who ore real human beings and not mysterious mythological 
gods, goddesses and heroes, appeals strongly to these opera- 

To show the wonderful vogue o( this work, it is esti- 
mated that more than one thousand perforniances of the 
opera take place annually throughout the world. 

The story is quite familiar, but the chief events will be 
noted here in brief. It tells of conflict between two kinds 
of love: true love of the highest human kind aa distin- 
guished from mere sensuous passion; and rels 
higher and purer love triumphed in the end. 

Tannh/laier, a knight and minstrel, in an e 

succumbs to the wiles of Venui and dwells tor a year in 
the Venusberg. Tiring of these monotonous detights, he 
leaves the goddess and returns to his home, where he is i" 
warmly received and told that the fair Eiizabtth, niece of 

the Landgrate, still mourns for him. Ho is urged to compete In the Tournament of Song 
not far distant, the prize being the hand of Elizabeth. The theme of the contest is The Nature 
of l^ove, and when TannhSuatr't turn arrives the evil influence of the Venusberg is appa- 
rent when he delivers a wild and profane eulogy of passion. Outraged by this insult the 
minstrels draw their swords to Joy him. Coming to his senses, loo late, he repents, and 
when a company of Pilgrims pass on their way to Rome, he joins them to seek pardon for his 
sin. In the last act we see EUzahtth, weary and worn, supported by the noble IVol/ram, who 




also loves her, watching for the Pilgrims to return, but Tannhduser is not among them. 
Elizabeth is overcome with disappointment and feebly returns to her home. 

Tannhduser now appears, in a wretched plight, on his way to re-enter the Hill of Venus. 
He tells Wolfram that he appealed to the Pope for pardon, but was told that his redemption 
was as impossible as that the Pope's staff should put forth leaves. Wolfram *s remonstrances 
are in vain, and Tannhduser is about to invoke the goddess, when a chant is heard and he 
Pilgrims appear, announcing that the Pbpe's staff had blossomed as a sign that the sinner 
was forgiven. Tannhduser kneels in prayer as the mourners pass with the body of Elizabeth, 
who, overcome by her bitter disappointment, had suddenly passed away. 

Overture — Part I 

By Arthur Pryor's Band 

The Overture 

31382 12-inch, $1.00 

Overture— Part II 

By Arthur Pryor's Band 31383 12-mch, 1.00 

This overture, with its sombre opening chorus, its weird music of the Venus Mount, 
and the final return of the penitents, when the chant is accompanied by a striking variation 
for clarinets, is one of the greatest works of Wagner. It has become quite familiar by its 
frequent repetitions in orchestra and military band concerts, and no concert piece is more 

The overture depicts the struggle between good and evil, and as Liszt has said, is a 
poem on the same subject as the opera and equally comprehensive* 

The sombre religious motive appears first: 

i |, i >j i \r i i J n]ir r \\?m 

beginning softly and gradually swelling to a fortissimo. Then, as it is dying away, it is sud- 
denly interrupted by the Venusberg motive : 

with its rising tide of sensual sounds. This motive continues with terrible persistence, lead- 
ing into Tannhduser 's hymn to Venus, after which the enchanting Venus motive returns and 
is developed with various changes. The tide now changes again and the majestic pilgrim 
theme predominates, finally reaching a climax in the final hymn of triumph. 


SCENE I — The Hill of Venus — Nymphs, Sirens, NaXads and Bacchantes dancing or reclining on 

mossy banks 

The rising of the curtain discloses Venus reclining on a couch gazing tenderly at 
Tannhduser, who is in a dejected attitude. The goddess asks him why he is melancholy, 
and he tells her he is weary of pleasure and would see the earth again. She reproves h^m 
fondly : 


What! art thou wav'ring? Why these vain 

Canst thou so soon weary of the blisses 
That love immortal hath cast 'round thee? 
Can it be — dost thou now repent that thou'rt 

Hast thou soon forgotten how thy heart was 



•-. f 

Till by me thou wert consoled? ' 

My minstrel, come, let not thy harp be silent-; 

Recall the rapture — sing the praise and bliss 

of love 
In tones that won for thee love's self to be 

thy slave! 
Of love sing only, for her treasures are all 


'ralat to Vtrau, but it a B forced efiort, and throwing 

For Mrth I'm yearning, To siriff gr glgry fgrlh 1 gg. 

In thy soft chains with shame I'm burning. Come liie or dcalh, come jgy gr woe. 

'Tis freedgm I must win gr die— Ng more in bondage will 1 sigh; 

Fgr fieedom I can all dety; Oh queen, beloved goddess, let me fly! 

Cenuj in b rage, then tella him to go if he will, but predict* hi* return and disappeara 
with all her train, while the acene inatantly changea. 

SCENE 11—^ ValUy 

Tannhdaier suddenly fitida himself in a beautiful valley near the Wartburg. On the 
peaceful scene there break in the notes of a shepherd's pipe, and tiakling sheep bells 
sound from the heighta. A company of Pilgrima paaa. ainging their chant, while the little 
shepherd pauaea in his lay, and begs them utter a prayer for him in Rome. 

A fine rendition of the music of thia inspiring chorus is given here by Pryor* Band. 

Pilgrims* Chorus 

By Pryor's Band 

By Pryor's Band {DMik-faxJ—SBc pott 3S0) 

The Landgraet and several minstrels now enter, and aeeing a knight kneeling in prayer, 
accost him. They are amazed and dehghted to see that il ia the long lost Htnry, their 
brother knight They question him, but he gives evasive replies: 

(foiftam then tells hbn that he i 

[s belove 

gniBej fair niece. 


When for the palm in song we 
And oft thy eooq'ring striin 1 
Our songs anon chy victory, i 

be wreath 


TonnhOuacr joyfully consents to return and promises to compete in the forthcoming 
Tournament of Song, the priie for which is to be the hand of EUzabtlh. The remainder of 
the hunting train of the Landgrave now arrives, and as TannhHiuer U being greeted by his 
friends, the curtain falls. 


SCENE— The Grtal HaU in tht WarAurg 
Eitiahtth enlera. full of joy over the return of TannbStaer. 
and greet* the Hall in ■ noble song. 

Dich, theure Halle (Hail. Hall of Son^) 

By Johanna GtcUki. Soprano 

(/n Girman) 86091 12-uch. »3.00 
By Louue Voitft, Sopraao 

(Gtrman) 31849 12-inch, 1.00 

Oh, hall of song. I give thee greeting! 
All hail to thee, thou hallowed place! 

Thy vault shall ring with glorious war; 
For he whose strains my soul delighted 

Mme. Gadski, whose supeib impersonation of £ffx(i&ef A, replete 
with tenderness and vocal charm, is a familiai one to opera-goers, 
sings this glarioua air in a surpassingly beautiful (aBhion, while 
a. splendid rendition, at a lower piice, is given Iw Miss Voigt. 

TannhHusa enters and kneels at the feet of EUxabtlh, who in „,„ ,„,.„ 
blushing confusion bids him rise. With that frankness which f,„,k ^ eliiaseth 

■eems characteristic of Wagner's heroines, the young girl makes 

no secret of her partiality for the Knight, and a long scene between the lovers ensues, inteT' 
rupted by the entrance of the LandgtaBe, who greets Tannhdaaer cordially and welcomes him 


The Knights and Ladies now assemble to the strains of the noble Fest March, given 
here in splendid fashion by Sousa's Band. 

Fest March 

By Sousa*s Band 31423 12.inch, $1.00 

By Sousa^s Band (Doubk-faced— See page 330) 16514 10-inch, .75 

When the company is seated, the Landgrave rises and makes the address of welcome. 


Minstrels assembled here, I give you greeting. 
Full oft within these walls your lays have 

In veiled wisdom, or in mirthful measures 
They ever gladdened every list'ning heart. 
And though the sword of strife was loosed 

in battle, 
Drawn to maintain our German land secure, 
Unto the harp be equal praise and glory! 
The tender graces of the homestead, 
The faith in what is good and gracious — 
For these you fought with word and voice; 
The meed of praise for this is due. 
Your strains inspiring, then, once more 

Now that the gallant minstrel hath returned, 

To what we owe his presence here amongst us 

In strange, mysterious darkness still is 

The magic power of song shall now reveal it, 

Therefore near now the song you all shall 

Say, what is love? by what signs shall we 
know it? 

This be your theme. Who so most nobly 
this can tell. 

Him shall the Princess give the prize. 

He may demand the fairest guerdon: 

I vouch that whatsoe'er he ask is granted. 

Up, then, arouse ye — sing, oh, gallant min- 

Attune your harps to love — great is the prize. 
Who from our land too long was parted. Ere ye begin, let all receive our thanks! 

Four pages, who have drawn lots from a gold cup, now announce that Wolfram is to 
begin the contest. He rises and delivers his Eulogy of Loot. 

Wolfram's Ansprache (Wolfram's Eulogy of Love) 

By Otto Goritz, Baritone (In German) 74215 12-inch, $1.50 

The singer gives his conception of love, which he describes as pure and ethereal, com- 
paring it to a crystal spring. 

Wolfram : 

Gazing around upon this fair assembly. 
How doth the heart expand to see the scene! 
These gallant heroes, valiant, wise and gentle — 
A stately forest soaring fresh and green. 
And blooming by their side in sweet perfec- 
I see a wreath of dames and maidens fair; 
Their blended glories dazzle the beholder — 
My song is mute before this vision rare! 
I raised my eyes to one whose starry splendor 
In this bright heaven with mild effulgence 

And gazing on that pure and tender radiance, 

My heart was sunk in prayerful holy dreams. 
And lo! the source of all delights and power 
Was then unto my listening soul revealed. 
From whose unfathomed depths all joy doth 

shower — 
The tender balm in which all grief is healed. 
Oh, may I never dim its limpid waters. 
Or rashly trouble them with wild desires! 
I worship thee kneeling, with soul devoted: 
To live and die for thee my heart aspires! 
(After a pause.) " 

I know not if these feeble words can render 
What I have felt of love both true and tender. 

Tannhduaer, who has shown signs of impatience during this recital, now jumps to his 
feet, flushed and eager, while the company looks at him in astonishment. 


Oh, minstrel, if 'tis thus thou singest, 
Thou ne'er hast known or tasted love! 
If thou desire an unapproached perfection — 
Behold the stars — adore their bright reflec- 
tion — 
They were not made to be belov'd: 


But what can yield to soft caresses. 
And, fram'd with me in mortal mould 
Gentle persuasion's rule confesses. 
And in these arms I may unfold — 
This is for joy. and knows no measure. 
For love's fulfillment is its pleasure! 

At this definition of love, strange for such an occasion, Biterolf a hotheaded Knight, 
rises and challenges Tannhauser, who excitedly retorts that such a grim wolf as Biterolf can 
know nothing of the delights of love I He then, in wild exultation, sings his blasphemous 
Praise of Venus, saying ■ 


Dull mortals, who of love have never tasted 
Go forth! V^enus alone can show ye love! 

At this the Knights rush toward him with drawn swords, exclaiming : 


Ye all have heard. In Venus' dark abode that dwell, 

His mouth hath confess'd Disown him — curse him — ^banish him! 

That he hath shared the joys of Hell, Or let his traitor life-blood flow! 



The erring mortal, who hath fallen 
Within the weary toils of sin. 
How dare ye close the heav'niy portal! 
On me. a maiden young and tender, 
Yon knight hath struck a cruel blow— 

!i judgment and declare! TannhSaatr banished, suggesting ihat 
about to start for Rome. In the distance is heard the Pilgrims' 
chant, and the strains seem to bring the erring knight to his senses. He cries: "To Rome," 
and dashes from the hall. ACT III 

SCENE— r^ Vall^ btnealh the Warlbarg~al one ildt a Shrine 
As the curuin rises Ellzahtlh is seen kneeling at the shrine in prayer. Wolfram comes 
down by the path, and observing her, sadly notices her changed appearance, and muses 
al his own hopeless love. The song of the Pilgrims is heard in the distance, and 
Elliaitlh eagerly rises and scans the approaching band. TannhHasa is not among them, and 
the despairing maiden kneels again at Uie shrine, and offers her prayer to the Virgin. 

Elizabeth's Gebet (Elizabeth's Prayer) 

By Geraldine Farrar, Soprano (In Gtrman) 8SOS3 12-inch. *3.00 

By Elizabeth 'Wheeler. Soprano (In Englhh) *390»6 12-inch. 1.29 

This prayer of the sainted EtUahtth is one of the 

most beautiful and touching of the master's compositions. 

"He will return no morel" cries the unhappy girl, and 

falls on her knees. 


Oh, blessed Virgin, hear my prayer! 
Thou star of glory, look on me! 
Here in the dust I bend before thee 
Now from (his earth, oh, sel me freel 
Let me. a maiden pure and white, 
Enter into thy kingdom brigbt! 
If vain desires and earthly longing 
Have turn'd my heart from Ihee away. 
The sinful hopes within me thronging. 

She remains for a long lime in prayerful rapture; as 
she slowly rises she glances at Wolfram, who is approach- 
ing. She bids him by gesture not to speak to her. but he 
asks that he may escort her. 

ELUABirH AT THE SHiiNE Oioyal maij, shall I not guide thcL- homeward? 

Eiizabtlh again expresses to him by gesture that she thanks him from her heart for his 
faithful love; her way. however, leads to Heaven, where she has a high purpose to fulfill | 
she wishes him not to accompany or follow her now. She slowly ascends the height and 
disappears gradually from view. 


O du tnein holder Abendstem (Song to the Evening Star) 

By Emilio de GoKorza. Bu-itone (/n German) 88194 12-incli. fS.OO 

By Marcel Journet. Bais {In Gr:rman) T4006 12-iiich. 1.90 

By Reinald W^crrcnrath, Baritone (/n German) *39J60 12-inch. 1.2S 

By Reinald Werreorath. Baritone (/n Ctrman) 31462 12-inch. 1.00 

By Victor Sorlin. 'Cellist *16813 10-inch, .75 

By Alan Turner. Baritone (In English) 9336 lO-inch. .60 

By Victor Sorlin. 'C«lli«t 9412 lO-inch. .60 

O douce ^toile (Song to the Evening Star) 

By Maurice Renaud, Baritone {In French) 9106Z lO-inch, t2.0D 

O ev'nrng slar; thy holy ligEl 

With gLowing heart, that ne'er d 
Greet lier when she in thy light i 

Tannhauur now appears, wearing a 
ragged Pilgrim's dresB. his Eace pale and 
drawn, and auppoiting himself with diffi- 
culty by means of a staff. Widftom greets 
him with emotion and learns that he ia 
Btill unforgiven and has resolved to re-enter 
the Venusberg. 

The unhappy Tannhdiaa tells of the 
Pope'i refusal of a pardon: 

Rume I gained a1 last; with teais imploring, 
I knell before the rood in Faith adoring. 
Whfn daylighl broke, the ^ilv'ry hells were 

Th''r"u^"h*' vaulted louf a song divine was 

A*c^'"ft joy bieaka forth from thousand 

Th^e^'ho^ot pardon ev'ry heart rejoices. 

I told what mad desires my snul had dark- 

Then he who thus I prayed replied; 
"If thou hast shared the joys of Hell 
If thou unholy Rimes hasl nurt'd 
-That in the hill of Venus dwell. 

*Di.atlt-FacedRa<,fJ—F<,rmkafeppa,at iJi la DOUBLE-FACED TANNHAUSER RECORDS. b<v 330. 


Wclfian,. In hocror, urges him (o remain, but Tannhaa,a refuse* until Wojfmm mentions 
the name of SUahelh. Tlie unhappy man, in sudden repentance, sinks to his knees, while 
in the distance is seen a company of minstrels bearing the body of Eiicabslh, who has passed 
away. As the procession approaches, a company of Pilgrims enter and announce that the 
staiF of the Pope had put forth green leaves as a sign that Tannhduair was pardoned. 

The Mimlrtl. supported by IVolfram. gazes on the saintly face of the dead EliiaUlh. 
then expires, while the Pilgrims and minstrels with great emotion exclaim: 
The Lord Himself now thy bondage halh 


{Elizabeth's Prayer By Elizabeth "Wlieeler, Soprano] 

A Nighl In Vcnict [35096 12.ii»cb, tl^5 

By EUzaheth Wheeler. Soprano, and miliam Wheeler, Tettor] 
rO du mbin holder Abendstern (Evening Star) I 

I {InGeiman) By Reinald W^errenrsth. Bicitonel-., .„ ,, .„ . , ,. 

Treut Liebt-Ach. Me hf, mogUch dann P"*° 12-mch. IJiS 

t (/n Qerman} Bu Emll Muerah, Tenor] 

/Overture— Part I By La Scsia Orchestral, . . . , 

iOverture-Part II By L» Seala Orehestrar * 12-mch. 1J5 

(FestMicch By Sousa's Band\ , , . ,- J-^U t< 

t La Mandaalte— National Air of Frar,ee By Souia', Bar.dP*"''* >«-"><:«>. ■!» 

JThe Evenina Star 
\ Laj( Summe 

fPilgrims' Chorus By Pryor's Band! 

■ " ■ " 'Bridal Chorm) 

(l„ Itahar,) By U Scala Oom: 



Text by llIicB and Giacoaa aftei Sardou's drama. Music by Giacomo Puccini. Firat 
produced at the Conatanii TTieatre, Rome, in January, 1900. First London production July 
12, 1900. pint Ameiican production Febiuary 4, 1901, at the Metropoiilan, the cast including 
Temina. Cremonini, Scotti and Cilibeit. Alio produced in English by Henry W. Savage. 


FtORlA TOSCA. (FM-Ht-ah Tet^-iaK> a celebrated singer Soprano 

Mario CAVARADOSSC. (MaH-nt-oh Cmui-niUoi'-B) a painter Tenor 

Baron SCARPIA (Sco.'^xtaW chief of the police Baritone 

CESAHE ANGELOm, ISc^zah/^ Alm^-M-lee) ....Ba«« 

A Sacristan Baritone 

SPOLETTA {S«».lrfJoW a police agent Tenor 

SCIARRONE, a gendarme Bau 


Judge, Cardinal, Officer, Sergeant, Soldiers, Police Agents, Ladies. Nobles, Citizens- 

Scene oik/ PcrW : Rome,Jant. 1800. 

The Story 

ToBca is Puccini's fifth opera, and by far the most popular, next to Mme, Bulterf 
which probably holds first place in the afiections of opera-goers. The opera is a remarkah 
example of Puccini's skill in adjusting both instrumental and voice effects to the sense 
the story, interpreting both the characters and the situations. 

The plot is gloomy and intensely tragic, following closely the Sardou melodrama, b 

is relieved somewhat by the beauty of the musical 

setting, -which confirmed Puccini's place in the first 
rank of modem 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 Caearadoal, is at work on 
the mural decorations. Here he has been accustomed 
to meet hla fianc6e,the beautiful Floria Tmca, a singer. 
While awaiting her. Ke 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. AngelotCl. who has 
just escaped from the castle, appears, tecunizes his 
friend Caearadoal, and asks his assistance. The painter 
gives him food and sends him to his (Cavaradoatl'i) 
villa, just as Toaca arrives. Her lover's confused man- 
ner arouses her curiosity, and when she sees the like. 
neaa on the easel, she is jealous. He soothes her, and 
after her departure hurries out to guide Angetolll. a 
cannon shot from the castle meanwhile announcing 
the escape of the fugitive. 

Scarpla and his police enter in search of the pris- 
oner, who has been traced to the church. CatlaraJoul 
IS suspected as an accomplice, and Scarpla, who is 
aecretly in love with Toica, plans his ruin, with a view 

to removing from his path a dangerous rival. fabiab as tosca 



In the Kcond act Scarpia, putting into execution 
hia schemcB. orders Mario'i arrest, and when the 
painter is brought in, sends (or Toaca and contrives 
that she aholi hear the cries of her lover as he is being 
tortured to induce him to reveal AngdoIWi hiding place. 
Unable to endure Mario's agony, she tells Scarpia where 
the refugee is concealed. Mario is sent to prison, and 
Scarpia tells Toaca 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 

Elanned by Scarpia, who writes out a pass for the 
•vers. As he gives it to Totca, she stabs him and runs 
to Mario wilh the release. 

In Act 111 the mock execution takes place as plan- 
ned, but through Scarpla'a treachery, it proves to be a 
real one, and Mario is killed. Toaca afterwards throws 
herself from the castle parapet as they attempt to 
arrest her for Scarpia 't murder. 
SCENE— /n/erior of the Church of. Si. AnJrta 
Mario Caoaradossi, 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 unknovrn beauty vrhom he had noticed caruso as Mario act i 

of late in the church. Mario smilingly confesses that while she had prayed ho had stolen 
her likeness for his Madonna, TTien taking out a miniature of his betrothed. Totca, 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) 

(in hall 

By Enrico Caruso, Tenor {in Italian) 6T043 10-inch. I2.00 

His musings are inter- 
rupted by the hurried entrance 
of a man in prison garb, pant- 
ing with fear and fatigue, 
whom Mario recognlxes as an 
old friend, Angdottl, a political 

to his friend's appeal for assist- 

> the 
:he chapeL just as Tojcfls 
roice is heard impatiently de- 
manding admittance. 

He admits her, but is 
anxious and ill at ease, fearing 
to intrust even Toaca with so 

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 

Ora statntni a sentir (Now Listen to Me) 

By Geraldine Firrar, Soprano 

(/n Italian) 88287 12-itlch. t3.00 
She sings o( the delights of the ptoposed visit to the 
villa, and the romantic forest where they will wander and 
forget the cacea and tioublea of (heir professional life. 

He listens but seems ahaent- minded, and she con- 
tinues hec recital of the joys of their secluded little retreat 
among the hills. Mario says she is an enchandess, and 
in this duet they exchange anew (heir vows of love. 

Non la aospiri la nostra casetta (Our 
Cottage Secluded) 

By Ruazcowslca, Soprano: Cuneffo, Tenor 

(In Italian) 68272 12-iach, *3.00 
Toica now perceives the Madonna and recognizes the 
face as that of the Jtttamntl. sister of Angclottl. Her jeal- 
ousy revives, and she declares that Mario has fallen in love 
with the blue eyes. Beginning another duet, he sweats 
that none hut Toica'i eyes are beautiful to him. 

Qual occhio al mondo (No Eyes on 

wniixiHK, By Elena Rusccowika and E^idio Cune^o 

EAMEs AS TOSCA (In Italian) 88273 U-inch, »3,00 

Mario promises to meet her at the stage door that evening, and she bids her lover a 
tender farewell end departs. 

Tho painter hurries to the chape! and bids AngdoUl 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 Angthltl to the church. The Atlaoanll'i 
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 

Tpico 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 6rst air, Dialne Toica. 

Tosca Divina (Divine Tosca t) 
By Gtiscav Berle-Reiky, Baritone 

(/n Italian) *16744 10-inch, »0.7S 
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. Toica is now convinced 
that Mario has been deceiving her, and in a jealous 
rage she leaves the church, weeping. 

Te Deum 

By Gitiseppe Ma^Ke, Bass, and La Scala ""' >><'•<»' 

Chorus (In Italian) •55006 12.iach. *].50 uariin as mabio-aci i 

'Douik-FactJftmrJ— Far ilik of BpimilltilJtKx DOUBLE-FACED TOSCA RECORDS. pati337. 


The act closes with a Te Daim, sung in celebration of the defeat of Bonapane. and the 
scene at the fall of the curtain is a most impressive one, (he solemn strains of the service 
sounding through the ejiurch, while Scarpia kneels, apparently in reverence, but secretly 
plotting his diabolical crimes. 

ACT n 

SCENE— ^ Room In Scarpia's Aparlmtnis In Ihe Famae Palact 
When the curtain rises Scarpla is shown at his supper, restless and agitated, awaiting the 
report of his police, who have been sent to arrest Mario and Angelolll. Hearing Tosco i 
voice in the apartments of the Queen below, where she is singing at a aolree, he sends her a 

note saying he baa news of 
her lover. He is certain she 
will come for Marlo'i sake, 
and sure that his plans will 
succeed. He then sing, his 
celebrated soliloquy. Scarpla 
loves such a conquest as this — 

light for him I He prefers 
taking what be desires by 
force, then when wearied he 
is ready for further conquest. 
This, in short is his creed — 
God has created divers wine, 
and many types of beauty- 
he prefers to enjoy as many 
of them as possible! 

MaHo is brought in by the 

poliee,who report that j4nje/oH/ 

cLicinmrn THE lORTUHE— ACT II cannot be found, Scarpla 

Mario to reveal the hiding place of the fugitive; but he refuses to speak, and is ordered 
into [he torture chamber adjoining, Toaca comes in answer to Scarpla't 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 AngtIoUI. 

Scarpla, in triumph, orders the torture to cease, but sends Mario to prison, telling him he 
must die. Toaca tries to go with him but is forced to remain. 

Then begins the great scene of the opera, which Scarpla 
begins by offering to save Maria'a life. She scornfully asks 
him his price, and he proposes that Traca shall accept his 
attentions in order to save her lover's life. He then sings his 
famous Canldlle, given here in two parts. 

Cantabile Scarpia (Venal, My Enemies 
Call Me) 

By Aaconio Scotti.Baritoae B8122 IZ-inch, *3.00 

Gia mi struggea (You Have Scorned Me) 

(L«t Pjrt of CVntsbiltl 

By Ernesto Badioi (/n /Indian) 45016 10-ia., *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. Vimi d'arte. 

Vissi d'arte e d'amor (Love and Music) 

By Krllie Melbi. Soprano (/n Ilallart 

By Geraldine Farrar. Soprano {In Italiar 

By Emma Eames, Soprano (.h Ilaliar, 

By Lucille Marcell, Soprano (/n Uallan 

By Maria Broneoiu. Soprano (/n Ilaliar, 


One of the moet inteieUinB comparisons to be found in the 
Victor'* opera list is in a hearing of these five renditions, by five 
faunous Totcia — Melba, the Auslralian; Farrar and ELames, the 
Americans; Marcell. the Frenchwoman; and Btonzoni. the 
Italian, the latler 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 Floria 
Toaca is always an impressive one. 

Farrai, in her rendition, delivers this touching appeal of the 
unfortunate Totca 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 

The unhappy woman aslts what she has done that Heaven 
should forsake tier. Scarpia, 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. Scarpia is overjoyed, and when 
she insists that Mario shall be set free he consents, but says a 

It is agreed that after this pretended execu- 
tion. Mario shaU have hU liberty, but TWo 
demands a safe escape from the country for 
them both. While Scarpia is writing the docu- 
ment, Toaca 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 Scarpla'i 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. 

of the past, he pan 

ACT ni 

(A Itrrace of San Angclo Castle, oulslJe 'he prison cell of 
CaoaraJossI, View of Rome by rdghlj 
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 Tojco Selection. 
This entire prelude is also given by an Italian orchestra 
under the direction of Sabaino, doubled with the Te 
Deum of Act 1. 


By Italian Orchestra. M. Sabaino, Director 

5SOOB 12-inch, »1.50 

Marie 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 vrrite a note to Tosca, and is given 



E lucevan le stelle (The Stars "Were Shining) 

By Enrico Caruio. Tenor {Piano ace.) (In llallan) 87044 10-inch. 12.00 

By Riccardo Martin. Tenor (In Italian) 87050 lO.Jnch. 2.00 

By Franco de Greeorio, Tenor {In Italian) 4901 7 lO-inch. l.OO 

Malio at first recalls theii formel meetings on atarliEht nights in quiet gardens ; then, (ecL 
ing.the bitter ragtet of loss of life and all that he holds dear, the voice rises in passages of 
traeical import and power as the nir proceeds. The regret, the grief and the hopelessness 
of the situation aie 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. 

hi 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 Ki'u/ d'arte. 

Totca now enters, and joyfully telling Mario he is to be free, shows him the safe 
conduct, lelling him how she has killed Scarpia. He gazes at her with compassion and 
regrets that these hands— such lender 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 

Amaro sol per te m'era i\ morire (The Bitterness of Death) 

By Elena Ruszcowska. Soprano, and Egtdio Caaefo, Tenor 

{In llallan) 86274 12-iDch, *3.00 

Trionfa di nuova speme 

By Elena Ruszcowska and Egidio Cunego {In llallan) 87069 10-inch. 2.00 
The squad of soldiers now enter and the pretended execution takes place as planned ; 
the shots are fired and Mario falls as if dead. Toaca 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 soft, " 
she cries, hut is astounded that he does not obey her. She rushes to him, only to find that 
Scarpla 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. 

Spohlla and soldiers now come running in and announce the murder of Scarpla; but 
when they attempt to arrest Toica she leaps from the castle wall and Is killed. 


ITe Deum By Giuseppe Mitfei and Choruf (In Ilallan)\ . . 

IPreludio— ^(to /// By Itilian Orch«tr»/***™° 12-mcli. 

JTosca Selection By Pryor's Bindi ,, -.- , - . 

{Gii mi (trucsea By Ernesto Badini. Baritone (/n Aa/ian)1 

Manon Leacaul— Donna mm cidl mat iPucdni) [49016 10-ii 

By Egldto Cuntgo, Tenor (In Itabanj] 

(Viari d*arte By Maria Brooioni. Soprano [In tlaltan)\.^^. _ ... 

IE lucevan 1« itelle By De GccKorio, Soprano (/n Italian) (*'"'■' 

iToaea.—Toaca DMna By Berl-Reaky, Baritone {In Ilailan)] 
Pngldtra—AUa mente confuia (To,li) ll674» 

Bt/ Cualav Btrl-Raksi. Baritone (In IlaUan)] 


{.Lah T,a}Mt-al/-lah) 


Text by Piave. founded on Dumas' "Lady of the Cometias," but the period U changed 
to the time of Louia X]V. Score by GiuKppe Verdi. First preaented in Venice. March 6. 
1S33. First London production May 24. 1836. Firai New York production £)ecember 3. 1856. 

Characters oi the Opera 

VIOLETTA VALERY. o courtesan Soprano 

FLORA, friend of Violetta Mezzo-Soptano 

ANNINA confidante of Violetta Soprano 

ALFREDO CERMOt^, {Zhetjoaa) lover of Violetta Tenor 

QORGIO GEBMONT, his (ather Baritone 

GASTONE, Viscount of Lolorlerea Tenor 

Baron DOUPHOL, a rival of Alfred Baritone 

Doctor GRENVIL. a physician Bass 

QUSEPPE, servant to Violelia Tenor 

Chorus of Ladies and Gentlemen, friends of Violetta and Flora. 

Mute Personages: Matadors, Picadors, Gypsies. Servants. Masks, etc. 

Scene and Period: Paria and enolrons, about the year 1700. 

Verdi's La Traviata is based upon a well-known play by Alexandre Dumas. La Dame 
aux cameiiai, familiar in its dramatic form as Camitle. It is one of the most beautiful works 
of it* class, and is full of lovely melodies: while the story of the unfortunate Vhlelta 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 (o 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. Francesco tIave 

The opera was then revised, eight- (1S1Q-1S76) 

eenth century costumes and settings being "Tbavi'ata"^ 

substituted for the modern ones lirat used ; 

and the new version was produced in various cities with suc- 
VEiDi AT THE TiuE OF THE ccss, the Loudon season being particularly brilliant. 

IIH5T TiAVMTA PKo- Thc plot, being quite familiar, will be but briefly sketched 

DuciiON 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 Paria. 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 be 
returns, full of remorse, he finds her dying of consumption, and she expires in his arms. 

Prelude to Act I 

By La Scala Orchestra *6802T 12-inch. »1.3S 

The prelude, one of the loveliest bits in the opera, is played In fine style by the famous 
orchestra of La Scala. 

*Dviblcfaad RccarJ—For bile o/oppo.Me j/rfe H DOUBLE-FACED LA TRA VIA TA RECORDS, past 344. 



A g*j rcvd m u 
thomm, follofipecl bj a 


'vridk a lively 

Lihiam nei lied calici (A Bumper 

^Wem Drain) 

Tcaar: mmd La Scala 

£-:.j ii»t b:-3r. fir ra.-t f!y 

eTI drain trTiB ti* wr-^-ezy 

i—-Tj^t z.:ttrz. m2^.< wr'cay! 
Tie_;-«r«*nt wth fcrxir invrtcs 
Its iittertn^ call zi>cj. 

A bumper 

That fre^h charms to beauty i^ l^nii-t. 
iy'cT fleeting iroment*. *•:, ^ sickly cncznC. 
Gay pleasure alone sliould ri 

:k scc#s of 

p eascre 

Tha: cake n:»ht 5« cheerfzil arid >c2:!ir:-, 
Ir th:* chaTT-.r.c r-a-aise, SrTjrr:i'--g^ 
That scarcely »e irx-i the day. 

Tbe cUnce c 
remain fix* a dianning 


aD gD into tbe baDrooin 
in a beaudfol duet tbe 

ViJtttm and Alfred, who 
of tbeir fint meeting. 

Un di felice (Rapturous Moment) 

By Marie A. Michailow^a, Soprano, and A. M. Davido^ir, 

Tenor \In Rmaakm^ 61138 lO-incb, $I.OO 

By Emma Trentini. Soprano, and Gino Martinex-Patti, 

Ten<»r {In Italian} *6206L lO-incb, .75 

Alfred now bids her a tender farewell and takes bis departure, and VkdeUa sings ber 
great air, one of tbe most brilliant of all colocatare numbers. 


Ah, fors' e lui (The One of ^Whom I Dreamed) 
Sempre libera (The Round of Pleasure) 

By Luisa Tetrazzini, Soprano {In Italian) 88293 

By Marcella Sembricb. Soprano (In Italian) 88018 

By Nellie Melba. Soprano {In Italian) 88064 

By Blanche ArraU Soprano {In French) 74132 

By Giuseppina Hu^et, Soprano (Part I) {In Italian) "^62084 
By Giuseppina Hutfuet, Soprano* and Pietro Lara. Tenor 

(Part II) {In Italian) *62084 

Tlie 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 : 

I2.incb. $3.00 
I2-incb, 3.00 




lO-inch, .75 

How wondrous! 

His words deep within my heart are graven! 

No love of mortal yet hath moved me. 

Shall I dare disdain it. 

And choose the empty follies that now surround 


She then sings the plaintive air. Ah, fora ' i lui, and gives herself up to the spell of 
aw^akening love: 


Ah, was it he my heart foretold, when in the 

throng of pleasure, 
Oft have I joy'd to shadow forth one whom 

alone I'd treasure. 
He who with watchful tenderness guarded my 

waning powers, 

Strewing my way with flowers. 

Waking my heart to love! 

Ah, now I feel that 'tis love and love alone. 

Sole breath of all in the life, the life universal, 

Mysterious power, guiding the fate of mortals. 

Sorrow and sweetness of this poor earth. 

The animated last movement follows, as the unhappy woman shakes oB the illusion 
and once more vows to devote her life to pleasure. 

* DwMtJ^aced Record— For iltk cfopposUe side jce DOUBLEFACED LA TRA VIA TA RECORDS, page 344. 



{"wilf'/X"! br™nfiSrm«B2r7ir™ the cu 

nt rosy joy. " 
Never weary, each dawning morrow 
Flies to bear me some new rapture 
Ever fresh delighls I'll borrow, 
1 will banish allanooy! 
The Victor owner has no fewer tkan five 
renditions ol this great air to choose from and 
is likely to be embiuTBMCcl in his attempt to choose 
the test, but will probably compromise by selecting 
two or more oF them. 

Melba'i 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 (act 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. Tetrazzin! chose this opera (or her first 
appearance both in London and New York, and the melsa as violeita 

choice was an admirable one, as Verdi's work exhibits all the soprano's fine qualities — 
not only her wonderful coloratura but ttie warmth and color which she possesses in a high 

Many operatic sopranos regard the part of yiolelta 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 • pathos which are most affecting. Her render- 
ing of this familiar Ah. /on i lal is a most musical one, with iM astonishing feats of 
execution; and the ease with which she trills an E in all 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 
•nd 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. 

SCENE— /n(er*or of a Cbunljji HouJe near Parit 
Alfred aitart and soliloquizes upon his new-found happiness. 

Dei miei bollenti spiriti (Wild "My Dream of 

itodemo GiorPini. Tenor 

12'inch, $2.00 


~ By Florencio Constantino, Tenor 

(/n Italian) 74083 12-inch, il.SO 
By Emilio Pcrea. Tenor 

(Inllallan) *68IS6 12-inch. 1,25 
By Alberto Amadi, Tenor 

{Inhalian) *633I4 lO-inch, .75 

Fever'd and wild my dream of youth. 

No star on high to guide mt, 

Shf shone on me with ray benign. 

And (rouble fled away! 

When low she wliisper'd: "Live for me, on 
earth I love but thee." 

Ah, since thai bright, that blessed day. 

In Heaven, 'mid joys eeleslial. 

In Heaven t seem to be! 
Alfred leam* from Vli^ella'i faithful maid that 
to sell her jewels (or their support. He is much as 
Paris to secure some money. 

VloUlla returns and is surprised at Alfred's sudden departure. A 
visitor » announced, who proves to he Gtrmonl, the father of Alfrtd. He 
has been greatly distressed at his aon's entanglement, and comes to heg 
Violeita to release the young man from his promises. She is much moved, 
and her bearing makes a favorable impression on Cermont, especially when 
he learns that she has sold her property (or Alfred's sake. 

° ' coNST.BTiMo P"*"* siccomc un angelo (Pure as an Angel) 

AS ALFBED By G. Bsttsglioli, Soprano, and Ernesto Bsdini. 

(ACT ir, SCENE II) Baritone (In llaUan) *45001 10-inch. »I.OO 

By RensoMinolfi. Baritone {Irt Italian) *62415 lO-inch. .75 

Non sapete (Ah, You Know Not) 

By Ernesto Bsdini. Baritone ' (/n llalian) *45028 lO-inch, *l.00 

In this air Cennonf pleads for his own oaughter, whose engagement to a youth of 
Provence will be broken if Alfred does not return home. Violeita at first refuses, saying 
that her love for Alfred is above all other considerations, but when Germonl says : 

Us to my home and lov'd ones While vet there may be time. 

Our angel, good, consolinR. 'Tis Heav'n itself thai bids me speak, 

Vioklla, oh, consider wei| These words in faith sublime! 

she Rnally yields, agreeint to leave Alfred {arever, and they sing a melodious duet: 

Dite alia giovine (Say to Thy Daughter) 

By Maris Gslvany, Soprano, and Titta Ruffo, Baritone 

{In Italian) 92503 12-inch. *4.00 
Cermonf 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. Cermont then singa his most beautiful number, 
the Di Prooaiza. 

Di Provenza il mar (Thy Home in Fair Provence) 

By G. Mario Sammarco. Baritone l/n /fa/<an) 88314 12-inch. tS.OO 

By Mario Anconi. Baritone {In lialian) 87006 10-ioch. ,. 2.00 

By Giuseppe Campaoari. Baritone (in Italian) 81071 10-inch. '. 2.00 

By Ernesto Bsdini. Baritone [/n Italian) *45001 10-inch, 1.00 

In thia touching appeal he asks his son to return to his home in Provence and to his 

Sammarco sings the number with a wealth of tenderness and eipreseion, revealing a 
smooth, rich and resonant baritone which is good to hear, while a line rendition by Ancona 
and a popular- priced record by Badini are also offered. 

"Dtakit-FaccJRcaiiJ— For UUt of BiiKallcilJtia DOUBLE-FACED LA TRAViATA RECORDS, pagc344. 



From fair Provence's soil and »a. 
Who bath won ifay hear, away? 
From thv native sunny clime. 
What siranee fate caus'd Ihee to stiay? 
Oh, reracmfcr in thy woe 

All the peace thy hearl would 'know. 
Only there, sliil found may he. 
Ah, thy father old and worn, 
Whal. he felt thou ne'er canst know, 

SCENE 11—^ Rlchlu Famhhed Salon In Flora's 

Palact. On the Right a Gaming Table _ 

As the curtain rUea Flora and her (riendi are diacuning the ■eparation nf the loveri 
and Rora uys she expects ViohUa will soon arrive with the Baron. Alfred enters, and 
Tcmarking with assumed indifference that he knows nothine of VioUUa's whereabouts, 
begins to gamble and wins heavily. The Boron appears, accompanied by Violtlla, who is 
agitated at the sight ol Alfred, but lie pretends not to see her and challenges the Baron to 
a game, again winning largo amounti. Supper is announced and all leave the room except 
Vhletta and Alfred, who linger behind. He charges her with her falaeneu. and. in 
furtherance of the promise made to Ceimont, she pretends to him that she loves the Baron. 
Alfred then loses all control over himself, and throwing open the doors, he calls to the guests 

Questa donna- conoscete (Know Ye All This 'Woman ?) 

By Alberto Amadi. Tenor {In Italian) *63314 10-inch, 10.75 

Pointing to Videtta, Alfredciu^ wildly: 

1, blindly, basely. wr«lchedlv. Rear witness all around me 

This Id accept, condescendei That here I pay the debt! 

and completes the insult by throwing at her feet the money he had just won. 

At this moment Alfttd't father. Germent, enters, and is horrified at the scene which con- 
fronts him. Then follows the splendid finale, one of the greatest of Verdi's concerted 

Alfredo, di qucsto core (Alfred, Thou Knowest Not) 

By Giuseppini Huguet. Sopraao; G, Pini-Corti. Tenor; Ernesto 

Badini, Baritone ; and Choriu (In Ilaltan) i'5B392 12-mch. $l.O0 

The emotions of the various characters are expressed by the librettist as follows: 

thy p 

ind thus fatally 

A jealous fury— love's madd'nine torrent. alnoil in a stale of collapse. The fainling 

But now that fury is all expended, ViohUa is led as'av b\ her friends, and the 

Remorse and horror to me remain. b<"'Is hegin m disperse as the curtain falls.) 

*D»Ale-Fac.JRKorJ—F<.rmltofoMxalH,lde^DOUBLE.FACEDLA TRAVIATA RECORDS. pogi 344. 



{Violetta'a apartment. She ia asleep on the couch, while her maid dozes by the fire) 

As the curtain rises the doctor's knock is heard, and Dr. Grenvil, Violeita *s physician, 
enters and attends his patient, afterwards telling the maid that she has not long to live. 
Left alone, Violeita 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 jk>u 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 "Farewell.** 

Addio del passato (Facewell to the Bright Visions) 

By Alice Nielsen, Soprano {In Italian) 64068 lO-inch, $1.00 

By Marie Michailo'wa, Soprano (In Russian) 61178 10-inch, 1.00 


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 w^ith 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 Gladnes^.** 

Parigi o cara (Far from Gay Paris) 

By Alice Nielsen and Florencio Constantino (Italian) 74075 12-inch, $1.50 
By Amelia Rizzini, Soprano, and Emilio Perea, Tenor *62067 10- inch, .75 

At the close of the duet Violetta *s overtaxed strength gives w^ay, 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 w^hich Germont blames himself for all that has occurred, Violetta expires, 
and the curtain falls on a sorrowful tableau. 


Prelude By La Scala Orchestral, «^^- i-j ;„^t. «i ok 

L'Jfricana^Marcia Indiana By La Scala Orchestrar^^^^ 12-inch, $1.25 

Traviata Selection By Pryor's Bandl ^^^^^ 12-inch 1.25 

Trovatore Selection By Pryor*s Band} " ' 

Alfredo, di questo core By Hutfuet. Pini-Corsi and Badinil^^i^-^ .^ .^* . ^e 

RuyBlas—Odolcevolutta By Qrisi and Lara (In Italian) r^^^^ 12-mcli, 1.25 

Dei miei bollente CWild My Dream) By Perea (^" ^'<'^'<"')l^ai5^ 12-inch 125 
Emani — Ferma crudele By Bernacchi, Colazza and de Luna] " ' 

Non sapete (Ah, You Kno'w Not) By Ernesto BadiniKeQ2R 10-inch 100 

Manon — Qavotta By Qiuseppina Huguet (In Italian)) " ' 

Di Provenza il mar By Ernesto Badini (In ^^^^^^'*)\a<qqi lo-inch 1 00 

Pura siccome un angelo By Battaglioli and Badini (In Italian)) ' * 

Ah, fors* & lui By Giuseppina Hu^et (^''^'''^'<"') 1^2084 10-inch 75 

Sempre libera By Huguet and Lara (In Italian)) 

Un di felice, eterea By Trentini and Martinez-Patti 

Pari^i o cara By Amelia Rizzini, Soprano, and 

Emilio Perea, Tenor (In Italian) 

Pura siccome un an^elo By Renzo Minolfi (In Italian) 

Libiam nei lieti calici (A Bumper \^ell Drain) [62415 10-inch, .75 

By Rizzini, Perea and Chorus (In Italian) 

Dei miei boUenti spiriti By Alberto Amadi U^ ^^^^^^")\^^^ia 10-inch .75 

Questa donna conoscete By Alberto Amadi (In Italian)) 

* Double-FaceJ Record — For title of opposite side see above list. 


62067 10-inch, .75 





Words and muiic by Richnid Wa^er, the plot being derived from an old Celtic poem 
of the same name, written by Gottfried of Strasburg, who flouriihed in the thirteenth 
century — though Wagner has changed the narrative «ufficicntly to make it hia own. Tiiilan 
ia one of the most popular of legendary heroes and has been treated of by numeroua 
writers, among them Tennyson, Matthew Arnold and Swinburne. 

Wagner's Trlilan und holdt was first presented in Munich. June 10, 1S65. First London 
production June 20. 1662. Firat American performance in New York. December I. 1885. 




Tristan. « Cornish kniiiht, nephew of King Mark. Tenor 

King MaEUC of Cornwall BaM 

130LDE, PrinccM of Ireland . .Soprano 

KURVENAL, Tristan's devoted servant Baritone 

MELOT, (Mai/Jil) one of King Mark's courtiers Tenor 

BRANCANE. (Bnm-gm'-nil,) Isolde's friend and 

attendant Soprano 

A Shepherd Tenor 

A Steersman Baritone 

A Sailor Lad Tenor 

Chorus of Sailors, Kni^ts, Esqaires and Men-al-Arms. 

Although completed in 1859, Tristan was not produced 

until six years later. Through the slrenuouseffortsof King 

Ludwig 11 of Bavaria, it was ultimately brought out in 

Munich with distinct artistic success — Schnorr. the tenor, 

scoring brilliantly in the r6le of Trialan. Previous to this 

time, however, it had been underlined for performance in qhcibal prohbah oc tristan, 

Vienna, but was abandoned after fifty-seven rehearsals. mubiih, 1865 

The opera did not find its way to America until it was 

more than twenty years old, but abce that time 
has grown steadily in popularity. Some notable 
productions occurred in 1895 with Sucher, Alvary, 
Brema and Fischer; in 1 896 with the De Reszkem 
Nordica and Brema; in 1901 with Temina and 
Van Dyke; and in 1910 with Fremstad, Knote, 
Homer and Van Rooy, this being Custave Mah- 
ler's American d£but 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 (hat 
he sought to emphasize the fact that love cannot 
always be bound by conventions. 

• This wonderful tragedy of love and (ale re- 
quires for itsadequBleproductionartists 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 laolde is one of the great- 
eat impersonations of recent years. She is in 
every way the embodiment of Wagner's heroine, 
KUivENAL and sings this wonderful music with great skill, 

making it express in turn tenderness, disdain. 

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 MonlJ, 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 afhanced, an Irish princess, Isolde, Trhlon himself had 
received a dangerous wound which fails lo heal, and he resolves to assume the name of 
Tantris and seek the assistance of iiolde, who Is famed for her knowledge of the art of heal- 
ing. Iioldc, however, recognizes him by a notch in his sword, which fits exactly a piece of 
metal she bad extracted from the head of Morold. She plans to kill him, but falls in 
love instead, while be merely sees in her a good wife for his uncle. King Mark. 

Preludio (Prelude) 

By Li Scali OrchuCra 68210 12-tilcb, *U9 

The first act shows the deck of the ship which ii conveying Iiotde 
and Trlalan to Cornwall, she having accepted King Marlt's proposal, 
made through his nephew. During the voyage, however, ihe refusal 
of TriiUm to see her, the exultation of the sailors over the killing of 
Afon>/ff (which freed Cornwall from its subjection to Iiolde's royal 
father), and detestation of the loveless marriage she is about to con- 
tract, infuiiate the Princess, and she resolves to die and drag Tralan 
down to death with her. She telle 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, hut she bids her maid, Brang/int, 
prepare two cups of poison from her casket. BrangSnt, unwilling to 
see her mistress die. secretly substitutei 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 /joWe'. chamber. 

VAN DYCK AS TRI5TAK "YWc King Has gonc On a hunting expedition, but BrangUnt fears that 
it is merely a ruse, and thinks the King's courtier, Melol, suspects 
the true state of affairs. Brangflne then confesses that she intentionally substituted the philtre 
for the poisoned cup intended for Triitan. 
Bbacane: Had 1 been deaf and blind. 

Fatal folly! Thy work were then ihy death! 

The fell pow'r of that potion! But thy distress. 

Dein Werk (Thv Act) 

By Johanna Gadski. Sopruio 

(/n Gtrman) 88165 12-ioch, »3.00 

Thy act? 
O foolish girl! 
Love'fl goddess dost ihou not know? 

How she may bend it, how efae may end it. 

Still hers am I solely; 

What she may make me. whereso'er take me 

So lei me obey her wholly! 
Refusing to heed BrangHnc'i warning, /joWe gives 
the signal for Tnifan'j coming by eJitinguishing 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 Me/o(, shouting " treason," stabs TViaion, 
inflicting a fatal wouniJ. 

The third act shows Triiian dying of the wound at his castle in Brtlagnt, whither he 
has been carried by his faithful servant, Karocnal, who has sent for Isotdt, 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 /wWe arrives, and dies in her arms. King M<.Tk and his courtiers, 
closely pursuing laolJe, now arrive and are attacked by Karoenal, who kills Mcht and is 
himself slain by Mark's soldiers. Mark, seeing Trlalan dead and Isolde senseless on his 


body, repents his rage and gives way to srieF. laolde revives. 
and when she realizes that Trlitan is dead, her grief bursts forth 
in the heartrending Looe-Dtalh moUoe: 

of Triatan. 

Isolde's Liebestod (Isolde's Love-Death) 

By Johanos Gaiiiki, Soprano 

{In Gennan) 68058 12-illch, *3.00 
By La Scali Orchestra {Dauilcfaixd—Stc U1<m) 

68210 12-inch. 1.2» 

lion oil 


ok'j body): 

How hi 

With 1i 



1y "appy 



and glMm and alisKnr 
e them? Shall f listen? 


(laliw) (Envluh) 



Words by Salvatore Cammanaro, the Moiy being luggealed by a Spanuh drama of the 
same name. Muiic by Giuseppe Verdi. Produced at [he Teairo Apollo. E^me, January 19, 
1853; at die Th^ilrt da Italitnt. ParU. December 23, 1854: at the Opira. Parifc aa 
Lo Trouvire, January 12. 1657: al Covent Garden, London, May 17, ISSS; In Engliih aa Tht 
Gytay'i Vengtana. Diuiy Lane, March 24. 1856. First New York production May 17, 1855. 

LEpNORA,(L«.o*-no*'-niA) a noble lady of tbe Court of an Aragon PrinceM . . Soprano 
AZUCELNA, {Ahi-Boa-taii -nah) a wandering Biscayan gypsy Mezzo-Soprano 

Inez, (&'-nei) attendant of Leonora. . . , Soprano 

MANRICO, {Maa.,«!Jcoli) a young chieftain under the Prince of Biscay, 

oE mysterious birth, and in reality a brother of Count di Luna Tenor 

Count di Luna, {Ju L«,'-^k) a powerful young noble of the Prince 

of Atragon Baritone 

FERRANDO, a captain of tbe guard and under di Luna. Bass 

Ruiz, a soldier in Manrico'a service Tenor 

AN Old Gypsy Baritone 

Alao a Measenger, a Jailer, Soldiers, Nuns. Gypsies, Attendants, etc 

5cene and Period: Biscay and Aragan: fifleenlh century. 


SCENE l—ValibuU in Aliafcria Palact 
As befits a tragic work, // Trooalore opens in an atmosphere of romance and my«« 
The retainers of Count dl Luna await the arrival of their master, and to beguile the time 
rondo relates the history of the Count's childhood and the loss of his brother. 

Abbietta zin^ara (Swarthy and Threatening) 

By Torre* de Luna. Bas*. and La Scila Chorus 

{In Italian) *62416 10-inch. 10.75 
The brother, ai an infant, came under the evil eye of B witch, who wai seized and con. 
demned to the stake. This witch had a daughter, who determined to avenge her mother's 
fate, with the lesuh that the Count's youngei son disappeared ; and after the witch's burning 
there was discovered upon the pile of charred embers the hones of a child. This story is 
told in the Abbiella to a fierce rhythmical tune, expressing all shades of horror. 

Feuando: Horror profound seiied the nuiee at thai 

i.r;.i. . ,..: r r j -"-etion, dark vision; 

And the dark intruder was soon eipcLled. 
;ction Soon Ihey Eound the child was failing, 

Coming darkness appad'd him. 
were The hag's dark spell enthrall'd him! 

pillow bIk rose, — Sought they the gypsy, on all sides turning, 

. found, tbink ye. near the child SeizM and condemnV her to death bf burning. 


Thus i 

Suir orlo dei tetti (As a Vampire You May See Her) 

By Torre* de Luna. Bass, and La Scala Chorus 

(Inllallan) -^leftSS lO-inch. *0.7A 
To the voice of the narrator is added the awe-stricken whicper* of the chorus, which 
afterward* iwell into a cry 
of fierce denunciation. The 
foreboding bell and an instru- 
mental diminuendo complete 
the picture, vrhich makes a 
fitting conclusion to a grue- 

Tho clock strikes twelve, 
and with cries of "Cursed be 
the witch infernal I " the retain- 

SCENE II— TAc Ganlera of tht 
The fair Leonora now ap- 
pears with her faithful com- 
E anion, Inex, She confides to 
KZ her interest in the un- 
known knight whom she had 

first seen at the Tournament, ,^ .kuv«ii,.i!. — ni,i i, stcno n 

and sings her first number. 

Tacea la notte placida (My Heart is His AloneJ 

By Celestina Booinsegna. Soprano (/n Italian) »2026 12-inch, I3.00 

By Gina Viafora. Soprano {In Italian) 74116 12-inch, 1.50 

By Lucia Crestani, Soprano {In Italian) *I6655 10-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 



How calm, how placid, was Ih* nighti In tones so sweel and thrilling. 

The cloudless sky. how clear, how bright! Breathing to Hcsv'n an earnest prayV, 

The moon in splendor shed her light, My heart with deep joy filling. 

And all was hushed in peace around! 1 heard a voice oft heard before. 

Suddenly, on Che midnight air. My long-loved knightly Troubadour! 

The ladies go into the house jua! 
peon to watch under her window. 

Deserto sulla terra (Naught on Earth is Left Me) 

By Carlo Albani. Tenor (In Italian) 64081 10-incli. *1.00 

By NicoU ZeroU, Tenor {[nllalian) 6*172 H>-inch. 1.00 

In this beautiful serenade, one o( the gems of the opera, the Tmaba- 
dear sings of his lonely life and the one hope that remains to him. 

Lonely' on earth abi 
Warring 'gainst fan 

Chi din I 

The Count is tilled with rage as Manrlca appears and confesses his 
love in song, and when Leonora comes forth to greet her lover, the anger 
of dl Luna bursts in a stoim upon them both, in the strain with which 
this number opens. 

Di geloso amor sprezzato (Now My Vengeance) 

By AoionioPaoli. Tenor; ClaraJoanns.Soprano: Francesco 

Cicada. Baritone {In llallan) 91082 lO-inch, *2.0O 

By Maria Bernacchi.Soprano: Lui|[iCoIazzi.Tenor: Ernesto 

Caronna, Baritone {In Italian) *'1680S lO-inch, .75 

Manrico defies him and they agree to fight to the death. Leonoia 

imptotea her lover to stay, but is unable to restrain the jealous passion 

which incites the rivals, and after the powerful and exciting trio they 

rush out with drawn swords, while Leenera falls senseless. 


SCENE \—A Gjilas Camp In the Blicag Mounlalni 
m.Y'i xiiiiii ^* "'" "°'" '" '^' Sypay encampment at early morning, as the ahad- 

ZEKOLA AS BAKiuco "*" **' night are passing away before the dawn. The men are beginning 
work, and in this, the famous Anoll Choma, they hammer as they sing. 

La zingarella (Anvil Chorus) 

By La Soala Chorus (In llallan) *62418 10-inch. Mt.ZS 

~ "■ (InEngluh) 1258 lO-in 

2146 lO-in 

Rouse up, *o fa™r™ ' 

'Dtubk-FaaJRKorJ—ForlHk if ofpt^ltiMltk h DOUBLE-FACED IL TROVATORE RECORL 


Azucena, tke gypsy, who novr BDDears. Drovee to be none 
other than the wilch'a daughlei 

the highly drtunatu: song allotti__ .. 

the dreadful atoiy of the death of her mother, who had been 
burned at the Make as a witch by the father of the present 
CoanI dl Luna. 

Stride la vampa (Fierce Flames Are Soaring) 

By Louise Homer, Contralto 

{In Italian) 81033 lO-inch, *2.00 
By Jeanne Gerville-R^ache. 

Contralto (Jn Italian) 87065 lO-ioeh. 2.00 
By Lini Mileri. Contralto 

(InllallarH *16808 10-inoh. ,TS 
In the aria she mentally live^^gain through the scene of 
her mother's execution, each horiilile detail of which is indeli- 
bly imprinted upon her memory. 

This wild contralto air in the minor, with its deep, rich, 
and ever-changing tones, is well suited to so grim b recital. 
Upward the flames roll; the crowd presses 

Rush to the 'burning with seeming gladness: Robed in dark g 

Loud cries of pleasure from all sitfes re-echo- Fierce cries of v. 

Whif^o-er them" shfning," with wSd, unearlhly uV"''^'" 

gUre. O'er them refl 

Dark wreaths of flame curl, ascending to glare. 

heaven! Dark wreaths . 

Upward the flames roll! on comes the victim heaven! 


moat dramatic a 
Mme. Mileri, 

Questioned by Manrlco, Aiucena tells him the story of her past. In obedience to her 
mother's last cry for vengeance, she stole the Count's young child, and threw it on the flames 
where her mother was consumed. But she soon discovered that in her frenzy she had 
destroyed her own irjant, and preserved the child of the noble. Wild as was the previous 
air, this proves a still more dramatic setting of the conclusion of the story. The orchestral 
accompaniment crashes, wails and sobs, the voice rises and falls in hatred or terror. 
until at last the gypsy sinks exhausted with the stress □( emotion that her tale has excited. 

Condotta ell'era in ceppi (In Chains to Her Doom They Dragged 

By Lina Mileri. Contralto {In Italian) *35l1b 12-inch. *1.25 

The story has set Manrico thinking. "If your son perished," he asks, "whose child am 

I?" But the gypsy, with a born instinct for dissimulation, avoids the question, still claiming 

him as her son. She reminds him of the almost fatal wounds received in an attack from the 

Count di Luna and his men, from which she had nursed him back to life. 

Mai reggendo all'aspro assalto (At My Mercy Lay the Foe) 

By Louise Homer. Contralto, and Enrico Caruso. Tenor 

{In Italian) 89049 12-inch, *4.00 
By Clotilde Esposito. Contralto, and Luigi Colaiia, Tenor 

{In Italian) *I6550 lO-inch. .IS 

In the opening strain oF this air, Manrico tells oF his single combat with the CoanI, in which 

by an irresistible impulse, after felling his antagonist to earth, he spared the noble's liFe. 

The voice of the gypsy then bids him never again to allo^r their enemy to escape, but to 

unhesitatingly administer the death-blow, Manrico't story of the duel is expressed by a 



bold r 

m\ > 

the gypsy ■ 
iSCBDce be- 
■TIK heard at the >ame time, 
leafling to the vigoroua climax 
of the duet. 

to the Fortunes of the Cou, 
and Ltonora. She, believin 
the Troubadour to have bee 
killed, pretumably in a recei 
duel with his rival, has delei 

nined tl 
Luna appears in front of the 

carrying her away before the 
ceremony shall have taken 
.n. ^.i.Ti^n. .....^ ..»^.^^^. »!.■ 1, place, and sings his famous 

air, "II balen." 

II balen del suo somso (The Tempest of the Heart) 

By Emilio it GoffOrEi. Baritone {Ip Italian) 881 TS 12-inch, *3.00 

By Francesco Cigada. Baritone (In Ilallon) *16812 10-inch, .IS 

By Alan Turner, Baritone {In English) *16S21 10-inch, 

This solo almost wins the Count our sympathy, in spite of ourselves, so genuine and 
felt an expression of the tender passion it is. 

Lalm the lem 
signal for the final r 

Per me ora fatale (This Passion That Inspires Me) 

By Erncata Caronna. Baritone (In Ilallan) *16814 10-inch. 

This declaration is expressed in a vigorous air. 

Count (fri^-shi: 

Oh, hour of falc Id me. No rival can 1 havr; 

They conceal themselves among the trees as the chant of the nuns is heard. 

Ah ! se Terror t'ingotnbra ('Mid the Shades of Error) 

By Francesco Cicada. Baritone, and La Seals Chorus 

(/n Ilallan) *t69SO 10-inch, 
They sing of the coming retirement of Ltonora from the world, while from their 
of concealment the Coanl and his retainers speak of their coming triumph. 

Chorus of Nuns: 

Ah! when the shades of night, Camr. then, anil let this mvatk veil 

Oh. daughter of Eve, shall c'" 
Then wilt thou know that li 

e on thee 

Yes", "like ihi"^ssing""of""a"°sha'doT '~ 
Are all our earthly Tiopes ! 

* DoiAkJ'iiaJRtard—ForlllknfolipoillttlAit 



Feuando and Retaineis; 

How bold! Lei's go— conceal our$«lvcs 
Amid tbe shades in haste. 
How bold!— Come an— and silence keep. 
The prize he soon will hold! 
At iKe nuna appear, conducting the penitent, the Count's 
retainers rush out and seize Leonora. 

The calculations of dl Lana are once more upset, for just as 
he interrupts the ceremony, Manrico unexpectedly appears. 
Ltonora. overjoyed to find her lover still living, begins the great trio. 

E de^gio e posso crederlo (Oh. Blessed 


By Maria Gcisi. Soprano; Remo Sanfliortfi, Tenor ; 
Francesco Cifada. 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 uni dufout 
Count, while his men are defeated by Manrlco'i followers. haktin as uaniico 

SCENE I— The Camp of di Luna 

Squilli echeggi la tromba (Soldiers* Chorus) 

By New York Grand Opera Chorus (In Italian) 640S0 10-inch, *1.00 

Act 111 opens with the chorus of di Luna'i 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 Trooalore choruses 

so frequently do. 

Giomi poveri vivea (In Despair I Seek My Son) 

By Ida Mamelli, Soprano ; Renzo Minol&, Baritone: Cesare Preve, 

Baritone; La Scala Chorus (In Italian) *35177 12-incIi. *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 Ferrando declares her to be the murderess of 
dl Luna's lost brother. Azactna in her extremity, cries out the name of Manrico, and the Count, 
finding she claims the Trouhadour as her son. vows upon her a double vengeance, and she is 
boundand dragged away. The gypsy's pleading, the Count's threatening anger and triumph. 
with the accompanying chorus, combine to make a moving and dramatic eratmhle. 
SCENE 11— Monrieo'j Casih 
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 Counf di Lana, Here Man- 
rico sings a tender and atfectionatc fare^vell to his beloved ere he departs to repel his rival's 

Ah. si ben mio (The Vows 'We Fondly Plighted) 

By Enrico Caruso. Tenor {In Italian) 88121 12-inch. *3.00 

By Charles Dalmores. Tenor (In Italian) 85123 12-inch, 3.00 

- By Giorgio Malesci. Tenor (In Italian) *16809 lO-inch, .75 


Bids thy hear 
Ahl love; hov 
Our fond desi 

Quietneuaoon departs, for the news comes that the attacking 
party have captured Azactna, nnd are piling up faggots around 
the stake at which she is to he burnt. Maddened at ihe approach- 
ing outrage upon one whom he believes to be his mother, Manrlco 
prepares to rush to her aBsistance. The air with chorus which 
forms the chmax to this scene is full oE martial lire. 

Di quella pira (Tremble Ye Tyrants) 

By Francesco TamBgno. Tenor 

(In Italian) »S006 lO-ioch, »S.OO 
■ „,„,,f,„ By Antonio Paoli. Tenor, and La Scali 

Chorua {In Italian) 92032 l2-mch. 3.00 

By Enrico Caruso, Tenor (In Italian) 87001 10-inch. 2.00 

By Nicola Zerola. Tenor (Jn tiahan) 64170 10-inch. l.OO 

By Giovanni Vails, Tenor, and La Scala CboruR 

(/n Italian) *16e09 10-inch. .75 
It is led up to by a very powerful introductory passage, and the high notes at the end, 
delivered in robust lone^ never fait of their efiecL • 

Ah! siBhl of horror! Sec Ihat pile hlaiing— Oh! mother dearest, though love may tiaim me. 

, is raeing— FTom Hames consuming thy forn 

jou shaU fall. Or with thee, mother, I too wil 


Caruso's singing of this nur 
the two famous high C's being . 

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 
/jaella 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 

Other fine renditions, at a 
lower price, are given by 
Zerola and by Signor Vails, 
assisted by La Scala Chorus, 




SCENE l—Exierior of the Palace of Aliaferia 

The last act brings us outside the palace oi Aliaferia, wherein Manrico, defeated by 
Ji 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 sv\V ali rosee (Love, Fly on Rosy Pinions) 

By Lucia Crestani, Soprano (/n Italian) * 168 10 lO-inch, $0.75 

This sad but melodious air reveals her heartfelt grief for the sorrows which she cannot 

Leonora : 

In this dark hour of midnight 

I hover round thee, my love! 

Ye moaning breezes round me playing, 

In pity aid me, my sighs to him conveying! 

On rosy wings of love depart, 

Bearing my heart's sad wailing, 

Visit the prisoner's lonely cell, 

Console his spirit failing. 

Let hope's soit whispers wreathing 

Around him, comfort breathing, 

Recall to his fond remembrance 

Sweet visions of his love; 

But, let no accent reveal to him 

89030 12-inch, $4.00 
58366 12-mch, 1.00 
31703 12-inch, 1.00 





10- inch. 



10- inch. 





The sorrows, the griefs my heart doth move! 
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. 


Pray that peace may attend a soul departing, 
Whither no care or thought of earth can 
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 
orchestrei, leading to a sobbing lament of Leonora. 


What voices of terror! For whom are they 
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. 


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 


* Double-Faced Record— For tUk ofoppotite tide «ee DOUBLE-FACED IL TROVA TORE RECORDS, pagc360. 

. 357 



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 womeui and the fierce joy of the gratified noble are 
powerfully expressed in this magnificent duet. 

Mira d*accrbc 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) 9107r 10-inch. 2.00 

By Maria Bernacchi, Soprano, and Ernesto Caronna, Tenor 

{In Italian) *16810 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) 91071 10-inch, $2.00 

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 shalt possess but a lifeless bride.'* As the scene changes 
they enter the tower to secure the release of Manrico, 

SCENE U— The Prison Cell of Manrico 

Yet a third duet — the famous Home to Our Mountains. The scene has changed to the 
prison interior, w^here 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) 89018 12-inch, $4.00 
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) * 168 11 10-inch, .75 
By Corinne Morgan, Contralto, and Harry Macdonough, Tenor 

(In English) *16407 10-inch, .75 

This familieur 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. 


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 w^oman whose consuming passions 
of remorse and revenge have died away, she dreams of the happy days gone by. 

* Double J^aced Record— For title of opposite side see DOUBLE-FACED IL TROVATORE RECORDS, pages 
359 and360. 



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 
Lull me to rest, charm my sorrows away. 

Both : Lull | ^j^g | to rest ! 

Caruso sings this beautiful scene with that tenderness of voice which he can assume 
w^hen 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' infamc (Thou Hast Sold Thyself) 

By Ida Giacotnelli, Soprano ; Lina Mileri, Contralto ; Gino 

Martinez-Patti, Tenor {In Italian) *35 1 T 7 1 2-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 heurmonies the musiced portion of the opera draws to a 

Manrico : 

Thou giv'st me life? No! I scorn it! 
Whence comes this power? what price has 
bought it? 
hou wilt not speak? oh, dark suspicion! 


'Twas from my rival thou purchased thy 

Ah! thou hast sold him thy heart's affection! 
Barter'd a love once devoted to me! 

LeorH>ra, who ha^ already taken the poison, now sinks dying at Manrico' s feet, and he 
pleads forgiveness as he leeuns 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 Qtunt to the window^ and cries to him : ** You 
have killed your brother I" Di Luna utters a wild cry of remorse and falls senseless as the 
curtain slowly descends. 


Condotta eirera in ceppi (In Chains to Her Doom) 

By Lina Mileri, Contralto {In Italian) 

E deggio e posso crederlo (Oh, Blessed Vision) By 
Maria Grisi, Soprano : Remo Sangiorgi, Tenor ; Francesco 
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) 

Ha quest* infame (Ah, Thou Hast Sold Thyself) By 
Ida Giacomelli, Soprano ; Lina Mileri, Contralto ; Gino 
Martinez-Patti, Tenor {In Italian) 

Ai nostri monti (Home to Our Mountains) By Corinne 
Morgan and Harry Macdonough {In English) 

Huguenots — Selection, Act IV By Sousa 's Band 

rrovatore Selection By Arthur Pry or 's ^^^^X^kqj^. 

Traviata Selection By Arthur Pryor's Band) 

* Douhk'Faccd Record — For title of opposite side see ahooe list. 


35176 12-inch, $1.25 

35177 12.inch, 1.25 

35118 12-inch, 1.25 
12-inch, 1.25 


62416 lO-inch, $0.75 

10-inch, .75 


Abbietta zingara (S'warthy and Threatening) By Torres 
de Luna, Bass, and La Scala Chorus (In Itaban) 

ISull* orlo dei tetti (As a Vampire You May See Her) 
By Torres de Luna and La Scala Chorus (In Italian) 

(Suir orlo dei tetti (As a Vampire You May See Her) 1 

By Torres de Luna and La Scala Chorus (In Italian) U^^e^ 
Tacea la notte placida (My Heart ia His Alone) | 

By Lucia Crestani, Soprano (In lialian)} 

Di geloso amor sprezzato (No'w My Vengeance) 

By Bernacchi, Soprano; Colazza, Tenor; and Caronna, 

Baritone (In Italian) >l 6606 10-inch, .75 

Stride la vampa (Fierce Flames Are Soaring) 

By Lina Mileri, Contralto (In Italian)) 

iMal reggendo alPaspro assalto (At My Mercy Lay the 1 
Foe) By Clotilde Esposito and Luigi Colazza (In Italian) I « /L<<n 
Ah! se le error t' ingombra ('Mid the Shades of Error) f*'*^^" 
By Francesco Cigada and Chorus (In Italian)} 

II balen del suo sorriso (The Tempest of the Heart) 1 

By Francesco Cigada, Baritone (In Italian) \l66l2 10-inch, .75 
Martha — Porter Song B}^ Carlos Francisco (In Italiari)} 

II balen del suo sorriso (The Tempest of the Heart) 1 

By Alan Turner, Baritone (In English) [l6521 10-inch, .75 
Carmen — Toreador Song B^ Alan Turner (In English)] 

Per me ora fatale (This Passion That Inspires Me) 

By Ernesto Caronna, Baritone (In Italian) 
Pagliacci — Opening Chorus, Son qua 

B}f La Scala Chorus (In Italian) ^ 

Ah, si ben mio (The Vows 'We Fondly Plighted) 

10-inch, .75 

16814 10-inch, .75 

10- inch, .75 

16810 10-inch, .75 

16013 10-inch, .75 

By Georgio Malesci, Tenor (In Italian) L ^q^q 
Di quella pira (Tremble Ye Tyrants) By Giovanni f*^*'*'*' 
Vab, Tenor, and La Scala Chorus (In Italian)} 

D*amor suU 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) 

rliserere By Elise Stevenson, Soprano, and Harry Mac- 
donough. Tenor (In English) 

I Would That M}f Love By Elise Stevenson, Soprano, and 

Harry Macdonough, Tenor (In English) 

fMiserere B y Pryor and Keneke ( Trombone- Cornet) \ , ^^ « - , 

\ Spring Song (Mendelssohn) By Victor String Quartet] * ''•^ * ^ 

fMiserere By Rogers and Pryor (Comet'Tromhone)\.^^^. 

\ Chant sans paroles (Tschai^owsky) By^ Vienna String Quartet) 

rVivral contende il giubilo (Oh, Joy, He's Saved) By 1 

I Angela de Angelis and Francesco Cigada (In Italian)[.g.^. . ,/^ .^ t -- 

I Ai nostri monti (Home to Our Mountains) By Clotilde f *^®* * lO-inch, .75 
[ 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 Down 

B^ Alan Turner, Baritone (In English) ^ 

Di geloso amor sprezzato (Now My Vengeance) ] 

By Maria Bernacchi, Soprano; Luigi Colazza, Tenor; I 

and Ernesto Caronna, Baritone (In lialian) >62418 

La zingarella (Anvil Chorus) 

By La Scala Chorus (In Italian) 

10-inch, .75 
10-inch, .75 

16407 10-inch, .75 

10-inch, .75 



(Da VcU-M-ri) <!,=* rW-W'-ri) 



Text and music by Richard Wagnec. Firit presented In Munich in 1870. First New 
York production at the Acoderay of Music, April 2, 1877. 


SIEGMUND (fW-moonJ) Tenor 

HUNDING (Hwmf .(n<) Bas* 

WOTAN (Kdi'ja*!.) Baritone 

SlEGUNDE (itf-ftn'-AiA) Soprano 

BRUNNHILDE (awn-Aeri' JuA) Soprano 

FRICKA {Frik'^) Soprano 

Valkyries — Cerhilda, Onlinda, Valtrauta. Sverleita, Helmviga. Siegnina, 
Gnnigeida. Rossvisa. 

tVflklire is the second in the series of music-dramiu composing the Ntebelung Ring, and 
from a popular standpoint perhaps the most melodious and pleasing. The story is beauti- 
ful and compelling, the situations by turn thrilling and pathetic, while the glorious music 
written by the master to accompany the adventures of his mythical personages is easily un- 
derstood and appreciated by the average listener. 

A perusal of the preceding description of the story of the Niebelung in Rhinegold 
(page 279) will help the reader to understand more fully the Victor synopsis of IValkare. 

Wotan has been warned by Erda, the Earth CoJdea, that if Alberlch regains the Ring the 
gods must perish. Brooding over this impending fate, IVolan descends to earth and weds the 
goddess; this union resultbg in nine splendid daughters, the Waiklirt, who are to aid in 
the salvation of the gods. Riding forth each day among the tumult and the strife which 
prevail on the earth as a result of the Curse of the fting, they carry to Walhalla, on their 
flying horses, the bravest of the warriors who fall in battle. These revived heroes keep 
themselves ready to defend Walhalla from the Nitbtlungi. But in order to regain the Ring, 
a brave hero is necessary, who shall be free from the universal curse and who can take it 
from Fafner, now changed into a dragon the belter to guard the treasure. With this in mind 
Wotan visits the earth again and weds a mortal who bears him twins, Sicgmund and SitgllnJe. 

While these children are quite 
young, the brutal Handing 
finds their cottage, bums it, 
kills the mother and carries off 
SltglinJt, whom he afterward 
forces to become hi. bride. 
The father and son return 

Hundl^. Wotan (known as 
VoIk on earth) returns to 
[Valhalla, leaving the young 

Sitgmund to fight alone and 

become a self-reliant hero. 

This is the situation when the 


SCENE I— Interior of Handing-, 

Hal In the Forat—a Large 

Tree rtaea through the Roof 

The prelude represents a 

VUST ACT SCENE— SATIEUID fearful stotm in the forest, in 


Brunnhilde Bearing a Wounded Warrior tQ W»ltulU 


ihe tnidil of which SiegmanJ luihea in exhauMed, anil (alls by the lire. 
Sleglinde gives him lefreshment and feele drawn to him by some 
Bliange attiaction. While they are conversing. Handing enters, and 
after questioning the stranger, recognizes in him his mortal enemy. 
He says, "Thou shalt have shelter from the storm to-night, but to- 
morrow thou diesti" and goes to his room, bidding Sleglinde prepare 
his evening drink. She does BO but puts a drug in it to make him 
sleep soundly, and returns to SiegmamI, unable to control her interest 
in the mysterious youth who has so strangely affected her. 

Then occurs the lovely ZieiuJ/c(/, the gem of this beautiful lirat act. 

Siegmund's Liebeslied (Sief^mund's Love Song) 

By Riccar^o Martin, Tenor 

(InCtrman) 88276 12-inch. *3.00 
By George Hamlin. Tenor 

(/n Certnnn) T4111 12'inch. 1.50 
The hut, which has been In semi. darkness, is suddenly Illumined 
by the blowing open of the great door at the back, and without can 
be seen the beauty of the spring night after the storm. The full 
moon shines in upon them, so that they see each other clearly for 
the first lime. Siegimmd, in ecstasy, rhapsodizes Spring and Love : 

Wl>-Initlii-nMWI-ib«>i»il, b •dl-dnLkb-ulnidul Sir Lot. 

He takes her hand, seats her beside him on the rude bench, and 

Lest and spray spring fori 

By dint of his 
The Moutest d( 
Which, stubbor 

ia sister swiftly he fli. 
the spring hath alluf 

Joyous mtet now the youthful pair; 

United are Love and Spring! sieghubd 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 Lyria for Tenor 
will add to the enjoyment of the record. 

Sleglinde then tells Slegmand 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 on;e 
but SiefTmuni/ would have power to remove it. 

5/sgmun(/ 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 


Handing. The curtsin (allt aa they psH out into the moonlit 

The love acenes between StegUndt and Siegmund Aion\A 
he conaideied in their allegorical and poetical aense, and 
not judged hy modem ethical atandarda. Wagner intended 
thia episode to icpceaent the union of Love mnd Spring. 

ACT n 

SCENE \—A Wild and Roda, Pa» 

Wolan and his favorite Valkyile daughter, Brannhildt, 
are discovered in full armoi. He tells her to go to the 
rescue of the Vohang {Sltgmund), whom Handing is pursuing. 

Womn: Make ready Ihy steed, warrior maid, 
RrQnnhilde. haste to tlie field. 

Ho. yo, to, ho I (Briinnhilde's Battle Cry) 

By Johanna Gadski, Soprano «fyi j,fo»i — 

(In German) 87002 lO-incH. »2.00 c^sg, ^^ bsumbhilde 

Cadaki ie always a statueaquely beautiful Brannhildt, 
and her voice glorifies thia music, in which many peraoiu. inaenaihle to the poetic depth and 
power of the atory, heat only noisy declamation. In thia first scene especially, she brings 
into beautiful relief the joyful nature of the VaSa/ric. and her cries are full of eager, happy 
vitali^. Some idea of ^_ 

the difficult nature of Samaanin. -'^ '^^ 

this famoua BaUle Cry rJ^T'L -TP - * . ."^ i I F fr " J > .-'^n 

may be had fro 

Mme. Gadski, however, surmounts thes 
ties with ease, and the aria is a really i 
specimen of both singing and recording. 


Brannhildt is right— H^olon is in for i 
as Fridta now appears in an extrer 
humor. Handing has appealed to her. the 
of marriage, (or help, and she insists thaj 
be punished. Wotan protests that thia 
romance should not be btetfered with 
wrathfulwiferemindshim that the whole 
is but the result of his own infidelity, i 
finally forced to swear that Slegmand 

Fridta then triumphantly ulU tn I 
that Watt 


■he qucations him he confides to her hit efforts 
to find B hero who ihall banish the curse, but 
taya his quest has been In vain. He bids her 
see that victory goes to Hundlng. She protests, 
but he sternly commands obedience and leaves 

SlegmunJ and SlegllnJe now appear, fleemg 
from the wrath of Handing. SejftnA'i strength 
has failed her, and she falls down exhausted. 
BrannhllJt comes to the lovers and tells SitgmunJ 
he must die. He scorns her prophecy and says 
his sword will not fail him. Hunding'i voic« is 
now heard, and in a sudden wave of sympathy 
BrOtmMde resolves to defend the young lovers. 

Siegmand rushes to meet Hundlng, and amid 
flashes of hghtning the warriors can be seen in 
deadly combat, while Briinnhllde is visible Rjdng 
above Siegmand and protecting him. Wolan, 
seeing the situation, then appears and causes 
Siegmand to fall by his opponent's sword. 

Brannhltde retreats in terror from her father's 
wrath, and runs to protect Slegllndc. She lifts the 
helpless maiden on her horse and they disappear. 


SCENE I— The Sammll of a Rocks/ Mountain 
The act opens with the wonderful Ride of ihe 
yaOairlea, one of the most striking of all the mas- ^^^ death or siegmukd 

ter's compositions. Hiia is graphically pictured 
in the splendid Fantasia by Pryor's Band, and in the La Scala record. 

Cavalcata (Ride of the Valkyries) 

By La ScaU OrchestrB (DodUc/hx./, w ooo J69) 62693 lO-inch. *0.7i 

Fantasie {IndudinB Ride of the Valkyries) 

By Arthur Pryor's Band 31333 12-inch, 1.00 

by full band, Followed by the tumultuous RlJe of the Valkyrlet, 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 Briinnhllde 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 Briinnhllde is given, beginning with the wonderful Siegfried, Guardian of the SuMtrd 

on the trombone and which is repeated magnificently hy the basses in another key. 

The closing line of Wotan's Farewell. So kuisl er die Collhelt von dlr ("with a kiss 1 
divest thee of godhead"), is heard on the comet, followed by the Fire Music an exquisite 
blending of the two fire moHoe with BrOnnhllde'i Sleep. 

The VaOfi/rltt see Briinnhllde flying toward therr^ evidently in great distress. She alights 



and asks her listen to shield her from the wrath of 
Wolan, who is riding in pursuit! hut they dare not 
help her. She then bids SiegllnJe flee alone, telling 
her that she is destined to bear a son who shall be 
the hero Siegfried. 

Fly lh»n swiftly, snd speed to Ihe cast! 

Bravely determine all trials to bear. 

Hunger and ihirsi. thorns and hard ways. 

Smile through all pain while suffering panEs! 

This only heed and^hoM it ever: 

■" ; highest hero of worlds hidest thou. 

In shelteri..,, 
iSht froduce: 

For him keep these shreds of £h> 

nd h 

I death-ficld by form 

> sword shall he swing 
.e I declare-Siegfrie 

For his sake I live — 
Mav my blessing fr 
Fare thee wellT J 

ISke iiaiuaa away. 
velopti in black 

the peals of ll 
mceal BrOnnhllJe in thdr miilM ai 

From heavenly clans art thou excluded. 

Bann'd. degraded from Ihy 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. 

Brunnhilde's Bitte (Briinnhilde's Appeal 
to "Wotan) 

Wolan'B Farew 


Was it M shameful, what I have done, That it should rob n 

That for my deed I £0 shamefully am O speak, father! se. 

bids her farewell in the splendid AbKhleJ. 

Farewell, my brave an 
Thou once Ihe liahl an 

beautiful ehild! 
d bfe of my hea 

Thy bed shall be lit with to.jhe 
Than ever for bridal have bur 



Farewelll Farewell! Fa 

Fiery gleams shall girdle the ,fe 


Loth 1 must leave thee 

the t 


May 1 grant thee my 

Who, cowed, may crosj no 



Henceforth my, maid n 

aeh me! 

my beloved one 

One freer than I; the Cod! 

Thou laughing delight o 

BrflnnAi/Je sinks, wrspt and tiansfiguied, on Wotan' ihtcatt; he holds her in a long eir 
brace. She throws her head back again and gazes with solemn emotion into her father 

ordly plea 

.J oft in love 1 have kissed.' Their lustrous naze liEhls an n 


Which oft in love 1 have kissed. Their lustrous gaze lights on me now a 

- -mgings won mj lauding. lips im;jrinl this last farewell! 

_ ,..„ .. „ ,^.. — . Jl they beai... 

honied lips were inspired; The grief- sulfering god may never henceforti 

ThoM effulgent, glorious eyes. behold them! 

Whose flash my gloom oft dispelled, Now heart-torn, he Kives thee bis kiss. 

When hopeless cravings my heart discouraged. And Uketh thy godhood away! 

He iroprinta a long kiss on her eyesi she «nks back in his arms with closed eyes, hei 


powen gently depurtinK. He 
[enderly helps her to lie upon a 

low mossy lounge, closes her 
helmet and completely covers 
het with the great steel shield 
of the Valkiri'- He slowly 
moves away, then directs the 


.8 the 


LokU Appear! 


stream of lire 




IVolan, leaping wildly. 

Magic Fire Spell (Feuerzauber) (TrMucription by Brusi 

By Alfred Gtunfeld, Pianist 58006 

The leave-taking and the breaking out of 
musically pictured in one of those marvelous 
which only Wagner could produce, and this hea 
tion is artistically played here by Herr GrUnfeld. 
gins with the passage just preceding Wotan '> su 


. »i.oo 

the fta 

nes are 

utiful tr 



with all its varied changes and tnodulatioi 
to the close of the opera. 

IValan directs, with his spear, the fiery Bood to encircle the 

t look on Brilnnhildc and disappears through the fire. 
(TAe curtain /Jfa.) 

rCavalcau (Ride of the Valkyrie; 

Lohengrin— Pnlude, Act III 

^'^ttS'<s^si<''<"' ■»--'■• •»■" 




(Cool-utl'-iiH TtID 



Words by Etienne Jouy, Hippolyte Bis and Armand Marast, taken from 
drama of the same name. Music by Gioachino Rossini. First presented at the . 
Paris. August 3, 1829. First London production, in EnglUh. at EJniry Lone. I63( 
llatian at Her Majesty's, 1839. 



Arnold, auiior of Matilda, >SwiM Patriots j Tenor 

MELCTHAL, Arnold's father Bau 

GESSLER, Governar of Sckwitz and Uri Bau 

Rudolph, Captain of Coaler's bodyguard . Tenor 

RUODI. a (laherman Tenor 

LEUTHOLD, a ehepherd .Bara 

Matilda, daughter of Ge«eler Soprano 

HEDWIGA, Telia wife Soprano 

Jemmy, Tell's son Soprano 

.>«.t.ia......cH<..> Oioruii of PeaMnta of the Three Cantona; 

PBOOBAU OF wiiLiAii lELi. Knights, PagcB and Ladiea of the train 

PBEMiERE, PAHS oriR«. 1829 of Matilda; Hunters. Soldiers and 

Guards of Gessler. 

Scent and Period : SuHlxerland ; thtritenlh eadary. 


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 Maraat Gealcr is endowed with a beautiful and amiable 
daughter, Matilda, who has been saved from a watery grave by Arnold, son of Melclhal, the 
patriarch of the country, and a determined opponent of the tyrannies of Geaaler, As a 
matter of course, mutual attachment ensues, and leads to the troubles which might have been 
expected from so ill-sorted o connection. 

At the opening of the opera we learn that an agent of Ceujcr'j has attempted an out' 
rage on the daughter of a herdsman, and been slain by her father, Leulhold. 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 Gealer. 

As time progresses, the people become more and more disaffected : and ihe father 
of Arnold, suspected of inciting them to acts of insubordinaboo, is seized by Caller and 
executed. The son's feelings are thus subjected to a 
severe conflict between his love for Matilda, Gealei'i 
daughter, his duty to his country, and his desire to avenge 
his father's death. He, however, renounces his love, 
patriots now marshaled under 
; brought to a climax by Cosier 
vated on a pole, and requiring 
t. Tell firmly refuses to do so, 
d to the ordeal oF the apple, being 
required, under pain ot 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 Telt'i cloak, asks him for what purpose it was in- 
tended. To which he boldly repliea, "To have shot you 
to the hcsrt if I had killed my son 1" The enraged governor 
orders him to be hanged; but the Swiss, animated by 
such fortitude and patriotism, flew (o arms, attacked and 

vanquished Gealer, who was shot by Tell. Matilda and | 

Arnold were united, and the independence of the country uuni.iiMii 

was assured. TBI TnuNi geuuk 



This great overture, which Berlioz has called a symphony in four parts, ii a fitting 
prelude to >uch 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 Shrm 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 OD the splendid finale, a fitting ctimsx to a great work. 

Part I— At Dawn 

By Pryor's Bind 3121S 12-inch. *1.00 

Part II— The Storm 

By Pryor*s Bind 31219 12~iiich. 1.00 

Part III— The Calm 

By Pryor's Band 

Part IV— Finale 
By Pryor's Band 


12- inch. 





, .eric, i, .1. 


ubU-Fs«d (arm.— S« p,^ 37! 




-A Village In 



. peacefu: 

1 K^ene, shov 


village w 

ith the house oF 

Accours dans ma nacelle (Come, Love, in My Boat) 

M. Re0i*. Tenor (In French) *45026 10-inch. 

See h, 


ky above 






-, sppease 



A ham sounds ai 
nal for the beginning i 
nual Shepherds' Fe 
which three marriagi 

be celebrated by 

the patriarch of the village. Arnold, Mtlclhal's son, is saddened at the signal, th 
bis own love. Matilda, who is the daughter of the tyrant Gesaler, 

Tell confides to Arnold some of his plans for overthrowing the power of G< 
Eisks Arnold to assist. 
•DouhlcFactJ R^rJ—Fur ttlk afappoim MlJe « DOUBLE-FACED WILLIAM TELL RECORDl 


Che finger tanto invano (Vain is the Attempt !) 

By Antonio Paoli, Tenor, and Francesco Cigada« Baritone 

(In Italian) 92048 12-inch, $3.00 

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 Arnold): 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 vrith 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 LeutholJ, a shepherd, who rushes in crying, " Save me from the tyrauit.** 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. BafHed of their revenge, they bum the village, devastate the 
fields, and strike down the aged Melcthal. 


SCENE — A Jeep valley in the Alfa, On the left the Lake 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 euid 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 demeuids the sacrifice. 

They then break to Arnold the news that Gessler has put his father to death, and feeU 
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) 92051 12.inch, $3.00 

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 I No, — I can only cry, 'Wonderful, superb, heart-rending!"* 

The men of the cantons now assemble, euid 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, $2.00 

The curtain falls to a magnificent outburst of patriotism, "To arms! To arms! ** 




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, ivhile various 
amusements are given for their entertainment. It is here that the superb ballet, one of the 
most beautiful ever composed, is introduced. This heis been recorded in three parts, by 
Pryor*s Beuid. 

rwaUam TeU BaUet Mu.ic-Part I By Pryor;. BaadWjQ^^ 12-mch. »1 J5 

By Pryor a Band/ 


XWiUiam Tell BaUct Music— Part II 
WilliamTcUBalletMusic— Part III By Pryor's Band *16578 10-inch, 

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 steuidard. He orders them seized and brought before 
him, and when he is told that Tell is the man who aided Leuthold to escape, his rage is 
intensified. He asks if the boy is TelVs 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 Jerrtmy urges his father to obey, saying, " Father, 
remember your skill I Fear not, 1 will not move I ** 

TeU 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 I had harmed my child I " 

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. 


SCENE— TAc 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. Oh, Blessed Abode. 

O tnuto asil (Oh, Blessed Abode) 

By Francesco Tamagno, Tenor (In Italian) 95009 10-inch, $5.00 

By M. Gautier, Tenor (/n FrencA) *4500 7 10-inch, 1.00 

By Leon Beyle, Tenor (In French) *4502(> 10-inch, 1.00 

This number is one of the most effective of those allotted to Arnold, It begins with the 
beautiful passage 


r-'i'i 1^ 

O ma .• toa-sil del pian to do - ve io sor • ti • va it df. 

Ok/ blet^d a ' bcidt, wUh • inwhose waits mine eyes firtt saw the light. 

This aria is reposeful and offers a fine contrast to the tumult of the last scene. 


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, f orevermore, 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. 

~ *D^bk.FaceJ Record— For title ofoppo$ite ride $en DOUBLEFACED WILLIAM TELL RECORDS, page 375. 




to demand of Geattr her huab 
She heara her ion's voice and is overjoyed 
to Kc him brought to her hy Matilda. She 
clasps him in her arms, and anxiously in- 
quires for her husband. Matilda aays that 
Tell haa been removed from Aitdorf Prison, 
and taken acrou the lake. She has no 
sooner spoken than TeU appears, having 
escaped from the boat and sent an arrow 
through the tyrant's heart. Arnold and the 
patriots appear, rejoicing that Gcala has 
been slain and that the Swiss are free once 

The storm breaks; am) aa if to an- 
nounce liberty to Switzerland the aun 
bursts forth. reveaUng the glittering, snowy 

Eeaks of the Alps in all their dazzling 
eauty. An invocation to Freedom comes 
from every throat : 

Let us invQlte. with hearts devout. 

Thou gav'st us paw'r I 
Do thou ne'er depan! 

I^KS'tSSS'""" ■»--'■•«'■» 

,^39121 12-incli. 1.25 


/Overture, Part I — At Dawn 
lOvcrture, Part II— The Storm 
/Overture, Part III — The Calm 
lOverturc Part IV — Finale 
(Overture, Part I— At Dawa 
\Overtiire, Part II— The Storm 
/Overture. Part III— The Calm 
\Overture, Part IV— Finale 

Sallct Music, Part I 
allet Music. Part II 
(Ballet Music. Part III 
\ Profcta — Rt dd delo By Luigi Colazxa, Ttnor 

iA«ile hereditaire (Oh \ Blciied Abode) 
By M. Gauticr. Tenor 
La Hugucnols—Plui blanche (Meyerbeer) 
By M. Gaalicr. Tenor (In Fnnch) J 

IAccours dans ma nacelle — Barcarola (Come. Love, In My ] 
Boat) By M. RegU, Teaor ('" ^'*™^Hi *«->». in_i„^t. 

Asile hereditaire (Ob I Blessed Abode) ■**'*2*' »0-mch. 

By Leon Beyle. Tenor (/n French) J 

By Pryor's Band), 
By Pryor's BandJ^ 

(/ft French) 

AiOOZ lO-incb. 1.00