Skip to main content

Full text of "The Victrola book of the opera; stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records"


This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project 

to make the world's books discoverable online. 

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject 

to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books 

are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. 

Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the 

publisher to a library and finally to you. 

Usage guidelines 

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the 
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing tliis resource, we liave taken steps to 
prevent abuse by commercial parties, including placing technical restrictions on automated querying. 
We also ask that you: 

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for 
personal, non-commercial purposes. 

+ Refrain fivm automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine 
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the 
use of public domain materials for these purposes and may be able to help. 

+ Maintain attributionTht GoogXt "watermark" you see on each file is essential for in forming people about this project and helping them find 
additional materials through Google Book Search. Please do not remove it. 

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just 
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other 
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of 
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner 
anywhere in the world. Copyright infringement liabili^ can be quite severe. 

About Google Book Search 

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers 
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web 

at |http: //books .google .com/I 


Cunden. New )«iey. U. 5. A. 


idG. Schimicr for kind , 

rpyriohled ^bJidtinm. Bodi ihrw 

iill Hml npmbc nikliuBDni - S 

jn% team shd i^JtcDalii ol owta tin «n1itlrd "L 

ology"! uid DiucD wilh ihe Muoeiaiu' LiltfarT, mi 

WK trpovrktJiT- 


Africana, Africaine 11 

Aida 17 

Alessandro Stradella . .471 

Amleto 197 

Andrea Chenier 30 

Ballo in Maschera 304 

Barbiere di Siviglia 32 

Bartered Bride 39 

Bohame 41 

Bohemian Girl 48 

Boris Godouno'w 51 

Carmen 53 

Cavalleria Rusticana .... 70 
Chimes of Normandy ... 76 

Cid, Lc 77 

Contes d*Hoffman 472 

Cristoforo Colombo .... 79 

Damnation of Faust .... 00 

Daughter of the Regiment . . 84 

Dinorah 86 

Don Carlos 88 

Don Giovanni, Don Juan . . 90 

Donne Curiose 96 

Don Pasquale 98 

Dusk of the Gods ... .185 

Elisir d*Amore (Elixir) . . .103 

Erminie 107 

Ernani 109 

Eugene On^gin 119 

Falstaff 121 

Faust 123 

Favorita, La 148 

Fidelio 153 

Flauto Magico 271 

Fledermaus 155 

Flying Dutchman 157 

Force of Destiny 164 

Forza del Destino, La . . . .164 

Fra Diavolo 168 

Freischutz. Der 1 70 

Germania 174 

Gioconda, La 177 

Gotterdammerung 185 

Goyescas 192 

Griselidis 194 

Guarany, II 196 

Guglielmo Tell 544 

Guillaume Tell 544 

Hamlet 197 

Hansel and Gretel 201 

Hernani 109 

H^rodiade. Herodias .... 204 
Huguenots, Les 208 

Iris 216 

Jeiveb of the Madonna . 218 
Juggler of Notre Dame . . . 220 

King of Lahore, The 436 

King of Ys 437 

Konigskinder 222 

L* Africana, L* Africaine ... II 

Lakm^ .227 

Lily of KilUrney . . . 231 
Linda di Chamounix . . . 232 

Lobetanz 233 

Lohengrin 235 

Lombardi, I 247 

Louise 249 

Lucia di Lammermoor . . . .250 
Lucrezia Borgia 260 

Macbeth 263 

Madama Butterfly 264 

Madeleine 270 

Magic Flute, The 271 

Manon (Massenet) . . . .276 
Manon Lescaut (Puccini) . 285 

Undex continueJ on page 5) 



JndqX^ continued 

Maritana .... 

Marriage of FiJ»ro . . 

Martha. Marta 

Masked Ball 

Mefistafele (Mephisiophelea 


ineer. Die 


Noiie di Figaro 
Oberon . - . 

Orfeo ed Euridici: 
Orpheui and Eurydic 
Otello . . . 

arl Fishers . 
Pearl of Brazil . 
Pccheurs de Pertes. 
Pescalori di Perle . 
Pinafore . . 
Pique Dame 
Pirates of Pen line e 



ince Igor . 
Profeta. Prophet 
Prophet. The 


IS. The 

. 334 

. 338 

. 36» 

. 390 

eenof Sheba (Goldmark) 
een of Sheba iGounod) 
llina di Saba . 

Rb Paslore. II 

Rheingold, Das 



. 431 

Robert 1e Diable 
Robert the Devil 
Robin Hood 
Roi de Lah6re. Le 

Roi d' Yj .... 

Romeo and Juliet ...... 440 

Samion and Delilah 450 

Segreto di Susanag 

Semiramide . 456 

Shepherd King, The 408 

Sicilian Vespers 


Snegourotchka .... 466 

Snow Maiden, The 466 

Sonnambula, La . . 


Tales of Hoffman 

Tannhauser . 


TravUta. La . . 

Tristan und Isolde . . . 508 

Trompeier Vi^b Sakkingen . 528 

Troubadour, The 516 

Trovatore. II , 51b 

Trumpeter of Sackingen, The 528 
Ugonotti. Gli 208 

Valkyrie. La 530 

Vaseello Fantasma. 11 157 

Verkaufie Braut, Die 39 

Vespri Sicilianj. 1 . . , 529 

Walkiire. Die 530 

Werther 542 

William Tell 344 

Zauberflote. Die 271 

Zaia 552 





{Da Ah-/fetJnl<'-miJ«) 



Text by Scribe: music by Meyerbeer. First produced at 
the OpOo. Parit, April 2S. [065. Firat London performance in 
Italian, under tbe French title, at Covent Garden, July 22, 1665 : 
and in English at the Royal Enelith Opera, Covent Garden. 
October 21. 1863. Fird American production December I. 1865. 
with a cast including Saie. Batteo. Naudin and Faur?. and many 
revivals have taken place lince that time. Minnie Hauk. Mme. 
Moran-Oldin. Mme. Bettaque. Mme. Breval. Lillian Nordica and 
Mme. Litvinne are »me of the famou. prima donnc who have 
appeared bs SdlkO' Votco dl Gama has been sung by Campanini. 
Giannini. Perotli. Crienauer. Dippel. de Reazke and Tamagno; and 
Nduiko by Faure. Scotti. Stracciari and Campanari- Produced at the 
New Orleans Opera December 18. 1869. Some of the important 
New York revival, were in 1901 with Breval, dr R.-szk*. Adams. 
Plan^on and Journef. 1906^ with Caruso (his firMl apptraranc.- in 
the rfllr), Frrmitad. Plan^on and Journcrt. 

Strangely enough. Scribe Rave Meyerb.-er the libretto in 1836. 
and part oi the music was written then, but the two could not 
agree as to alteralionB, and it was not until '832 that Scribe fur- 
niahed a revised book. The work was not completed until I860, 
nor produced until 1665, two yean after Meyerbeer's death. 


Characteri in the Opera 

SEUKA, {Sai-lKi^^ah) ■ alave. formerly an Afncau pnnccM Soprano 

Inez, (&'-n«) daughter of Don Diego Soprano 

ANNA, her attendant Contralto 

NELUSKO, {NapJoo,' Jp*) a alave. faimerly an African chief B(uw> 

Don Pedro, (Dm /■aj.'J™*! Preiident of the Royal Council. . Bataa 

Grande Inquisitore Bamo 

Don DJECO. (Dm Da-at'-iel>) Member of the Council Bauo 

High Priest of Brahma (Breh'-nuM Baaro 

Don ALVAR, Member of the Council Tenor 

VASCO DI GAMA. (y^hi'-lrah Ja Gah'-mh) an officer in the PottugueM Navy, Tenor 
Chorus of Counsellors, Inquisitors, Sailors, Indians and Attendant Ladiea. 

Th aclhn occur, in Portugal, on Don PcJro'i ihip at ko. anJ in India. 
ACT I-Cooncrf Chamber of Iht King e/ Portugal 
The tirat scene occurs at Portugal, in the King's Council Chamber, whithei Kokd d 
Coma has come to announce hii discovery of a strange land, producing two of the native 
slaves, Sttikii and Nehih. «■ proof. In this scene is given the noble and stately chorus 

Die che la terra venera (Thou Whom the Universe Adores) 

By U ScaU Chorus (In Italian) *62614 lO-ioch, *O.T9 

Don PtJrD, President of the Council, who wishes to marry Kaaeo'i sweetheart Ina, 

influences that body to discredit the explorer's tale and throw him into prison with his 

ACT ll~Pri)on o/ iht Inqaitllion 
As the curtain rises Voko is seen asleep on a bench, while S^ik" y 
gazes at the sleeping youth and sings a ' ' ' 

• DoMcJ'aaJ Hamd—S^ MH IS. 


He wakes and expresaes hi* erief over his inability lo lind (he route to the unknown 
ccninliy. The slave, who is secret^ in love with her nuster. reveals to him the location of 
the coveted land. Voko, overcome with gratitude, embraces her, and the duet follows. 

Seil'antfiol diletto (Oh, Guardian Anfelt) 

By Tio» Farelli and Gino Marti ncz-Pstti f/n Italian) *62407 lO-tneh. »0-73 
Intz has been toid that VaKO is false to hei and consents to wed Dan Ptdro, provided 
Vatco ia released. She comes lo the prison lo bring ihe pardon and is convinced of his guilt 
when she surprises Selllta in his arms. Vatco finally makes her believe in his innocence but she 
fears to break her word lo Don PeJro, Knicais released, but too late to prevent his enemy from 
sailing in search of the unknown land, carrying with him VaKo't private papers and maps as 
weU a. the two slaves. Sdlka and NztuJ(c. The latter, who loves Sdika. fia. discovered her 
attachment for Va3co, and through jealousy offers to guide Don Pedro to his country. The 
young officer secures a ship and goes in pursuit. 

ACT lU—Dtck o/DonPtdro-i Ship 

Preludio (Prelude to Act III) 

ByUScaUOrchestrs "feabU 10-ioch. »0.r5 

Act III shows the decks of Don Ptdro'i vessel. Nttaiko, who is secretly plotting to destroy 
the ship, comes on deck and warns the sailors to keep to the north, pretending that danger 
bes on the course they are pursuing. 

AlPerta. Mariner I (What Ho! Mariners 1 1 

By Tina Ruffo. Baritone lln Ilallam _ .^'^23 lO-inch. *2.00 

The sailors ask hun to relate the old legend of Adamastor. king of the seas. 

Adamastor, re dell* onde profonde (Ruler of Ocean) 

By Pasqusle Amato, Baritone, and Chorus (in llallan) 68490 12-inch. >3.00 
By Francesco Cigsds. Baritone (/n Italian) '62407 lO-inch. .73 


f ibc pathlEH il«p. 

To CDund of fieri 

Then bcwirc, theo bvmre: 

See. the liitatnliiE'i fliA nve^s la 

How Ihc dark ware ' ' 

All hope now <■ loi 



■lonn ia ihtealened. and amid the prepnration* 

which provei lo be <// Cama'a. He raihly comes on board, is promptly •etznl b 
and Is about to be executed, when Selllf draws her dagger and threatena 
nlcM her lover is released. The tyrant reluctantly yield*, but aflenvard orden 
flogged. The srorm breaks, and in ita midst the ship is boarded by Indian^ i 
:n of Nelualfo, and the entire ship's company are either killed or i ' 

ACT IV— Tem^e «/ Brahma 

Marcia Indiana (Indian March > 

By La Sella Orchestra 
The pHe««, who have crowned Selilc their Qi 

•66027 13-iach,ft3 
ounce the immediate ex 

^pt Coico; and he too 11 

to die on the morrow. The priests and people i 
perse and VaKO enters, guarded by soldicra. ' ' 

entranced with the beauty of this wonderful li , 

which he had dreamed, and voices his admirctiailfl 



"O Paradiso 

OParadiso! (Oh Paradise!) 

By Enrico Caruso, Tenor 

(Inllallanj 88054 12-inch, *9j 
By Hippolito Lazaro. Tenor 

iln Italian) 74495 12-inch. l,SO 
By Giovanni Martin ell i. Tenor 

I/n Italian) 74440 12'inch. 1.50 
By Florcacio Constantino 

(hhallan) 74089 12-inch. 1.M 
By Evan Williams 

iln English) 74146 12-inch. 1.50 

Hsilt frullful land of plenly. beauteous )[ar- 

When the soldieia arrive to kill yatca he is saved by Sdllta, who announcea tW ke 
her chosen huaband. JVefujj^ ia forced to remain silent by ihreata that Stllka will deatwy 
rsetf. I^aaca, forgetting Intx, yield* to the tpell and weds the Queen by the native rilM- 

ACT V— SCENE l—Tht Queen j Ca.den, 
At the beginning of the laat act, litei, who had escaped from the prison, 
brou^ before the Queen, who becomes convinced that Kasco still loves 
maiden. In a moment of generoeity she Mcrificea her own feeling* and ai 

• DmM^fm*! R4BM4-Sm Ptm IS. 

captured alMl 
e Pottiuttiaae 
ta tite Mven 


The final acene shows a promontoiy (toth wKich Seliko <■ wstebins 'he ship bearing 
litei and Vaico towBTd Portugal. Aa the veaael diaappeara from view she advance* 
towaid the deadly roancanilla tree, the fume* of which ace death. 

ook upo. 

mighty » 

Its wavca in sngry fury break, and then Inon my «ots, 

their qourse renew, Yt^'. Iby shade e1tint\ h 

Aa dolh my sorrowing heart! the tombt 

Gii Vodio m'abbandoiia (All Thought of Hate)] 

By Maru Baldiai. Soprano {In Italian) 1 

Su bianca nuvoletta (On Yon White Cloud) | 

By Maria Baldini. Soprano (In llallan) ] 

Gathering the Fatal Bowers, she inhales their perfume, sadly saying ; "Fi 
I forgive thee. ' and is soon overcome and sinks unconscioug beneath the tr 
has come in search of her. iinds her dying ; and in a frenzy oF grief, also : 
blossoms and falls l.feleu by her side. 


{Marcia Indiana I Indian March) 
Traolala — PrtlaJio 
[AdamastoT. re deir ondc profondc (Adamastor. Ruler of the 1 
I Ocean) By Francesco Cigada, Baritone {In Italian) 

ISei I'angiol diletto (Oh. Guardian An^el I ) By Tina 
I Farelli. Soprano: G. Martinez-Patti. Tenor (In Italian)] 

Dio che la terra venera (Thou Whom the Universe 

Adores H By La Scab Chorus (In Ilallan)]fi2bl4 

[Preludio— Alto III By La Scala Orchestral 

•62407 lO-inch. .75 



Text ttanalated from ihe French of Locle by Antonio Ghialanzoni. Muiic by Giuxppe 
Verdi. First produced in Cairo, December 24. 1871 ; at La Scala, Milan, under the direc- 
tion of the cnmpoaer himaelf, Febiuary S. 1872; at Naplei In March, 1872 ; at Parma. April. 
1872: Berlin. 1674; in Parts, at the r/xofre /(oAen, April 22, 1876: revived at the same theatre 
in 1678: and given at the Op«ra. March 22. 1880. where it ha* smce been one of the most 
popular of all operas. First London production at Covent Garden, June 22, 1676: produced 
at St. Petersburg, in Russian. 1879. First performance in America at the Academy of 
Music, New York November 26, 1873, the cast including Torriani, Gary, Campanini and 
Maurel. Produced in Philadelphia. December 12. 1673: and at the New Orleans Opera. ' 
December 6, 1878. The opera has always been a favorite one in America, and holds the 
Metropolitan Opera record for the largeat number of performaiKea. In 1904 Caruso made 
his first appearance at the Metropolitan as RtiaJamtt. A highly impressive open air pro- 
duction was given in 1912 at the foot of the pyramids of Egypt. 

Chiricters of the Drama 
AlDA an Ethiopian slave Soprano 

The King of Egypt Bass 

AMNERIS, (Am-tu^-riu) his daughter Mezzo-Soprano 

RHADAMES. (fioA<f .aA-imm) Captain of the Guard Tenor 

AMONASRO. (AiinkjiahZ-nh) King of Ethiopia Baritone 

RAMFIS, iRafm!.fi^) High Priest Bass 


Priests, Priestesses, Minister*, Captains. Soldiers. Officials, Ethiopian 
Slaves and Prisoners, Elgyptians, etc. 

The Mcene It laid In Mcmphli and Thtiet, In Pharaoh's llmt. 

This opera was written by request of the Viceroy 
of E^pt, who wished to celebrate the opening of his 
new Opera House at Cairo by the production of a work 
upon an Egyptian subject from the pen of the most 
popular composer of the time. It is one of the longest 
ai all operas, lasting four hours and forty minutes 
wherf given without cuts. No work of Verdi's has 
proved more popular than AidB,with the possible excep- 
tion of Trovatore, and it is beloved by opera-goers the 
world over. The story originated with Marietta Bey, the 
famous Egyptologist, and seems to have inspired Verdi 

Alda, daughter of ^ir»n<uro. King of Ethiopia, has 
been captured by the Egyptians and is a slave at the 
Court of Memphis, where she and the young soldier 
Rhadame, have fallen in love with each other. 
Rhadama goes to the Egyptian war. and during his 
absence the King's daughter, Amntrli, discovers hi« 
attachment and is furious, as she herself loves 

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

In the next scene .4inana)ra forces his daughter to 

Eersuade Rbadamei to become a traitor. The laller's 
>ve for Alda and his distaste for the approaching 
union with AmntHi lead him to consent. Airmeili, 


^., m the Holocc. Through Iht gmnd gale ol Iht 
J«n Ihc Pyramid, a„d iht TtmpU, «f M^mphi, 

ris», a hall in the palace oF the King 
lere Rhadama and the Hish Prie^ Ran^fu, ue 
^mina invaiion of Ethiopia; and Raiiffit hinia 
E anil brave wairior nugr be cho»en to comnwDd 

Rhadantet. left alone, hopea that he himaelf 
oveted honor, and proniiae* to lay hi* triumpha 

^n iMdtr— mine Ih.. slarici.s vidWry— 
hii r«Mvrd in triumph! 

L-iurnril. Aida. my brow entwined wrih laurel - 
for Ihre I battled, for Ibee I conquered: 

a (Heavenly Aidal 

By Enrico CaruK). Tenor 

l/n llallanl 88137 
k By Giovanni Martiaelli. Tenor 

\ (/n lltdian) 74424 

^ By Leo Sleiak. Tenor 

^ l/n Gtrman) 64113 

By Paul AltbouM. Tenor 

</n llallan) *9504S 
He voices theae hope* in the aplendid gen 
CWeifc Alda, beginning 

1 which he chanta the praiaee of the peetle 
eldom heard to advantage at the opera, eapeci 
1 it occura almoat immediat^l" -'■-- •'- 



King; daugh 

enler.. and »eing the 

ngwartior's glowi 

ng enthusias 
him, wying 

m. delicately hint, of 



el affection fo 


0.1 fire in Ih 


Willi what n 

hie pride rIoh's thy face! 



rbcloVTci asiKcl 

ShmlJ awak 

Ughl of ioyi 

Rhadcma begin. 

to explain 

his hope of aecurina 
hen Aida enters, and 


mand o[ the 

expedition, v 

■ he 


gBoldier-. e> 

pressive glance reveaU lo Amnetii 



for the Eeyp 

ian .lave. 





orta that Egyp 

has been in 

vaded by the Ethiopian 

army, u 

nder the com 

natm. ("My fathert" 

WmtAida B«(le.) 

Amid grea 

<:>citemenl Rhaduma 


nted leader o 

the army, a 

nd is presented with a 


by Amneiii. 


King urge. 

the Egyptia 
Nile, and ih 

forces to guard with 



es the Mcred 

people retpond with 

All depart to prepare for the expedition, while Alda, 
left alone, gives way to her grief and linga the beautiful 
Rilotna vlncHor, expreaajng her conflicting emotions. 

Ritorna vincitor (Return Victorious !) 

By Johanna Gad*ki. Soprano (/n Jialtan 


SCENE \\-The Temple of Vulcan^in the 

lUumlnaltd by a myslcrioui Ughl fron 

Rairifij, the High Priest, and the priest 


fate of P.gypt. Let the 

t gods, in thy hand becomi 
terror— a tfaunderboll- death 

Nume, custode e vindice (God, Guardian and Avenger) 

By Anionia Paoli. Tenor: Pcrcllo de Scfurola, Ba**i and 

Chorus (/n llalianj 88268 12-inch. *3.00 

Rait^t then sings the closing invocation, in which RhaJames joins. He is invested with 
the sacred armor, and as the priesteuea pei^orm the mystic dance the curtain slowly falls. 

IlFaru;. oh. guardiin dcily, Lord uVt uch morta! dtrsliny, 

Our sacTfd land uruttcting. Wat's dreadful cuurvc diml.nii:. 

Thy inighly hand tulcoding, .\iil imiu Rgypl tending, 


SCENEl-.,4 hail in Amnem' apartmtnU 
The curtain rises, showing the Princess and her slaves, who 
are adorning her for the triumphal festival in honor of RhaJamea, 
just arrived with his victorious atmy. Amnem and the slaves 
■ing the ode to the returned hero. 

Chi mai fra (His Glory Now Praise) 

By Maria Cappiella, Mezzo-Soprano, 

■nd Chorus {In llailan) *95005 12-inch, II.SO 

.Slave Giils: 

Our songs his glory praising. 

Ileavenwaid wafl a narn<^ 

Whose drrds Ihc sun outblating 

Eclipse his dazzling flame. 

Come, bind they flowing tresses round 

With Uurel and with (Towets, 

Now wreaths of triumpb glorious 
The victor's brow shall crown, 
And love o'er him viclotious 
Shall smooth his warlike frown. 
Seeing AlJa spproaching, the Princess dismisses her si 
and uepares to enjoy her revenge. ki.mfii as n\i\Fni.E 

This scene is expressed in a duet, given here in two parts. 

Fu la sorte deir armi ('Neath the Chances of Battle) 

24 I2-inch. »4.00 

Alia pompa, che s'appreste (In the Pageant Now Preparing) 

By Johaaoa Gadski, Soprano, and Louise Homer, 

Contralto {In llaUan) 89023 12-inch, *4.00 

Amntrlt pretends to sympathize with the afflicted girl, saying: 

eadly t. 

This deaih-!iki' pallor, (his 

Time wfil heal itie anguish of thy heart. 


And more than time-a powerful god-love. 

What say' 

St thou? 

Oh; love immartair oh! Joy and sorrow. 

Tremble l_ 

I read ihy r 

Aslnlhy trials"";- "fe l™o'tow" ""■"■ 

A hoav'n of rapture thy smiles disclose. 

1 am thy 

rival, daughte 

• OwU-fwi H«.Bf-.W p^ 29, 


Trrmble. vile mimon! be ye heirlhrol. 
Warrant of dcalh tbis love shall bctob 

Wilh me?'^ sfave. thou' shalPaiBiM; 


SCENE, n-Wilhoul Iht City Wall, 

of ikc city of Thebea. 

The King and hi* court ore aMetnbled on a magnificenl 
throne to receive the conquering army. A splendid chorui 
is Bung by people and prieati. The Egypiian troops, 
preceded by trumpeters, enter, followed by charioti of war, 
ensignfc statuea of the Rodi, dancing giils carrying treai' 
ures, and finally Rhadarna, under a canopy bome by twelve 
■lavea; the procenion heeded by bondi of musicians play- 
ing the famous Triumphal March. 

Grand March (Triumphal March) 
By VeHclld'a iMlian Band 

The prisoner! enter, inclu< 
as an ofBcer. Alda seea him 
father! " AH are surprised, and Ai 
ta betray his rank. Amonasro then si 


e du« exlen 
^filled by ma 

Yru'«t.,p^' 'V'T. 

Kiig tc^tl. 

llfn'crciful to I'h. 
Tg-day we are st. 

thou power 
cVen by Fate 



e people and prisoners sppeal to the King (or meicy, while the priests demand that 
tives be put to death. Rhadamta, •eelng the hesitation of Alt King, reminds him of 
V. and demands life and liberty for the captured Ethiopians. The King yields, 
ing only that Alda and her father he held as hostages, and then announces that 
Rhadama shall have the hand oi Amnerii as his reward. 

The magnilicenl finale then follows, Aida and Rhadamta gaz. 
„ at each other in despair, Amntria glorying in her triumph, and 
I Amonam swearing secret vengeance against his captors. The 
ain falls amid general rejoicing by the people. 



SCENE \-A m« 


nighl an ihc 


0/ Ihc Nitc- 






^n. halfc. 

nctahd ij, palm lit 


As the curt 
the Temple is he 

in rises on this 
ard in a chant of 


ul scene, a 




O tu che sei d'Osiride (Oh, Thou Who 
Art Osiris) 

By Maria Cappiello, Soprano, and Chorus iDouHi. 
fiictd—Kt pott 29) {/n/lalianj 95009 12-inch. ) 
A boat approaches, bearing Ran^i and Amneria, whi 
' > the Temple. 

who an of Osiris, 

On the cvf of ih 




The favor of the 

In the 



of ewrnal love. 

Ve^, I will pray 

may give me 


to tbe Temple of Isii. 

Is coniecrated fare< 


AiJa, veiled, cautiouily cnleri. hoping that Rhadamta will come ihithet. n 
a render and despairing aong of (hat lovely land which ahe may never lee agliin-.-^ 

Illahanl (Gcrnun) <£n(Aj«) 

O patfia mia — Mein Vaterland— My Native Land 

By Johanna GiiUki. Soprano 

[In halianj 88042 12-inch, *3.0 
By Emmy Destinn. Soprano 

l/n Itahan) 88469 12-in 
By Emmy Destinn. Soprano 
{In Ctiman) 92098 " " ' 
By Lucy Isabelle Marsh 

(Inllalian) 60098 10-inch. 

U home bcLov 

ich. 3.00 

_,rant val«. O quid dvi-elUnj 

Prunii>t df hanri>* days of love that bote. 
Now hi>pe i* banish'u. Iovt 

. I n 

hall s 

Alda )■ about to depart when the i 
aaloniihed to tee her father. AmoiHuro re 
proaches his daughter with her lovtc for his 
enemy Rhadamta, telling her with ugnilicBnl 
emphasia (hat she may behold her native land 
again if she wishes. He tells her that his 
people have risen again, and propoaea thai ahe j 
of his army in the new campaign. She at first i 
try, and pictures the sufferings of her people. 

Ciel 1 Mio Padre [ (Heaven ! My Father !) 

By Johanna Gadaiti, Soprano, and Pasquale Amato. Baritone 

{Inllalian) 8906r 12-inch. M.OO 

AlDA- llravcn: My ialhcr: Auonaeio: 

AilusAS«u;_ _ _ _ Thou rcmcmbcrsst lliat Iho nierriless Egyptian 

e aflaii 



Thy^-V/'wilirK^veTJr ftliatianie"; "lie fo'veaVh« .Sipa" 
And here Ihou wailesi hiin. Ak: w,l 

old n 


Aida {-a-iih irom 
I .hall see ngi 

Su. dunque ! (Up, Then !) 

By Johanna Cadski and Pasquale Am: 
With growing excitement he describes the 

[O {Italian) 89068 

consequences oF her refusal. 


Fuggiam gli ardori {Ah ! Fly With Me) 

By Lucy Marsh, Soprano, and Paul Althouse. 

By Lucy Marsh, Soprar. 
Tenor yDtutk-faixJ—xt page 2f) 
(In Italian) 9S05e 

lu-il, ih>- i>'rir1il will V 


He luially conxnlt. and reveal* li 
Amenaaie. who has overheard, now enter*, and Rfiadam 
he has betrayed the army to the King of Ethiopia. 
Mmonaaro saying : 

though I 

Thcrf the voivj oi thy heart 

Amncri), coining from the 
temple, pausci behind a pillar 
and overhear* the final words. 
Mad with iealou*y, she rushes 
in and denounces the guilty trio. 
Alda and Amonam escape but 
Rhadamct is taken in custody as 

SCENE 1 —A worn In Iht Palaa 
— on ent alJc a door leading lo 
Rhadamet' priKin ceil 
The curtain rises, disclosing 
Atnneiii in an attitude of despair- 
She is torn between her love 
the prisoner brought before her. 

Tht. higl 

lie I 

It, high sfcifi 

The" pu'nlXmtni of a traitor. 1""^^''^ her— traitors all! Let m^'lry:" 
Rfiadamtt enters, and the first great duet of the act occurs. . 

Gii i sacerdoti adunansi (The Priests Assemble) 

By Louise Homer and Enrico Caruso ilnllallan) 890SO 

Aida a me tof liesti (Aida Thou Hast 

By Louise Homer and Enrico Caruso 

(in Italian) B»0S1 12-iDch, *4.00 
.4mrKrf9 offers to save his life if he will renounce 
Alda. He scorns her proposal, resolving to die rather 
than be false to his Ethiopian Princess. 

Who saves thee, O wreith 
rroni ihc Catc Ibat aws 

The guards now ^pear and conduct Rhadami 
the judgment room. The ensuing scene is. a hi| 
dramatic and impressive one. 


Ohim'l Morir mi sento (Ah. me ! Death Approaches E) 

By Uvia de Ca*aa. Contralto, and Chorui On Italian) 88270 12-inch, >3X>0 
Amnerit, seeing RhaJames taken out by the Prieata. lepenta her harahneas ond ainka 
down deaolale on a aeat. 

WbSl'in I? Behold of deal 
The minislers fatal, bis mere 

Defend tbjttM: 


Rbadames. Rhadamrs: and 

thou batt played 
The pan of a liailor to King, 


Defend Ibrselfl 

,\h. lel me nni behold tbon; while 


(^stVrT'hlT fact with Iter hands. Thi 
of Ramfit can bt ktard uilkin.) 

Of Ihy country Ihe secrets to aid the h 


Defend Ihyselfl 

From Ihe eanip the ¥etj day bcfor 




Sacerdoti, compiate un delitto 1 (Priests, a Crime You Have 
Enacted I) 

By Lavin de Ca*ai. Contralto; F. Rizio, Bais. and Choru* of Priests 

[In llalian] 86323 12-inch, »3.00 
M enlet from the ciypl and paaa accosi the hall. The wretched woman 


Plif-l! 0( 

Earibly ji 

This i* one of the moat impreaaive records of the AiJa aeries. The despair of ihe 
wretched ^mnerfj, and ihe solemn reply of the unbending prieata are wonderfully expressed 


"Tite leerlt finlihet In itrenilj/ and peace, and ucA lermlnalho$ 
an Iht moti beaultfal. About, Ihe lemple full of llghl. uhen Iht 
cCKmonla conOnue ImmulabU In the sanctuats of the Indifferent godt ; 
beious, liDo human beings dying In each olhtr'a ama. Their tong of 
looe and death l> among Iht mott btaatiful of all matlc. ' ' — Camlllt 

Wken we hear ihe expreaion "(he duet from Aida," our 
thoughts alwaya inalinctively turn to thii number at the doae 
of the work. There are other duet* in the opera, aome <A them 
fine numberi, but thia ia the great one — perhaps the moM in- 
tenaely dramatic and melodioualy beautiful of all Veidi'i wriU 

La fatal pietra (The Fatal Stone) 

By Johinaa G*diki. Soprina, and Ettrico 

Carufo, Tenor (In Italian) 89028 12-iiich. •4X>0 
By Nicola Zerola, Tenor {fart nf tcene— 
"Todie.fO pure and lovely r) 

l/n Italian) I422S 12-inch. 1.50 

This last scene ia 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 whosa 

depths Rhadama is awaiting with patience a slow death by 

day no more si 
lold Aids ! 

"l mt°"mTf 
I CtightCuI 

Thou. wLlh me here bu. 
My heart (orebodcit t 

RiiADAUKs; To die) yo pun 
To dir: Ihvself thii- J,w. 
In all tby beauty btoomii 

Thini, wbnm ihv gnAa si 

AiDA (tniupBried): 
With hesraTy r»li 

Would wsfl us to elcmil joys. 

On lolden winRg aboTCl 

I sec hisven's gslej are open wid 

Where only bli» and joy rciide. 
The bliss and joy of never fl 










Tke lovers «ng their plaintive farewell to earth in hauntingly lovely atrains, while in 
atnnge contrast the heathen chanting continues above. 

O terra addio (FareivelU O Earth) 

By Johanna Gmdski, Soprano, and Enrico Caruso, Tenor 

(In llalUm) 89029 12-inch. $4.00 

By Lucy Isabeiic Marsh, Soprano, and John McCormack, Tenor 

{Inllalian) 74398 12-inch, 1.50 
AiOA AMD Rhadames: 

Farewell, O earth. See. brightly opens for us. 

Farewell, thou dark vale of sorrow. Brightly opens now the sky, and endless mor- 

Brief dream of jov, row. 

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



55005 12-inch, $1.50 

[Chi nui fra (His Glory Noiv Praise) By Maria 

Cappiello, Mezxo-Soprano,^ and Chorus (In Italian) 
O tu che sei d^Osiride (Oh, Thou Who Art Osiris) (In lialian) 
[ By Maria Cappiello, Mezzo-Soprano, and Chorus 

{Celeste Aida (Heavenly Aida) TVwiAme By Arthur Pryorl---^^. __ . . , _^ 
ttCuamn^ Overture By Pfyar', Band^^^^^ 12-inch, 1.25 

|The Fatal Stone Cbmef-TVomftone ] 

{ By Arthur Pryor,Eniil Keneke and Pryor*s Band>35 150 12.inch, 1.25 

[ Satnadt (Ttil) 'Celh-Fluie By LoaU Heine and Darim Lyom] 

{Aids Fantasia By Police Band of Mezicol^,.^.. ,^ . . , .^ 

Guemki rf Raeee IValU {PreMo) By PoUee Band of Mexko]^^^^ 12-inch, 1.25 

{Aida Sdcetiofi By Pryor*s Bandt^^.^^ ,^ . . , .^ 

Ama-CfondTrto {Verdi) By Kiyl'M Bohemian Bandr^^^^ 12-inch, 1.25 

/Aida--Orand March Vessella*s Italian BandU.^_ ,^ • i. , ^« 

\ Rondo CapriedoMO (Mendelstohn) VeM$ella*» ItaUan Band]^^^^^ 12-inch, 1.25 

rareha Trittii£al (Triumphal March) Garde Republicaine BU^.^^ ,^ . . 
TomM—Toeca dMna I {In Italian) Goitaoo Berl-Reaky, Baritoner^^^^ lO-tnch, .75 

fPrehide Vessella*s Italian Band 1, ..^^ ,,, • u 

\ TrmHaUt—Pfdude (Verdi) Vessella's Italian Bandr^^^^ lO-mch, .75 

/Celcete Aida ^Heavenly Aida) (In Italian) Paul AlthouseU^ .. i^ • i. , «^ 
\ Standehen (Schubert) (In German) Paul Reimersr^^^^ 12-inch, 1.50 

Futftfiam gti ardor! (Ah! Fly with Me) (In Italian) ] 

Lucy Marsh and Paul Althousel--^-^ i^ • l . «^ 
Madama Butterfly-^ quanti occhi fiii (In Italian) ^55058 12.inch, 1.50 

Olioe Kline and Paul Althou»e] 

Gems from **Atda** — Part I Victor Opera Company 

Chorus. "Almighty Phtha"— Solo, "Heavnly Aida" 

(Celeste Aida) — Women's Chorus, "Come Bind Thy 

Flowing Tresses** — Soprano Solo, "Love, Fatal Power" — 

Duet and Chorus, " On to Victory ** 


35428 12-inch, 1.25 

Gems from " Aida ** — Part II Victor Opera Company 

Chorus. "Glory to Isis"— Solo. "My Native Und" 
(O Patria Mia) — ^Solo and Chorus, " O King in Thy Power 
Transcendent** — Finale, Duet and Chorus, "Fatal Stone ** 

Aida Seleetton (Chorus of the People--Grand March, Act II) | 

Hurtado Bros. Marimba Baiidb5559 12-inch, 1,25 
Luda SextoUe {JOonlMeUO Hurtado Broi. Martmha Band] 






Madeleine, her daughter 

BERSI, her maid 





The abbe 

Schmidt, jailer at St. Laare 


Ladie*, Gentlemen. Servant^ Pagaa, F 
can Soldier*. Maaqueradera, Jiidi 
Pn*onera, etc 

Time anJ Ptoct r Parin during the Frtnch Revoluthn. 

telb of Andrea Chenia, a patriot, poet and dreamer, who 
-niog to E'Brii (or his education. The French Revolution 
>nhipper o( liberty and a hater af monsTchi, he took vigo 
loned and finally guillotined on July 2S. 1794. lllica'i plot 

ACT 1 
SCENE-Hall In the Caslle of Coignu 
ain liaei the •ervanta of the caatle ar<- nr—^—'—- ' 


Improwiso — Un di air azzurro spazio (Once O'er the Azure 

By Enrico Caruso. Tenor {In Italian) 88060 12-inch, $3.00 

In this air Chenier sharply criticises the aristocracy, and speaks of the pride of the rich 
and its etfect upon the poor. The guests are displeased at his lack of taste, and later, when 
Gera/^ appears vrith a crowd of ragged men and vromen, Chenier supports him and goes 
with the party when it is ordered from the castle. 


SCEINE — A Cafi on the Seine, Paris, Five year* later 

Bersi and a spy are dining at one of the tables, while at another table nearby is Andrea* 
Roucher enters and tells the young man that he is in danger and is being watched, giving 
him a pass which will enable him to escape in case of necessity. Andrea, however, tells 
Roucher that he has a rendezvous that evening with an unknown lady, and the latter begs 
him not to go. Bersi goes into the caf6 with the spy, but presently returning, mingles vrith 
the crowd and speaks to Chenier, begging him to await a lady whom she calls Speranza. 

As darkness falls Madeline appears and is recognized by both Chenier and the spy, who 
is concealed and watching from a distance. He hurries away to report to Gerard, and the 
young girl begs Chenier to save her from Gerard. They avow their love and are about to 
fly together when Gerard intercepts them and tries to drag Madeleine away, but Roucher 
interferes and escorts the girl to her home, while Chenier and Gerard draw their swords. 
Gerard is wounded, and warns Chenier that he is proscribed and begs him to save Madeldrte, 
Cherder flees and the mob surrounds the w^ounded Gerard, while he declares his assailant is 
unknown to him. 


SCENE— >ll the Tribunal 

At a meeting of the people at which Gerard is spokesman, a spy enters and tells him 
that Chenier has been arrested and that Madeleine is not far away. The spy urges him to 
denounce Chenier, and after much hesitation he consents to draw up the necessary papers. 
He signs them and hands them to the spy, when Madeleine appears and offers herself in 
exchange for Andrea *s life. Gerard is touched by the young girl s grief and promises to do 
what he can. 

Andrea is brought before the judges and jury and denounced as a traitor, whereupon 
he speaks with deep feeling and defends himself with brilliancy. 

Su fui soldato (I "Was a Soldier) 

By Egidio Cunego, Tenor iDoal>kJ^aced—See Mow) (Italian) 45012 10- inch, $ 1 .OO 

Gerard, regretting that he has signed the papers which condemned Andrea, rushes 
forward and testifies for him, but the people demand more victims, insisting upon the death 
sentence, and the prisoner is led away. 


SCENE — The Prison of St. Lazare 

Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds in 
getting into the prison by impersonating a recently pardoned prisoner, and by bribing his 
jailer. Gerard conducts her to Andrea and then goes for a last appeal to Robespierre. The 
lovers cling to each other in a last embrace, and at dawn, when the death wagon comes 
for Andrea, Madeleine goes to the guillotine to die with him. 


5on sessant* anni (My Aged Father) By Ernesto Badini, 

Baritone {Inltalian)\.^g^.^ in ;«^k 4i hn 

Si, fui soldato (I Wa« a Soldier) By Egidio Cuncgo, Tenor ^^^012 lO-mch, $1.00 

(In Italian) 




Tcxl hy .S[it1.„„, f..,„u[.-.l on llu- trilo.;;- ol H.-numaich^.s. Musir l,v Rn-smi. Rrs 
pr-srnl,-.l al Ron,.-, [cbruarv 3. IHK., The optTa was at first callrci ■■Alm^viva. ■ lo dlatin 
Ruish It Irom l*«isi.-lb3 ■■Uaih-.-t." First Lomlon pioduction. 1818. At Paris. Ln Italian 
I8l<>;m F^fi>ch. I«J4. [■,tsL production in Gerii.any «t Brunswick. 1820, Produced a 
Vienm,. 1820: H,-rlm. 1822. Fiir^t N. f. production N.)v,-mb.-r 2''. I82j. bv Manuel Garcii 
and fompany: sunt; at tlif N,« Orlt-ans Opc.a. Mar, h '(. 1828. M.inv notable revivals hav. 
occurred in America o( r,--cnl y-.ars in 1808, fc \k.|ba. wKo made her first Ameticai 

-• .ii.pearance in I'i08; bv Hammer 

h iipk-w-ka, and the Melropolilai 
.ui,,, [),„i„.croandd.- I.uc. 

appcarnn.-.' as Roirno; (or Sombtifh', 
.le,n. for Tetraz,.mi; the New ThealM 
revival. Keliruary 5. I^lf., with H--mp.l 


loLM AL\I\\I\ \ ,.(/,/.™/..,.' 


IJnMWh,. ward 

R\MI,lll liahitcl -mh> niuM.- k..i- 

M\K(.1,LLIM: ..UuxW/^r.".'. 

IICAKO iF^'.,ah....h- 

Mom LL.d, ^ tn ll... t.,.,r,r 

S.cnc ax,J P 

R„.s,ms..p«.M..,m,>rvel f 1 
This>.e,-,na.ihiiost .nc.'.iible.b h i 
w.ile two operas lor the Roman 
26,1815. He agreed to have the a o 
even know what the subje.'l v% 1 1 1 
themri^ic as fast as the verses w e ( 
tancoua success, it eradually (ou d f 


The plotof Berber of Stoitte is very limple. The Count Almaolea loves Roalna, the ward 

of Dr. Bariolo, a cruity otil bachelor who secretly wuhes to wed her himself. Ahnaoioa pCT. 

■uncles the village barber, Figaro, to ananKe a meeting for him, 

and gains entrance to the house disguised as a dragoon, but is 

arrested by the guardian. 

for Rtalna'i music teacher, who. he says, is ill. The appearance 
of the real Dan Baallio spoils the plan, and the Count retreats for 
the second lime, having, however, arranged a plan for elopement. 
Bartolo finally arouses /{aijna'i jealousy by pretending that 
the Count loves another, and she promises to forget him and 
marry her guardian. When the time for the elopement arrives 
she meets the Count, intending to reproach him, hut he convinces 
her of the treachery of Bartolo, and the lovers are wedded by ■ 
notary, just as Bartolo arrives with ofiicers to arrest the Count. 

Overture to Barber of Seville 

By Ls ScBia Ore bcstra. Milan '68010 I2-iach. 11.25 

ACT ! 

SCENE \—A Strttt in Seville. Dan '» Breaking 

The Count, accompanied by his servant Fiorelto and several 

'oris, enters to serenade the beautiful Rosina. Accom- 

by the mandolins, he sings his serenade. Etco rlJenIt, 

Even such ■ lovely terenade as this fails to bring a response from ihe window, but the 
Count (tin lingers, concealing himself in the shadow as he sees Figam, the jack-of-all'trades 
of the village and general factotum in the house of Bartolo. I^gaiQ unsUnga his guitar and 
sings that gayest and most difficult of all airs, the joy or despair of baritones the world over. 

Largo al factotum (Room for the Factotum) 

By Pisquale Ainato. Baritone {In Italian) S8329 12-ii 

By Emilio de Gosorii. Baritone 

(/n Italian) 88181 12-inch. 3.00 
By Titta RuSo, Baritone 

{In Italian) 88391 IZ-inch. 3.00 
By Guiseppe de Luci. Baritone 

(/n Italian) I45I4 12-inch. 1.50 

Figaro is thoroughly satisfied with himself, and gives a 
long lilt of his numerous accomplishments, of which the 
following Is a sample: 

La. Is. 

1 be off to my bIi 
a mir^v life,' what 

"Ohl wh»t a 
await] a barber 

perpetuslly in bu 

• CkmUtSoaiRKmriSmpcgtaa, 


be-i>de» the max pcti)u<&iln of Ihc 

All call rnr) >1] want rat:— dami, .,._ 

cries one — ray bemrd: should anolhet— bleed 

-iMi-- hilleidoux: wfaiapeia ihat. Figaro. iMvsro^ hei*i 
I iL,:iro. Figaro: beiveni, wbx > lumultl One al a ti._^ 
[■iKaro he.e: Fijafo th*re: Figaro above: Fuara below. 
1 am quirk as iichming: in a w ' ' -^ - . . 

' 'h .vhat a happy life; bul ILtlle ft...__ 

< k< t thol an alwi's bo»t a doubloon, The noble fruit at 
>.i it is: ttithom Fifnio Ihcie's not > girt In Serille >il1 
ill liltle widows bave recourse for a bntband: I, under 
nil hii diy, and under favor of my Euitar by night, endeavor 

,e hifl ally. R„=ln- and her guardian come 
perceiving the Count, manages lo drop 
Bariola Uavea the house and ordera that 


iiiJ suggest* That the Count di 
.'.dmitlance lo the house. I 

SCENt II -A Rao 

n Barioio-, Hon: 

a her ieelir. 

Roilna ■,:, discovered holding in Ker hand 
ii letter From the Count She is agitated and 
1 in her celehraled entrance aoog. 
1 hia aria is full of ch.itm .inri is dcservpdlv popular with iho-ir 
sinRCTs who.e method en..hlrs ihrni i.. .i-l-' n w,iK iL.- r<..j,„s,ic 
lighlncM nnd bravum. 

Una voce poco fa A Little Voico I Hear' 

By MarL.'>:lb Scmhnch. Supran.. 

h} Ihih^n HHOOr 12-in..-h. ?.*.(lll 
13v Luisj TL'irji^mi. S.jprjn.. 

B> M: 


t<.-llit.c BqW, 

s U.-r L,i.../.lu.n niid D..n Ho'ihy, <;me in. 
.that h<.' wi^h^-s to m^.rv his waid, either 
ilio promises to help him, and s.-iys that 
Lint is trying lo m^.k^ Ho>ina\- a.qui.inl.mcc. They 
lo invent some alory will di^Kr^c- him. -A 
l-l" savs Baiilm. /t„r/o/<- a^ks wh;,i i,-;. and Ba.ilio. 
ebratrd ail, ^.vc^ h.s famous description, whirh ,^ a 
>f its kind. 


La calunnia (Slander's 'Whisper) 
By Mucel Jouroet, Bau 

Bamuo: Oh! ralumny \a like ilic sigh 


tre.l" Ihf 

[IHim >hc i'l-n 

<he " 

(In Italian) 74104 12-iiich, tl.SO 

-englh. it sw 
1 from plac< 

II gains n^w Blrtnglh. it swiops a). 
In giddier whirl from place to pit 

(77«y go -u,.) 

Roilna and Figaro return, and the barber tella her tbat her guardian i* planning to 
marry her. She laughs at ihe idea, and then asks Figam who the young man was she had 
obaerved that morning. Figaro telU her his name ii Lindar, and that he is madly in love 
with a certain 3roung lady, whose name ia Rorina. 

Dunque io son (What I I ?) 

By Maria Galvany, Soprano, and Titta Ruffo.Baritone 

(Inllallan) »2901 13-uich. *4.00 

r, before jouraeli.) 

Oft he tighB for b 
(Ai ■ fox «he cum 
Ah, br m]t faith, >1 

Ol^oui alTection and auEnl; 

And he himieff will ^cw^'prcient 
To this, what aj joui 

1 blush to write. 

At what? Why cesll?— may I indite? 


o ttu duk.i 

which tht givti him.i 
FicAio (aitomihrd): 
Already written! What a fnni 
Was 1 to think to be bet master! (Eii'l.) 

e from the balcony, and when she 

I a cut pen and a misaing 

;nd to a girl (liend, and 

lenounces her in another 

famous air. Manea an fogUo, and leaves in a rage. 

Manca un foflio (Here's a Leaf Missing) 

By Arcangdo Roasi. Baaa (/n Italian) •68144 la-tnch. tUS 


A loijj k,io.kmK IS lL<-«"i ^t iK.- »>rEe< door-il is the Count m his soidicr di>gui>e. 
He piishfb Ins way i". .ind insi5ls thai the commandBW haj ordered him to put up in 
B^fl,,!.,-, honr,.~. A lone -cene loli<)^^-s, lull of comedy, Anally ending in the ar..^sl o( the 
Count. »hu. h<>wrvr.. pr.vHI.-lv tn!o,ms ihe officer who he i>: and the astonUhcd official 
salutes n-^pc^Lluliy und lakru hia i,uyiErB away. Bartolo is in such a rage that he can 
I hardly ipesk. and the act ends with 

Guarda Don Bartolo 
(Look at Don Bartolol) 

By Giuseppina Huguet, So- 
pr»no: Antonio Pini- 
Corsi, BiriCQne; Gietano 
Pim-Corji, Tenor; Er- 
nesto Bidiai. Baritone 
»63171 10-inch, tO-IS 

the aflair of the soldiei, and as he htu 
learned that no one in the [egimenl 
knows ihe man, he »u»pect« that he 
'wai Bent by ihe Count. 

A knocking ii heard and the 
Count is again ushered in. dressed a> 
i. n.usiL- mc,^t<->. He K„;-l^ Barlolo. 
i>.-^:n„m^ the duet. 

Pace e gioia (Heaven Send 
You Peace and Joy) 

By An.iniu Pini-Corsi. Bari- 
ti.nt. and Emilio Pccea, 
TL^ncr ilnllulUint 

O3105 10-inch. »0.7S 

kl.I-l .vi-k,-< WOlld-TS isho this 


Burtn/osays h.- „ much^-l 
The Count explain, that D,m Rar,ilm ,^ ill .,„d he- I.... .,..!..,- m ihr i.m^c m«.s,e,-s ph,c 
give Roii/u, a lesson. He show- H.„t,.h, il,e n„t.- ll-.-., i,„,i ^^ „,(,n. s,-,, ■ - ■ 

the inn. and oiltrs to m^.ke Ro.m,, believe the Cnuni h.,s -h,."ii lier no 
Barloh is ple.i«.d Willi the idea i.nd (,.lls Rn.,.u.. 1 Iv ii o.curs ihe t 
Scene' in whi.l. R«=/-)u usually inlcrpoh.l.. ..n ..„, K,,-,iu. wiole ., tin. f, 

"""f'E'',r«"i',ow comerin to shave Borl-I.,. ..nd in the ,..u,m- o( ihe scene 
■he key (o the h.Jcony. At this monii-nl all are pelriti.d .il the em^aii<e . 
is auppoHed to be conhned to hi, bed. Figaro sees that i|iiiek »ciion is 
him what he me;>ns by coming out with hucK a fever. "Fevet;-" :,.ivs lh< 
maaler. "A ra>;ms fever." exclaims Figaro, feeling his pulse. ■■^.Hl ne. 
the Count, mcaninwlv. and slips a (..1 purse in his h.m.i. Don B^ p.-rt 
the situation, looU at tin- purse and Heparls, 

The shavini! is renewe.l, and R'.iina and the Coui.1 pretend to conlii 
are reallv planning the elopement- ijurto/n tries lo wakh them, l„it Fii'^r-i n,.,n.,s;es lo get 
soap in ihe DocloiV eve at each of his efforts to rise. 1 le hnallv jump^ vip ..nd .ienounces 
the Count a, an uiiposlor. The three conspirators l.-uyh at liiiii. and i;o out. followed bv 
BorJo/n. who is purple with rage. 

Birllm. the housekeeper, enters, and in her air. // va^hi.llo. .oinpUin- th^t she can no 
longer stand the turmoil, quaireline >md scolding in tln» house. 



Jnd it at 


ler lady. 




e, but in 

1 tk.n 


lio. who 
ind asks 


d m. 





son. bul 

' Daahlr-FaitJ Rc<o 



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

By Emma Zaccaru {In Ilalian) *62105 lO-iach, *0.79 


kind of thing . 



h drive, c 


ihe a 


Tki. bIc UH^d 

o be 

^lled in 

Rome Ar 


wrieHo (sher. 


becaute the audience used 

to eat ic 

ei while it was 

being aungt 



- There is alwa 

Ji nni 

F and cl 

mat in lb 

s ho 

5f! Th<^rc ii 

ijispitlinii. werni 

a ^ingli.' hour 

of ,p^ 

lb. .his 'id. .V. 



al 3 

houM.' «f con- 

! Th 

ceks A 

wife; Ih 

girl %\i,\K 

[ot a 

hu..l>an<L: Ihe 

etlbrr nf 


boultl be siif- 

° lovi b* 

Ibjt maktr 

yone )io muM 

licklvs. 111. 

t lici 

era, Ibal lor- 


hariiv that T am 


nd knnw 

hnt rcmrdy to 

cady t. 

d furif 

Don Bartolo now deiipc 
the note, saying that her In 
Count Almaviva. 

lely play 

and ahov 


to (he 
fuiiouB and offers to marry Bor/o/o at once. 
telling him that he can have Lindor and Figaro arrested when ihey 
arrive (or the elopement. Bartolo goes after (he police, and he ia 
barely out ol sight when Figaro and the Count enter by means of 
the key which the barber had secured. Roslna greets (hem with a 
storm of reproaches, accusing Liadorot pretending to love her In order 
to sac.ifite her to the vile Coun( Atmavitia. The Count reveals him- 
self and the lovers are soon clasped in a fond embrace, with Figaro 
in a "Bless you. mv children." altitude. 

Don Baailio, who had been sent for a notary by Bartolo. now 
arrives. The Count demands that the notary shall wed him to Ro^ina. 
Baiilio protests, but the sight of a pistol in the Count's hand soon 

* DtoiU-FacJRMmJSw.pc 

1 38. 


-. .i.,:^^ 

yifiii 1 









in cKortic dt^niands <!.« n..m<^ of <l.r ( 
lo the compuny, Rtirloln philosophic, 
he inquires ol3u«//«: 

nake ihe hcM o( the 


IBarbcr of Seville Selection Hv Prvur';. B:tnJ( ,,, ,, , . 

I I'rophetc hanUiMf iSUwhr^r Hn I'o -r \ B^f^Ji ' ■' '-' ' " 

lOvcrturo By l.j S.-;ib Or.h^^<rnl 

1 Don P-^quak-Ov^rlu't {!>,.mzclli) liy U S.^.la OrJ.o/r.,1 """'" 

|M:inci unfov'lio i Here's a Leaf On I Bv A. Ri'^-i- Bi,<l „, , . ,, 

lUna vuc-e p..c.i fa By Uiilscppina Hu^'u,;!. S„prjn,.l °'" "''' '^ 

iGuarda Don Bartolo i Loot at Banolo!' By lliiirucc. 1 

A. and G. Pini-Corsi.anJ Badini i/n /W,^;.. 031 r 1 10 

I Fra -Dmcoti, Agms^- la ZieUlh By I'iclro Lar^ (In llaliau I 

111 vccchietio cerca mofilie By Emma Zaeearia i In llolipn) I „, , ,,, , „ 

tPacce tfioia By A. Pmi-Crsi and Perei (/n /(a/iunj) ""^'"^ '" 



Libretto by Sabina. Muaic by Friedrick Smetana. 
formance. Prague, May 30, 1866. where the succew of . 
led lo Smetana's appointment as director of the Prague a 
Produced at the Vienna Music Festival 1692. from which ti 
fame really dates, and il is now lo be found in the 
nearly every German opera house. First London produ 
Lane, June 26, 1895. and at Covent Garden in 1907. First hea 
in America at the Metropolitan Opera Houae, New York, Febru 
19. 1909, with Destinn. Jom, Didur and Rei«k under the djri 

of Custav Mahler 

When Dire 
before a Germa 

that (uch genius ha« ni 

Schubert produced this work for (he first 
.ustrian public in 1892, the surprise of ihi 

(11 tides was heard: "How is it possibli 
>cen recognized in Cern 

Cast of Character* »ith Original America 

KRU5CH1NA, a peasant Baritone , 

KATHINKA, his wife Soprano 

Marie, their daughter Soprano 

MICHA, a land owner Bass . 

AGNES, his wife Mezio-Soprano . 

WENZEU their son Tenor. 

Hans. MICHA'S son by first marriage Tenor. 

KEZAU a marriage broker Bass. 

First per- B^^^^^^^^^^^^^H 

• of the work I^^^T^^^H 

Prague opera. E^^^P ^^^H 

which time its r rW**t^H 

^erepenoireof -^H.' ^^H 

duction. Drury .Mlto^^H 

heard .^B^^^H 

rork, February Lj^^K^^H 

ir (he first lime ^^^H ^^^^^^H 

seoflheaudi- ^^H ^^^^H 

I' possible ^|^H__^^|^^^^^| 


. . . .Robert Blass 
. . Marie Mattfeld 
Emmy Destinn 
If Muehlmann 
e(U Wakefield 
. . Albert Reiss 


Smetana, a pupil of Lisit, ct 
poems called "Msn l^alcrlanJ. 
dsai.yet some of his best work was wi 

The BaritrtJ Bride was intended by its composer 
clutfacler — lo be a national opera, and ao it really is. The 

sed altogether eight operai 

lustratet accurately Bohemian 




Text by Ciacoaa and lllica ; music by Puccini ; being sn adaptation of part of MUrger's 
La Vlt Bchtme. which depicta life in the QuaHltr Lalin, or the Students' Quartet, in 1830. 
Fir»t produced at the Teatro Reggio, Turin, February I. 18%. under the direction of 
Toacanini. In English, aa " The Bohemians." at Manchester (Carl Rosa Company). April 22, 
1897. and at Covent Garden with the same company. October 2d of the eame year. At the 
Optftt Ccmiqut, Paris. June. 1898. In Italian at Covent Garden, July I. 1899. First pro- 
duction in the Americas at Buenos Ayres in 1896. First U. S. production al San Francisco, 
March, 1898. by the Royal Italian Opera Company, following (heir tour of Mexico. The 
company later sang the opi^ra in New York. Wallack's Theatre, May 16. 1898. Given in 
English by the Castle Square Opem Company al the American Theatre. New York. 
November 20. 1896. The first important production in Italian was that given by Melba's 
Company in Philadelphia. [>ecember 29, 1896. Produced in 1907 al the Metropolitan, with 
Caruso, Sembrich and Scotti. 


Rudolph, a poet Tenor 

Marcel, a painter Baritone 

COLLJNE. a philosopher Bass 

SCHAUNARD. B musician Baritone 

BENOIT. an importunate landlord Bass 

ALaNDORO, a aUle councilor and follower of Musetta Bass 

MUSETTA, a gnsette ... Soprano 

MiMI, a makei of embroidery Soprano 

Student*, work-girls, ciliiens. shopkeepers, venders, soldiers, waiters, etc. 

.Scene and Period: Pari: abeal 1830. 



The principal charnclen in Puccini's delightful 

o( Af.m/. a vounK (lit 
a li^lil lor the candl. 
artlessly aska RuJolpl, wh, 

zn opera are the insepainble quartet described by 

M Mllteer. who with equal cheerfulness defy the pang* 

* of hunger and the landlord of their little garret. In 

the scene* of careless gaiety is interwoven a touch 

ul pathos^ and the music is in turn lively and tender, 

with a haunting sweetness that is most fascinmlnB. 

Rudolph, a poet; Monre/. a painter; Cclllnc. a 
philotopher: and Schaunard, a musician, are four 
triends who occupy an aitic in the Qaartlci Lalln, 
where they live and work together. Improvident, 
recklsM and careless, these happy-go-lucky Bohe- 
mians End a joy in merely living, being full of faith 

ACT 1 
SCENE— /I Gmrcf In the Quarter Lalln 
The opening scene shows the four friends with- 
out money or provisions, yet happy. Maictl is at 
«ork on a painting, ■■Passage of the Red Sea." and 
remarks, beginning a duet with Rudolph, thai the 
passage of this supposedly torrid sea seems, owing 
to the lack of fuel in the studio, to he a very cold 
""'■ affsirl 

I in order to keep them from freezing he will sacrifice the bulky 
■dy. Marcel holds the landlord at bay until Schaunard arrives with 
F r^1abl.-<t f-Iaving di»ed and warmed thenuelves. Marctl. Collins and 
nn Rudolph writing. A timid knock nt the door reveals the presence 
who lives on the Hoor above. She has come to ask he. n^^hbor for 
which has none out. They enter into conversation, and when Mim 
ihe lovely air usually termed the 


Que cette main est Froide 

■Wie eiskalt ist dies Handchen 

Racconto di Rodolfo (Rudolph's 
Narrative — '"Thy Little Hand 
is Frozen' ' > 

By Enrico Ciruso. Tenor 

• luUuhan BB002 12- 
Bv Herman Jadl.iwker. Tenor 

[In llaliani 7t)023 12- 

i Mar 

iclli. Ter 

i//i //u/m/i. 74381 
By John McCormaok, Tenor 

(In llaUan: 74222 12- 
By Florcncio Constantino. Tenor 

<lnltalmn\ 74106 12- 
ByEvanWllliam.*</riig.. 74129 12. 
By Leon Campav-nola. Tenor 

In French) '55083 12. 
Dy Johannes Scmbach. Tenor 

tin German) "55082 " 

■nial u. 

rk. >h, , 

.nag.d (c he 

d Ih, 

•D-ttblt-FaaJ RiibiJ—Sh hic 47. 


Cuccini ham never wncten ■ more interesting aiT 
than lhi( narrative. It is one of the great number* 

high pitch of enthusiasm. 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— and the final briU 
liant high note, are all eitiemely effective. 

Then follows the charming Ml chlamano Mind, 
in which the young girl tells Rudolph of her piti.- 
fully simple life ; of how she works all day malcing 
arti&cial flowers, which remind her of the bios. 
soma and green meadows of the country: of the 
lonely en isle nee she lead* in her chamber up 
among the houselopa. 

Mi chiamano Mimi (My Name is 
By Nellie Melba. Soprano 

(faflaltan) 68074 12-in.. *3.00 
By Lucrezia Bori, Soprano 

(/n llaHan) 8847» 12-in.. 3.00 
By Geraldine Farrir. Soprano 

(In Italian) 88413 12-Jn., 3.00 
By Alice Nielsen 

74446 12-m.. 

y Frances Aldi 
The young girl having finished her story. Rudolph hears the 
■houts of his fnends in the courtyard below. He opens the 
window to spealc to them, letting in a flood of moonlight which 
hrightena the room. The Bohemians go off singing. Ai» Rudolph 
turns to Miml and sees her in the moonlight, he is struck with 
her beauty, and tells her how entrancing ahe appears to him. 

O soave fanciulla— Duo and 

Finale. Act I (ThoU SwCCt- 

est Maiden) 

By Nellie Melba. Soprano, 
and Enrico Caruso, Tenor 

9S200 12-inch, *5.O0 
By Lucreiii Bori and John 
McCormack (In Italian) 

67S12 10-inch, 3.00 

wakens in the heart of the 

. _ . md she pledges her faith to 

I the handsome stranger who has come 

I into her life. The lovely motive with 

P which the duet begins is aasociated 

throughout the opera with the presence 

of Miml, and is employed with touching 

effect in the death scene in Act IV. 

Miml consenu to go to the Ca/i Mo 
to dine, and after a tender scene at the dc 
tain slowly falls. 


SCENE— /( Sladenis' Cafi in Parh 
This act represents the terraces of the Ca/i Momus 
artiste are holding a carnival. Puccini has pictured w 
■kill the noisy, bustling activity of this acene, and thi 

where the 
h masterly 


rimrnt of the gay rerelert. TliB Bohemiana of Act [ are 
r-d at a tabla with Mind, wkea MiaeUa, an old flame of 
cet't. appears vritb her lateat conqueat, a fooliah and oocieiit 
LI n.itiii^d AlcInJoia. Marctl pretenda not to see her, but 
<-"□ is determined on a rsconcUiatic 
1 ai^ts rid oE her elderly admirer ani 

Musetta 'Waltz 

Uy Alma Gluck, Sopriao 

Un Italian) 64560 lO-in. 
By Giii> C. Viafora, Sopnoo 

I In Italian) 64089 lO-in. 
By Master Wm. Piekela. Boy 
Supraoo (In IlaUatt) 

*17e76 lO-in. .7S 
By Guido GiaMinj {fVhlMng) 

■16S92 lO-in. .75 
Thp lun now become* fart and furioua, 
iiiul .\ti;.'illa ia finally carried off on the ahoul- 
il<is <>1 her fiienda, while the foolish old 
li.itikir. Akindom, ii left to pay the hilla of 
■'"■ <-nt''«-- party- 


SCENE— <4 Oly Gat* 0/ ftrfi 

of I 


e snow 


ivorLiiitn come and go, ahiverinf! 



ks the olhriT al the ga 

e if he w 



er beinK now l.ic jH-d n 

the inn or 



s Re 


Jn olderToL^^rpTod 

■ und sou 




f/ eiii.TS and is surp. 


mj, who 


supposes to be in l^.ri.H 



t she 

Lnchob- and Hpp,,rc 

llv ill, h 


dly que 

her and lea.ns hr, s. 



imi.Ioson! (Mimi.Thou 




ncFarrar.Sopran... a 




llihan) 89010 12 

in. J4.(H 


<-Ils her friend that she ini 


r the jr 


quarrolswiih Ru</<-/; 

. and ih., 


.1r. A/<.,rr/. much tro 

uhled. goe 

I th',." m 

summon Rudolph, but 

helore th 


•TS she 

3. A/ 

m; herself, an 

d when 1. 

of h,kt,- 


imi e ur 

a civetta 

(Cold-hearted Mimi ! 

By d^ 

gorio, Casini and Fcrr 


nlhliun] •fe»453 12 


essini! fit of eouahincrevea 



ppeais and sines the s 

dd Jilllc ai 

which ., 


the features of .his uc 


Addio (Farewell) 

By Nellie Melbi. 
Soprano [Italian) 
68072 12-in.. *3.00 

Soprano (Italian) 
S640b 12-in.. 3.00 

By Alm> Cluck, 
Soprano {Italian) 
64229 10-in.. I.OO 

Most pathetically does the 

be he 

> her 

imple heart, and si 
go. Rudolph proteslB, »ome. 
ihbg of hii old ^Section hav- 
ing returned at the sight of 
her pale cheek*. 

Muitllo now enters and ii 
accused by Marcel of flirting. 
A (uriout quairel follows, 
which cotilrasis strongly with 
the lender pauagea between 
Miml and Rudolph as the lovers 
are partially reconciled. 

Quartet. "Addio, dolce sve^liare" (Farev^'ell, Sweet Love) 

By Genldiae Parrar. Gtna C. Vtafora, Enrico CaruKi and Antonio 

lln Italian] 96002 12-tnch. »6.00 


e- (end recoiled 

h<.d m.,dc no 
h. open re 

Aci IV > iW 8, 

this mimbei is useil by the composer to expreu i 
il Mimi ', farewell lo RuJotph ; hi> lender eSortx to i< 
ns of ihe bright daya of their firat meeting— and coritraated 
>rrcUnK o( Manila and Marcel, which Puccini hu ■killhillr 
laaagps aung by the lovers. 
:T IV. SCENE— Some a, Acll 

rn^ii'/ [fTfj^a haJ Ined a lonely and melancholy existence . 

.1.1 Fk'i rr met her, while no icord of MimI came lo Rudolph, though 
i;-ll .Marcel Ireaiared a little hanch of rikhons which had been 
II i-ir Jay he delected Rudolph gating fondly at the pink bonnet 

■ ll vcms I am not the only one I ' "— Murger. 
ircl in which the events of Act I look place. Bereft of ihcir 
(■ liv.n); aad and lonely hv«. each trying lo conceal from the 


RuMph, ,i| 

t.^nda >r 

rtively g, 

front of his 

.1 Mim 

, little 

Ah Mimi, tu piu Ah Mimi. s'cn est alles (Ah, Mimi. False 
One! I 

av CaruM). ~rtn..r. :inJ S^'utli. Baritone {In Italian) 890O6 12-inch, f4.00 

By Li:im Campj^nob. Teiii>r; M. Vjgneau, Barttone 

(tn French) '4S122 10-incb. l.OO 

Bv Da Gradi and Badmi (In Italian) *4»013 lO-inch. l.OO 

By Umhtri Murphvand Reinald Werrenrath lllalian) 60108 lO-inch. .75 

The hwKiU. how.-v.-,. pvr.^nd lo brighten up when Schaunard and Colline enter with 

erisls for supper, and 

Vecchia zimarra I.Coat Songi 

By Marcel Journct 
Colline coi-^ soflly out, leavms Mimi ..nri HaJ,.lph ., 

Sono andati ? i Are We Alont ? 

By Maria 15ron:oni. Soprano, and Franco Jc 

y Clai 

: Dus. Soprano : Karl Jiirn, Tenor 

who «re rem 
-Face Record-. 

h'iih i\ jiuddcn faini 


Mim» Tod (Mimi's Death Scene) 

By Claire Dux, Soprano 1 Karl Jorn. Tenor (/n German) *590rO 12-iach, *1.50 
But the young girl, weakened by discHse and privations, paues away in the midst of 
her weeping friends, and ihe curtain falls to RoJalph'i dea ' 

« away in the midsl 
y of "Mimli Mimil" 


Mimi i una civetta (Cold-hearted Mimi I) 

By de Grefforio, Casini and Ferrccti (/n Italian) 

Siai wir allein ? (Are We Alone ?) 

By Claire Dux. Soprano: Karl Jorn. Tenor lln Qtnnan) 

Mimi5 Tod (Mimi-s Death Scene) 

By Claire Dux, Soprano : Karl Jorn. Tenor [In Gem.™) 

Bohgme Selection By Pryor*> Band 
\ Jotly RMtT> Overture Bs Pryoi't Ba«d 
rBohame Selection By Pryor"s Band 
\ M-dame Butlerflu Fanlaiia ■Cello By Roxtrio Bourdon 
/Ah. Mimi. tu piu By Da Gradi and Badini {In Ilalian) 
iSono andati? By Bronioni and de Gre^orio (In Italian) 
IMuaetta Walti By Wm. Pickels. Boy Soprano {In Italian) 

/MuaettaWalti {WhhtUng Sclo) Guido Gialdin. 
\ Carmen S<l«:Hf,n Xylophone Wm. H. Rdli 
lAir de Rodolphe By Leon Campagnola. Tenor {In Fnmch) 

Wie eiskalt ist die. Handchen 

By Johannes Sembich. Tenor {In German) 
Madame Bailees- '» W «*"" «"» Wahrts dran 

By Minnie Natl ; Johanna SeaAach {In Grrinan) 
Ah, Mimi .-en ut alle* 

By M. Campajnola and M. Vijncau (In French) 

68453 12-inch. *ia5 
55070 12-inch. 1.50 

35017 12-inch. 1J5 
35353 12.inch, 1.25 
45013 10-inch, 1.00 
17676 lO-Jnch, .75 
16892 10-inch, .75 
55083 12-inch. IJO 

55082 12-inch. IJO 
45122 10-inch. 1.O0 






Trsl bv Bnnn, wl,o look Ills pl..i i.n.n .> hnll,-i wrl.ipn fw Ellsler. the dancer, by Saint. 
CcorK,.s. but Lrnns(,-r.,-d iKr scene Immo bcoliand to Huntfn.v. Mi.sic bv Balfe. First pro- 
duced at Driirv Ijine Theatre. Loii.l.m. N<.v.„ib^r 11. \>V,i. the east .nchidi.ip Ha.rison. 
Rairtorlh. Belts, bl.eltot. ai,d Borrani. and iho opera had an unpr«edenttd run of one 
hundred consecutive performances. An llahaii v.T^u.n was brought out at Druiv Une, 
February C. IHiO, hirst American piodiulion N.A-enibe. ii. IIMJ. -vith Fra/rr. Seguin. 
Pearson and Andrews. The work, after its CnLih^h ^.k, i-s. w.r, eventually translated into 
almost everv langnairr of Europe, and .hiring the next Iwcntv v<-ars was produced in Italy 
as La Zwlira (at Trieste. February 12, IH'.4); in 11.ii,lHuii; as {.a Gilana : in \'ienna as Die 
Zig^unctin. where it was al one time plaved at thre.' hcine- simi.ltanrouslv ; .ind in Paris as 
LaB'.hc'mirnne. This French version, for which Balfr .,.l.l.-.i F.vr-r,il numbers, besides .nlarg- 
ins I' 'o five artr., was written hv ,S,.int.CenT,^.-.. .Mvl |..c..l.,c, .! „t the 1 h.-.ilr,- Lyrique. Paris. 
December )(i. IKd'l. rraming for iKc comi.oser th.- 1.. .> ..;" Il..n..r J. ^ou.tion. 

ARLINi-;, dansihler of .-\rnli,-liii Si.pi.Tno 

THADra-.US, a I'nlisli exile. , . IViior 

CYI'SY QL'IJ-.N ( ...ilr.illi. 

DEVIIMUXll. Gypsy leader H..!-- 

COUST AUMIKIM, Govcrmirof PresburK ll.,Hlr„i.- 

FiJDRtSTINR. nephew of the Count 1 . i,or 

Retainers. Hnnters. Soldiers, Gyp-ics. rlr. 

Time U.1 J /'/ace ■ Pr^shurg. Wunsaru ; -mcU.-'Uh ,^r^. 



SCENE — Country Ealale of Count Amhtim, near PnAutg 

The tloiy oF this opera ia quite Eamiliar, and can be diamiued with a brieF mention. 
Thaidcas, an exile fcom Poland, ia fleeing itotn Austrian troops, and to facilitate his escape he 
casta his lot with a band of gypsies, headed by Dcoihhoof. As the tribe ia crossing the eatale 
of the Governor of Presburg. Count Amhidm. Thaddcas is enabled to rescue the little daughter 
of the Count fiom a wild stag, and in his gratitude the Count invites the gypsies to the hunt- 
ing dinner. In the course of the festivities Thaddcai refuses to drink the health of the 
Emperor, and ia about to be arrested when Dtoihhoof interferes and is himself confined in 
the Castle, while Thaddeai ia permitted to go. Deeibhoof climbs from a window and ateala 
the little Arllne. making his escape good by chopping down the bridge across the ravine a* 
the soldiers pursue him. 

SCENE— rAe Cupiu Camp in Iht Oul^lrti of Piahaig 

Twelve years elapse and we see the campof the gypaiea. among whom /Ir/rne has grown 
lo be a beautiful maiden of seventeen. Thaddaa, who has fallen in love with the young girl, 
now tells her of his affection, and in a melodious duet the lovers plight their troth. The Gjfpiy 
Queen, herself enamored of Thaddtus, is forced to unite him to Arline. but secretly plana 
vengeance. Her opportunity aoon cornea, as ahe contrives to have i4'/inc accused of atealing a 
medallion from the young nephew of Counf Amhclm. who has come to the fair at Presburg, 
near where the gypsies are camped. Arllne ia arrested and taken before the Counf, who in 
the course of the examination recognizes her as his daughter, from the scar made in her 
childhood by the wild stag. 

SCENE— Gul/e of Count Amhtim 

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

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

Many of the moat effective numbers from this pretty o^era have been recorded by the 
Victor, besides the brillianl potpourri made by the Opera Company, which includes no les* 
than twelve of the most tuneful bits. 


lOv.rt.Tc t,, n,,l,c-m,.n Girl Pryor', Bandl 

I Dreamt I Dwolt in Marbk' MjIU Mibcl GarriKon 64641 lO-inch. 1.00 

Jl I Dwell m M:irhk H.IU Elizabeth Whe<Ur|,^-„„ ,_ . . ,, 

(Then You-ii RcmomhcT Mc H.rry Macdonooghl'"^*^ lO-.nch. .rS 

The Ii<.jrin.>»'J Do»n Clareace Whilehill r*40T 12-iiicli. l.SO 

iThc Htarc I3<m-d Dn^vn Reinald Werrenr»th| 

I r„„-.l l-:,^cn II,.- Bn.vr>l Hr.ul Rtinold fVcntnrathi 
JThi: Htan Di.w-J Di.w n Merben GodA 
1 (",™,/ /V, S„Y,lh.-^,l 
JTheHcirt D,,v.-d Dnv^n 

iFair Land ..( Poland 

I Hnh H,:„ >..-„: ,./ Ihr T:.'nh.<ru 
Thon You'll R^'memhL-r Mi.- 
JThcn -i' 


Alan Turnerl 
I and Macdonoisghl 


16407 10-in 

1 /■// 

; Ih:;- .' 
j'll Ren 

John McCormick 64599 
Frederic F 

Harry MacdonmigM 
Gcoree Hamlm 74134 




I Dreamt 1 D«cli m Marble H:.ll- EHiabelh Whederl '"■"" 

jThen You'll Remtmber Me H»rry Macdonoughl ,,„„, 

Then You'll Remember Me ai.J I Dreamt t Dwelt 1 

I r,(,/in. 'Ct/Zcfin™) McKee Trio 18190 

Good ■Night. Beloved (Ncvfi,i McKee Trio J 

Faniasia of Prmcipal Airs yXiihphonr^ Wm. H. Reitil , , ,„, 

JigMcdlv^ a<'.llm.on> Pn,^r'> BanJl^*''^'*^ 

Selection from Buhcmbn Girl Pryor's Bandl . 

Kc/t'o OverluK (fie/u/gcri Pn/nr "i Bandl 

Gems from -Bohemian Girl" Part 1 Victor Opera Co 

Chor,.s. 'Away ti Mill and Clfn" Solo. "I Drfanil 1 Dwell 

in Marblr Halls" -Solo, " Hcari Bow'd Down" - M.x.^d 

Q.iarl.-l. "Silrnce. ihe Udy Moon" -Snio. '■ Fa.r Und of 

Poland " -Chorus. "Happy and Ui;ht" 

Gems from "Bohemian Girl'-Part II V.ct,.r Opera Co 

Chorus. "In ihe Gvpsy l.ile" Solo and ■ 1 

with the Gvpsy Bride" -Soir,. " Hl,ss l-nr-Atr Fd,t" Dm,!, 

"What is li,,. Sp.ll ■■ .^..lo. ■■ ri..i. Vo^.ll Kcnienil..-, M. ■ 

-Solo and CKor>,s. "Ol,, W\.:., 1 „11 Delij:!,." 

Hiil^ '^ f ■ 



Text iirrBnged by MouuoigBky. baied on a hislorical drama by ihe famout RuMian 
poet. Poushkin. Music by Modeste Mouswrgiky. Pottions of the opera were given at 
St. Petersburg in February. 1873. but the production of the work in its entirety wan delayed 
until January 24. 1974. Produced at Moscow in 1889. In 16% the orch«tration was «.me- 
what revised by <be composer's friend. Rimsky-KoraekoS. Given at PaKs in 1906 by a Russian 
opera company, with dialiapine in the title rAle. First American production a( the Metro- 
a House. New York. November 19, 191 3. with the original costume, and «^nety 
" March 10. I9M. when 


(With the Cut of Ihc Fir.1 Ameriun Production) 
Boris GODOUNOW. Regent o( Russia 

Adamo Didur 

XENIA. his daughter Leonora Spa rkes 

Theodore, his son . . . Anna Case 

THE Nurse Maria Duchene 

Marina Louiae Homer 

CHOUISKY AngeloBada 

DIMITRI Paul Atlhouse 

VARLAAM. Andrea de Segurola 

MlSSAlL Pietro Audisio 

TCHEIXALOFF Vincenzo Reach iglian 

PIMENN LeonRolhier 




Wincenio Re«:higlian 

: Ahout 1 600; on Iht totdet of Poland, 


wd PU 

Moussorgsky's masterly opera is intensely 
Russian in character, and relates actual events 
in the history of Russia during the reign of the 
Czar Ftodor. son of Ivan the Terrible, while 
Boiia Godounow was acting regent, Mouasorg' 
aky has simplilied Pousbkm's text somewhat, 
and has written a prologue to precede the drama, 
which has scarcely anything in common with 
Pouah kin's book. 

Boris, the acting regent, has caused the 
murder of Dimttri, the younger brother of lean 
the Terrlhtt. to whom the throne would have 
passed on han'i death, but he is remorseful 
for his act and has entered a monastery on the 
outskirts of Moscow. 

At the opening of the opera the people 
are urging him to declare himself Czat. In the 
second scene the guilty ruler overhears Plmtnn, 
on old monk, relating to a young novice, Gngorji, 
the story of the murder, which Rres Gngory't 
imagination so that he escapes from the cell, 
flees to the Lithuanian border and declares 
himself to be DlmlM, who he insists was never 



ihc ntxt ■cene Borh it in ite 

privaie apatlmcnw in the royd 

having yifUed to the dfrnanda 

people and di^clarfd himwlf 

E Eia daughter, Xcnio, and her 

,, brolher are wiih him. but when 

Choui:.ku. his old accomplice, arrive.. 

he ifnda (he children away. Chouhks 

haa brought alarming news— the people 

are tevolllng and an imposlor, calling 

himself Dimilri. has appeared. Borfi. 

Qveicoroe. is once more a prey to 

In the third act Marina, betrothed 
to the impo«lotZ)imi(r/(Gfij(on/l, is urged 
by Rangoni to try to influence the young 
uiurper to convert the herelica of Moa- 
cow. Failing to move the girl, he ap- 
peals to the pretended Dimilri, who ia 
wailing in the garden for Marina. TTie 
young girl appears, and the scene doaea 


country, with the people in open revolt 

Cries of "Deulh to Berh ' ' can be heard, and the usurper panes through the foreat, drawing 

ihe crowd wilh him. As llie sLaiie is emptied, the village idiot ia left aitt 

ng alone in the 

fallitlB snow. smMing .t h.-.Tl-rending dilty on the hopeless condition of Rus 

We now see n h^ill m <he imperial palace. Choaisky arrives and late 

Surii. ha^igarc 

from thr terrible visions that arc haunting hii.i. Pimcnn enters and relates 

miracle which 

has h.ipp^n.><l at the lomb of Dimilri. He tells how a blind man. command 

din a dream to 

appea. at Dimilri's tomb, has his vis>on restored when he kneels at the g 

ave. A cry o 

agony mler.npls the old monk. It is Bori,. who. feelmg hims.:lf dying, asks 

or his son. and 

to rule wisely and always protect his sislel, 

Moussiirysky's tiiastcrly opera has made 

one of the greatest successes in the history u< 

the Melropolil..n. and it is astonishing thai sn 

line a work should have been neglecl.d i<.i 

nearly forty voars for Boris was pioiluicd in 

1874- and the W.-slern world, as one 

enlic has aptly remarked, must have been 

"dozing." However, the hiis made 

entation of Moussorjisky'ri opera, wiih a caat 

f^ ' ■ 

that could not be equaled anywhere in the 

f^\_ , ■ 


The duct presented here trcurs in the scene 

representing the garden of the < nstle of .l^t/ie^ 

in Poland. ;l/am,^, li.e be.-miifi.l dauuhtet ol 

I--- ]l ^S^^vjH 

Miche^. spurred on bv both love and i.nibilion, 

urges ■Dimil-i to ,,.n^pire a^ainM the ihione. 

g>';||"" ■ 

Finale. Act 111 iGarden Scene) 


By Mirgjrele Ohtr. Contralto, 

sg^i ^ 

and Paul Althouse. Tenor 

{Inhalianl 76031 12-inch. »2.O0 



Text by Meilhac and Halfivy. founded on the novel of Prosper M^rim^e. Music by 
Bizet. First producbon at the Op^ra Comique, Pbtjb, March 3, 1675. First London produc- 
tion June 22, 1678. First American production October 23, 1879, with Minnie Hauk, 
Campanini and del Puente. First New Orleans production. January 14. 1881, with Mmes. 
Ambre and Toumie. Some notable revival* in New York were in 1893, being Calvi's 
fir«t appearance, the cast including Eamea, de Reszke and La Salle; in 1905 with Caruso: 
and the Hammerstein revivals of 1906. with Bressler-Cianoli, Daimores. Giilbert. Trentini 
and Ancona; and 1908 with Calv*. After five years" neglect the Metropolitan, in 1915. 
•taged a brilliant revival with an "alUtar" caM. includins Farrar. Caruso. Alda and Amato. 

Chirac ters 

Don Jose. (Don HmubO a Brigadier Tenor 

ESCAMILLO. iEKa-n^finh) a Toreador Baritone 

DANCAIRO. (Don.ta'-ri.ft) Ic I / Baritone 

REMENDAEX). (fiem..nJaAWoA) i ='""e8>er» -J Tenor 

ZUNICA, (rKw-w'-jaA) a Captain Bass 

Morales. (MoA-mA'.t=) a Brigadier Bass 

MlCAEL^. CM/tt"»V-i>*) a Peasant Girl . Soprano 

FRASQUrTA. (Frou-*™--!!!*) I .- . t ■ , i r- I ■ Meizo-Soprano 

MERCEDES. (M»*W-A..> i^y^"- <"'"^' "^ Carmen^ Me^o-Soprano 

Carmen, a Cigarette Girl, afterwaida a Gypsy. Soprano 

An Innkeeper. Guide, Officers, Dragoons, Lads. 
Cigar GiiU, Gypsies. Smugglers. 

SottK mJ PerioJ: StelUt. Spain; about IS20. 


Gounod and Bc-rlio 


a nahvr o/ Par* whe.e he was born on October 25, 1838. Like 
won ihe Pr,> A fion«; in th» case m 1857, the year thai h» fint 
■as produfcd. Among other productions came La Pichrun de Peria, 
in lMt>1. an opera r«entlv revived at the Metropolitan Opera Houm in New Yotlt. 
Carm-n w« produced m m7i, ..nd ih.s niont Parisian of all operatic work, was received at 
Us production with a slotm ci .,U..-./ It was immoral, it wu Wagnerian- the biter at that 
tinir bcinc u dr-.idly sin in i r.nv ■ ' N<- vert he less, the jupteme merits of Carmen have won 
it .1 pirti (- ainonn lhi~ iwn m llii. . rm.-l popular operas in the modem repertory. 

lhe<,J,'nt»^N!>rcliii<' sIu.^m: I,v Ins remarkable lyric tpfts; the power of writing ahorl. 

h^nrlliT.^- ^L.-n.-s tHLiK rl.. I-. .Aam demanded by modem opera. His music is more 

li sv..-. uriihiibli picil « litilr- ..11 !:.!■ 1.1 the hostile reception of this, his finest work, (hat its 

siirvivt liHTi, ,111.1 1 hir^i .irminL' tin i. .jiks into which he ungrudgingly poured his life's energy 


I .iimrii h.ij ]l» (ipi-nint: in. mo in a public square in Seville, showing at one side a guard- 
house, when- yujc, a youni; brigadier, keeps guard. Micaela, a peasant gid whom he loved 
in hii. vilUig.- home. com<:£ hilh.-> to seek him with a message from his mother. As jw 
appears, the nula atrt'am out Irom the cigarette factory hard by. and with thero theit leading 
spirit in love and advenliire, Cutmcn. the gypay, reckless and bewitching. Heedless of the 
pressing ihroHR of sviitors. and attracted by the handsome young soldier. Carmen throws 
him A Rowt-T. leaving him daied and bewildered at her beauty and the fascinating flash of 
her dark eyes. A momeni Uter a atabhing affray with a rival factory girl leads to the gypsy's 
arrest, and she is pUic.-d m the care of Mc himseli. A few more smiU-a .^nd si^ltK -spoken 
words Irom the fascinaliriK Ca,nK„. and he is persuaded to allow her to oacap.^. There Is a 
sudden struggle and ..onluhion— the soldier lets go his hold-and the bird has flownl 

Art II takes place in the tavern o( Litlas P^slia. a report of smugglers, gypsies and ques. 
tionable char,^cLers t^rnerally. Mere arrives B,camiilo. the toreador, amid the acclamations of 
the crowd, and he. lik^ the rest, offers his homage to Cmm^n. Meanwhile, the two smug- 
glers. Damai-o and fiernvrdaJu. hnve an e:cpedi<ion alooL and need Cormi-n to accompany 
them. But she is awailin,; the .eturn of the vonng soldu-r. who. i.s a punishment (or allow- 
ing her to escape, had gom. to priinou. and shJ w.U not il^p.irl until she has seen him. The 
arrival ol Jmf leads to an ardeni l<.v., scene heiwein the (ivo. G.^nien dances her wild gypsy 
measure.^ before him -. yet. in the midr.t uf all. he he.i.s th.- ie-im,.nial trumpets sounding the 
retreat. While ComK-n bids him remain ;.nd join her. the hiuixr oi ,i soldier urges him to 
return. The arrival of his ci.piiiin. who ,.r.le„ 1,1,,, I..,, k. d. .Ides /.«,-. I le d-fi.., his officer, 
who is bound bv the smuiiwl'-r^. ..nd de,erlv hi, iei;iii„ t,t l.,i C<,rm^„. 


The next scene finds /osr with the 
career of a bandit, however, is one to ,i 
offends Cu,mrn. who scornfully bids him retui 
with the carda. that they will end their careers 
situation two visitors arrive: Fj.camillo. the 
Miiael„. with a messace from /o-r '.« dying m< 
kill Escamillo. cannot resist the girl's 


■ iiiouiiMins, The 
.mil.. I li.'i distaste 
. in i-spsv f,„hion. 
I.lst of this strained 

-.1 i:.,.,millo-i 

The final act tiikes place outside the Plaz„ ,/,■ T,,,...-., .., .S-viile. 
iumphs in the rin^. Girm™ has returned here to wutiess liie pio^ves, .,f lur new lover, 
id ia informed by her friends that A-e. k.lf crazed with jealoosv. is walchnii;. > .ipable of 
esperate deeds. Ihev soon meet, and the acene between the maddened soldier and the 
ypsy is a short one. the jealoua /oh appeals to her lo return to him. but she refuses with 
!orn. although she knows it means death. In a rage /use slabs her, and thus the end comes 
wiflly. while within the arena the crowd ia heard acclaiming the triumph of Eic^milh. 

70061 12-iDcli. 1.29 

Prelude (Overture) 

By La Seals Orche«tra *68052 12-mch. *1^5 

By La Scila Orcheitri *6261 7 10>mch. .79 

By Victor Herbert's Orcheatra (I>t part oaly- 
preceded by Firtl IntermezEa) 

By Victor Herbert's Orchestra (Last part — Andaate 
—only, followed by Third Intermeizo) 70066 12-iilch. I.3S 

The Prelude to Carmen opena wilh a quicic march in 2-4 time, of an exceedingly virile 
and iiery description, which is taLen from the music preceditig the buU-fieht in the 
last Bcl. Fallowing this stimulatinK march comes the "Toreadoi'a Song," leading to 
the match theme again. These two aectiona, complete in themaelvea, are now iollowed 
by a ahort andante in triple time indicating 
the Iragic conclusion of (he diama. Hete. the 
appealing notes of the brass, heard beneath 
the tiemolo of the strings, gives poignant 
expieMion (o (he pathos which lies in the 
jealous love of ihe forsaken /c 


, , __, __._ of the future death of 

breaks oS on a sudden detached chord of the diminished 

SCENE— >4 PMc Square In Seville 
ne curtain rises on a street in Seville, gay wilh an animated tkroog. In the fore* 
1 are the military guard stationed in front of their quarters. The cigarette factory 
the right, and a bridge across the river is seen in the background. 

Among the crowd which 
throngs the stage a young girl 
may be seen searching for m 
familiar face. It is Mlcacla, 
the maiden whom ]a>e has left 
behind in hia native village. 
The soldiers accost her, and 
from them she learns of her 
lover's abaenee. She declines 
the inviution 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 

of her admirers 
long the men by singing the 
y Habanera. 

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

By Jeanne Gerville-R^che. Contralto Un French) 88278 12-ioch. *3.00 

By Emms Calv^, Soprano (In French) 68085 12-inch, 3.00 

By Maria Gay. Meiio-Soprano (In Italian) 92059 12-inch. 

By Geraldine Parrar, Soprano (In French] 

By Sophie Braslau. Contralto . > - 

Though often attributed to Bizet, the air was no 
from Yradier's "Album da Chanaont Etpagttoltt. " The : 

8r210 10-in 

(In French) 64469 10-inch. 
Mith him, but was 

i ^'^li'-Jj. , r l j. ."jy l jj i^ jJ'l ^^^ 

aftr tv •» Inf. «• . 

I a particularly fawcinabng portian of the number. 

Some Famous Cirmens of the Pis 


! offered— by C»lv«. 

vLlle-R*iichr. whose 
original line.; by 
who has made one 

Several recorda of this chaiming air a 
whoK Carmtn it univereally accepted as 
of all impenonationa of the Me; by Gi 
Carmtn n a fine character study on quii 
Miss Farrar. the latest of famous Carmtni 
of the greaCeit successes of her career in the recent 
revival: and by Miss Braslau, the youngest of the 
MetT^wlitan contraltos. 

The men invite Canntn to choose a new lover, 
and in reply she flings a flower in the face of the sur. 
prised /nie and laughingly departs. 

Mia madre vedo ancor (My Mother) 

By Fernando de Lucia. Tenor, and Giuieppi 
Huguet. Soprano {Inllollan) 92092 12-in^.-h 

Parle-moi de ma mere (Tell Me of My 

Mother) (Same a, ahove) 

By Lucy Marsh, Soprano, and John McCormat 
Tenor (In French) 74345 12-inch 

NovfMlcada returns, and finds the soldier she seeks, f- 
tella of the measage of greeting she brings Jose from his 
and with it a kiss. The innocence of Micoela is her« a foil to 
ihe riper attractions of the gypsy, and the music allotted lo ihe 
maiden passesses the same simple charm; the conclusion uf 
Micaela'a air being a broad sustained melody of much beauty. 
/OM lakes up the strain, as the memories of liii old home crowd 
upon him. and the beautiful duet follows. 


f«r<-w,-ll, ,„.H /.*■ l,Li;,.i. lo r.-ud h.s 
mo<l.<-<'s i^II<:r. I>iil Is mlLCr^pled by 
commoliim withLn lU faclorv. Ca.mvn 
has atobhfd one of he. <.<>i>.pat.ion!^ and 
i. ai-reated and plac<-d imdcr the guard 
oUJonJasc. The suldicrs diive away 
the c,<-wd. and Curmc/.. It-It wi.h 
/<».-, Win^^ her pow.^rs of fasrination t» 
bear on th.- yount: soldier, partly <o laoM- 
late her .'scape, and p.iilly bi 

;.,iJllh. . 


Seguidilla .Near the Walls 
of Seville) 

[ly Gi-raldinL' Farrar, 
Sopran,, h, Frcmhi 

8HS1 1 IZ-inth. ».1.00 
By Maria Gay. Con- 
tralto ./., Ilulia,,- 

tflOflS lO-inch. 2.0I> 


f Spa,! 

beloved daiues. .,nA Us rhythm i 
iascinating. [^i/et ha. yiven u, 
lianl exampk- In ihh damty ni 


I .li=t. 

BeauK a dianHm baa aot too mucb. 

Jojc: 'SDincthina cIk? 

Vej. I'will (ell you. 

Wbal >he bu rven. I will to Ibrc rcndci. 

Your mother with me trom the chaucL cm 

And Ifaca, lovincly, (he luucd mc, 

"My daughler," uid she, "lo the eil* go; 

When arSved in Seville. 

Thou Hilt Kck am Jose, toy belnveil tan; 

Tell him that hit notber, 

By nighl. by day. thlnki oi her Joie: 

For blm <be alwayt prays inil hopes. 


Jo«. 1 


■""My home in yonder Taller, 

Mv mQlher lov'd thalt T e'er (ce? 
Ah tondiy In my heart 1 cherish 
Mem'riu ao Jeir yet to me. 
That one iweet haiK. 

will ttrenalh anil cauraoe fiie thee. 


t thy h 




Although Jott t»y» to himiielf thai the girl ig 
the time with hec gypsy Kings, the worda which full on tiia 
ramparu of Seville^of a ■oldier she lovea — b common aoldii 
JDKi of Joie and rouae in him a love for the changeful g3^ay, wh< 
of hi> downfall. 

He unties her hanila. and when the aoldien are conducting her 
who falU, and in the confuaion ahe eacapea. 

/(») Fir»t Intermezzo By Victor Herbert'! Orcheilral 

Ub) Prelude— 1« P»rt By Victor Herbert'a Orcheatra/ 

ACT 11 
SCENE— ^ Taatm In the Suburbs of Steille 
The second act opena amid the Bohemian surroundings of the 
tavern of LilluPaitia: the wild tune with which theorcheatra leads 
off depicting the freedom and gaiety with which the mixed char- 
acters here aaaembled are wont to lake enjoyment and recreation. 

Les tringles de sistres (Gypsy Son^;) 

By Gerald! ne Farrir. Soprano 

{In French) 88312 12-inch. *3.00 
By Emma Calvj. Saprano 

(/n French) 8S124 12-inch. 3.O0 
Carmen again leads (hem with her song, another lively gypsy 
tune, in the exulting refrain of which all join, a picture of reck, 
leu merriment resulting. 

Ah! whrn of ny guitars the sound 
On, the air in cadence ringinE. 

To dsnce a mrrry, maiy round. 
While lambourine^ the claim prolong. 
In rhythm with the music beating. 
And ev'ry voice is heiid repeating 

imusing herself, and whiling away 

»e play upon the ieel. 
■ fated to be the cause 

priacn ahe pushes /cue, 
70067 12-inch. *I.Z5 


Bui Carman n ihinklni! of the soldier who went to pruon 
for her s.>ke ^md who, now a, liLer.y. will •koftly ba with 
her. I Icr niusiniis nre inlorEiipicd by (he aiTivBl of a pro- 
cession ill honor of Escamillo, ^^llosc appearance u followed 
by ihe famous "Toreador Sont; " 

Cancion del Toreador (Toreador Soo^) 

By Titta Ruffo, B; and U Scali 

Cfiom; \hillatian\ ^2065 t2-uich, 13.00 

By EmiHodcG.>«oria. Baritone, (md New 
York Opera Chorus 

Jn h'remh 88178 H-inch, 3.00 
By Pj.quaL' \ B n 

88 27 12 inch, iJOO 

8 073 12 inch. 3J0O 

By Re 

inald \>. 




1.90 1 

By Al, 

in Tur 


D 3 10 inch. 

„ 1 

By Fr 

anCL-SL-. C 


L> ppini Huguet. 




nd L 

w2o 8 10 inch. 

:;;;„;;:■ :. :, .. ,. 

naite la '. qui va ia ? ^ 
iHah There!) 

By Gcraldir 

le Farrar. Soprano, and Giovanni Martm.'l 

lUBulers, and dar 
xiris ore asA.-sf.. ■ 

« h.-r fa.cnatior.^ on ih,- -lolid s-.ldu-r to ln,l 
IC-.-S for him -vhil.- U,- w.,1. h^s li,T wid, f.,s.N 
r,s hp iii rcmin.l,..) oi h,<. -!,,tv wh'-n he Ke^ir 


" Tli€n gok ] hale you I " ntyt Cirni 

nil mock* him, unsiDK 
. I gtily »ng and danced. 

She !■ Furious, and pitches 

I cap and labre, and bids him bcBone. 

(French) (luliio) (Enlluh) 

Air de la fleur — Rotnanza del fiore—Flower Son^ 

By Enrico Ciruio, Tenor 

Un French) 88208 12-uich. *3.00 
By Enrico Caruso. TcDor 

(/n Italian) 88209 12>iach. 3X)0 
By Herman Jaillowker, Tenor 

(InFrtnch) I602I 12-inch, 2.00 
By Fernando de Lucia, Tenor 

(/n Italian) 76001 12-iilcb. 2.00 
By Giovanni Mirtinelli, Tenor 

(In Fraich) 74391 12-inch, 1.30 
By Evan Willuma, Tenor 

ilnEnglUh) 74122 I2-ineh. 1.50 
By John McComuek. Tenor 

(In llaUan) 74218 12-inch, 1.50 

Desperate at the thousht of losing her Forever, "Don 

Jatt shows her the flowers she threw hitn at their lirst 

meeting, and which ha had preserved, then sings this 

tovely romance, beginning: 


La anrqu ■■ BM^mli |« - u ■ < I>u* iM pri-aee rn'Mslt nt-tt ■ 9 
7UtJbm'rjmirmrrltmt,^-gn^-l^ •ttUfri-mi malli Prt ktpl Uaf fmt ■ tt 

The struggle between love and duty which has been dis- 
tracting the uniortunate lover is now seemingiy forgotten, and he 
pours out his heart in this romanza. telling only oF his great pas- 
sion For the beautiFuI but heartless gypsy- 

\■K^■S >se; 
This fluwcr you Rave to me, dcxradid 
'Mid prifion walK I've kept. Iho'^ faded: 

[ bloDin 

NisHl snd day in darkn 
I (lie truth, Canni'ii, ai 
lis loved odor did I I»l 
And wildly calird thte 
My love itself I cur«.'d 



.---,j^ , 





BV'^' ^j^^ 

ml '■ 

^■k^j ' ^1 

Cast of the Metropolitan "AU- 



Star" Revival of Carmen 

: of Carmen 'i faaciiMtio«M, JnB \» about to return to hii dut} 
is auperior officer ZorWfa. who ord«n him back, decides 
9 the overbeariiiB tona hie captain naea and defie* bim 
^d and bound by the gyftmet, and the amuKKlen all depart on 


La SciU Orcheitri {DaMc^accJ —Set pagi 69) 6210 

-treat in the mountaiiu is muncolly deacribed hy d 
lody given to the flute, with a pUdcato ace 
in turn, tha >tringa joining in the coda. 











Ipagt 69). 
rue is already repenting 
rel with/oic. she join* 

SCENE— yl WllJ and Rocks P"" I" "•' Mou-lalnt 
A« the curtain riset, the smugglen are Been entering iheir rocky lair. 
famou* sextette, a portion of which ii given in the "Gema from " 

The >inugBlerB prepare to camp for the night, it is eviden 
oF hi* folly, and that Carmen is tiring of her latest lover. After 
Ftaiqulta and Maceda, who are telling fortunes with cards. 

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

By Geraldiae Fxxar, Soprano (/n French) 88934 12-incb, *3.00 

By Livin de Casas, Contralto 

(.Piano ace.) 

(lnHallon) *b2bl7 10-inch. .75 

Comen tells her own fate by the cards. 

eaditig death, first for herself and then Eor her 

ivei. In vain she shuffles and re-lriea the 

esult: the answer is ever the same. 


first to m,-, and 

The neighbo 
amugglers retire. 

nd the stage 

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

By Luisa Telraiaini. Soprano 

(In Italian) 88S03 12-inch. *3.00 
By Geraldine Farrar. Soprano 

ilnFrtnch) 68144 12-inch, 3.00 
By Frances Alda. Soprano 

(/n French) 74333 12-inch. 1.50 
By Alma Cluck. Soprano 

(/n French) 74245 12-iach, 1.90 


Into tht* atruiKe Bud wild acene aow entera Mlcada, tke peaiant ■weetheart of Deajatt, 
who hw Foigotten her in hia (aacination (or the wajivrard Carmen. Mlcaela haa braved tlie 
dangeia o{ the road to the >muKxIera' retreat, wKilher Donjate haa followed Cermtn, to eanji 
to the aoldier a meaaagc From hia dying mother. The innocent girl ia fnghlened by the vail 
■nd lonely mountains, and in her aria appeala to Heaven to protect her. ingenuoualy ccn- 
feaaing her love for Don /ote and her deteetatian of the woman who hi 
led him away from hia duly. 

1 Iry not to own thai I Ireitiblc; 

Hut I know I'm a coward, allbo' bold I 

Ah! inv can 1 ever call up mv courage. 
While horror and dread chin my tad heart 
with ffOf? 

Alonr and sore afraid. 

Ah! heav'n. lo thee I humbly prsy, 

Pmt»'t Ihou me. and guide and aid! 
1 Khali sre the iiuiUy creature, 

Who by »rta doth sever 
Frnm his counlry. from hii duly. 

Him 1 loved— and shall love everl 

ItuI hcT power aflfrighli me not. 

The young girl, hearing a ahot fired, runs into a cave in fright. 
/oM, who ia guarding the imugglera' effecta. haa aeen a stranger and 
Area at him. It proves to be Eteamtlh, the toreador, who baa come 
to join Carmen, He appeara, examining bis hat with rueful gaxe, as ^ 
Jot't bullet had gone through it. "Who are you >" aaya the latter, c""' 
"lam EKamltte, toreador o{ Granada I" repliea the bull fighter. lasBTim ai rusotttr* 

Je auis Escamillo (I am Escamillo!) 

By Uon Beyle. Tenor, and Hector Dufr*nae. Baritone 

(D«»fcA»l— &> M(t 69} {InFnmh) *62790 IO.Inch. M.TS 
The two men compare notea, and learning that they are rivala, Joit challengea the odtar 
to a duel with knivea, which ia interrupted by the timely arrival of Carmtn heraelf. Thia 
dialogue, with the fiery duet at the cloae, well depicts this exciting scene. 

Finale — "Mia tu sci" (You Command Me to LeavcYou) 

By Antonio Paoli, Tenor: Giuseppina Huguet. Soprano: 

Inez Salvador, and Francesco Cigada lln Italian) 92035 12-ii)ch. nJOO 

A dramatic scene between Caimen and Jot is interrupted by Micaela, who bega/MC to 

return to his mother: and Comien, with fine acorn, echoes her request, Thua to leave hia 

rival in posaewion of the field is too much (or the soldier, who swears never to be parted 

from the gypsy until death, J[lclFl.^: 

Thy mother «ail- Ihee there. 
The chain that binds Ihee, Joie. 

Go. and go quirkly; slay not here; 
This way of life is not /or thee: 
JolE <ro Carmen): .,.,= .,. 

Casmen: 1 cannot follow thee. 

Yes, thoD ulinuldsl go— (To Cfrmer..) 

Yes, that ^Ihnu maysl follow AnYl will force ihee to know 

Another lover— thi- toreador! And submit lo tht fate 

No. Carmen, 1 will not depart! That both on. lives unites! 

The meaaage from bis djring mother, however, decides him: he will go. but vowa to 
return. In thia wild and tumultuoua number the jealous anger of Jiae gives rise to some 
highly dramatic singing, delivered with extreme intenaity and power by Paoli, the tragic 
theme at the close being introduced with meaning effect. The Toreador chorus indicatea 
the triumph of EtandUa in the KTPey'a attentions^ and thia with the orcheattal close alowly 


in the may 


Third Intermezzo 

By La Scala Orchcatrx 

'62101 lO'inch. fO.TS 
By Victor Herbert'* OrchcBtra 
(Preceded by the last part 
of Prelude to the Opera) 

70066 12-inch. 1.25 

This ghoct inlermezzq is a quick 

buatling one. only the plaintive oboe 

solo suggealing the tragedy which is 


(A Sqaore in Seville, aHlh ihc walU of Ibt 

Bull Ring shown o/ the back) 

The fourth act opens with a 

momentary brightness. Outside the 

Plaza dc Toro,. in Seville, an animated 

■r the 

hawker, of Fans. 

s the 


inge eellets. 

.1 the V 
extremely gay. and affords welcome relief from the ir 
Eicamlllo, who has returned to take part in the 
the refrain of the Toreador Song in hia honor. 

Si tu m'ames (If You Love Me) 

By Geraldine Farrar . Soprano ; Pasquale Amato. Baritone : 

with Metropolitan Opera Chorus {In Fttach) 89086 12-iach. t4-00 

By Inez Salvador, Mezzo-SopraDO, and Francesco Citfada. Baritone 

{In Italian) '62102 lO-inch. .75 

EMcamitla takes farewell of Carmen before entering the arena. He promises to light the 

better for her presence, and she. half conscious of what is coming, avows her readiness to die 

(or him. This number is full of lovely melodies and one of the most beautiful in the opera. 

As the ptocesiion passes on. the warning comes to Carmen that Jose is here, to which 

she replies that she (ears him not. 


C'est toi 1 I You Here 7 

By G^rMJm.- F^irrar. Soprano, aad Giov.nni 

Mjriiji.'lli, Tt'nor l-fciiJn 88533 12-inch. »3.00 

lU Mile, Br.-.hly, Me:zu-Sopr>nq. 
and I.L-.,n Cjm|ijjrn„lj. Ttnor 
III I '.'>./>' 9S084 12-iiich. 1.50 

Je t'aime encore i Let Me Implore You) 

By GtrjlJInt Farrar. Sunnno; Giovanni 
Mji-nnilli. Tenor ; with Metropolitan 
UpcfjChurus /V.vjc/iJ 8B531 12-inch, 3. 

Ill 1 1. lull 55084 12-inch. l.SO 

Duetto e Finale iDuet and Finale) 

By Maria Passeri". Soprjnu: Antonio Paoli. 

Ti-nur; and La Stall CliLirus 92050 12-inch. 3.00 

/nse now fjilcrs and mnbca a last appeal, which ia dramatic 

in its mifn-^uy, li lakes ihr form of a swrnsing meWy lo an 

inaislenl irlpltl accompflnimpnt. To each lequcil of her lover. 

Carmen adds her disdainful negative, recklauof dangei. 


i Carmen Selection 
Guards Call, Prtlud^. A^t 1 -& 
Toreador Song 
iCarmcn Selection 

OpeningofAcl l-"l labanera." ; 
Boys. Acl 1 - Carmen's Defiance 
[ Manon-Jh ! fusiz Joucj image I 

By P 


3y M. TioC' 


lo-inch, .75 




Genu from Carmen 

Chorui. "Here They Are" — Solo and Chorus, " Habanera" (Love !■ Like 
■ Bird)— Duel," Again He See« Hi« Village Home ■"— Sextette, "OurChoien 
Trade " — Solo and Chorus, " Toreador Song " — Finale. 

By Victor Opera Company {la Engllih) 31643 12-inch, 

(Toreador Song By Reinald Werrenrath. Biriione. I 

i aad Victor Cfaoru* (/n French) }55068 : 

I Pagliacci—Prelogut By RdnatJ Wencnrath. Baritone (In /lallan)} 
rToreador Sonj By Alan Turner, Baritone (/n EnjftiA)!,,,., 

1 Tnoalott—Ttmpal of Ihe Htait By Jllan Tamer (/n EngZ/jA)/'"'*' 
jPrclude (Overture) By La Scali Orcheitra\,_.._ 

\ Damnation o/ FamI— Hungarian March Bii ^mim'i Bc.nJ/*""'*^ 

{Prelude (Overture) By La Scala Orchestral 

Scena delle carte iCardSong) }626I7 

By Lavin de Caaag. Contralto (Piano ace.) (In Italian)} 
ICaatone del Toreador (Toreador Song) By F. Cigadi. Bari- I 
tone: G. Huguet. Soprano: L Salvador, Mezio-Soprano: lfc,-L,o 
La Scala Chorus (/n Italian) "*"^ 

Caealleria Railkana—lnlermezai By PrSor'aOrchealra) 

j Intermezzo — Acto III, Aragonaiie La Scala Orehestra, Milan] 
{Se tu m'ami (IfYou Love Me) By Inez Salvador, Mezeo- [62102 
I Soprano: F. Cigada. Baritone (In Italian) \ 

IJe suij Eacainillo (I Am Escamillol) By Lton Beyle, Tenor: I 
Hector Dufranne, Baritone {In Freneh)}b27SO 

VaUedes T^uu (M^ra) BgMlle. Luceitt Kotioff. Soprano (French)] 
Preludio, Acto IV By La Scala Orchestral . 

Sorma—Mln o Nomit~By Ida QlacomelU. Una Mlleri {Italian)!^ 
/Carmen Selection (Xflophone) By Wm. Reitei,,-,., ,_ . . 

\ Bohfme-Matella IValtc (WhlMng) B], GaiJa Clotdlnir'"'^^ lU-mcn, 

i Carmen Selection By Vessella's Italian Band) 

Prelude— Toreador Song— Habanera [35610 12-inch, 

Ceronalhn March (LePraphite) (.Meyerbeer) By Veudla'i Bj 
IC'esttoil (You HereT) | 

{ By MUe. Brohly: M. Campagnola (In FrencA) }55084 12-inch, 

IJe t'aime encore By Mlle.Brohly ; M.Campsgnola (FrencA)j 



SANTUZ/A, l.'^n.iooi'.^ut 

T v,ll,I,g t.1,1 

L.lil.V (l.ouri,.h< wife of 


IlKIDDU. I y»,.f«'-J™) By 

ounB sol.liT 

All 1(1. .Af-frf.ul> a team 

Ml l\, rLou-fAct'-uAf molhc 

r of lundda 

Chorus of P^a^a, 

sand \ill.t,L 

X Chorus 


n^c «Cno is h 

a in It ^Kiitun 

utU.,.. 1 


Pielro Maaranni. son of a b 

ker m Lct.hor 

hia falhrr lo succe.-d him in b 

U8,n<-ss the jount „ . 

Cherubini CoMBcrvalory. He b 

Bin composm 

iracled al.erlion until IHW. «i. 

en h^ entered 

pubUsher. SecuriiiH o llbrclto b 

p\eX ',1 

wholly of this opera in ei^bt dai 

\%orl( lull 


melody, and M.lly «onlhe pn« 

Produ., d ■ 


a shoil lime has become one of 

lar of ope 


rJ„ H^^i^na t^ 

«(«,. hv k'-'J 


I'V.-i D"tmed by 



TuiiJdu, B young Sicilian peasant, returns Irom the 
war and finds his sweetheart. Lola, has wedded Alfio. 
a carter. For conaolation he pays court to Sanlfiia. who 
loves him not wisely but too well. Tiring of her, he turns 
again to Lola, who seems to encourage him. Saniuzza. in 
despair, confides all to Turiddu's mother, and when A(fio 
relutns tells him all. He is furious, challenges Turiddu and 
kill. him. 


By Ves.elU's lulian Band - 

Part 1 and Part II 35453 12-inch. *1.25 
By La ScaU Orchestra *35104 12-inch, 1.25 

The Prelude lakes the form of a fantasia on the 
principal themes of the opera. During the number TaHdda't 
voice is heard in the charming Skiliana, m which he tells of 
his love for Lot- : 

SicUiana (Thy Lips Like Crimson Berries) 

By Eiuico Caruio. Tenor (Wore ace.) {In Ilatlan) 87072 10-inch. 12.0 

By Giovaani Martiaelli. Tenor (Harfi ace.) tin Italian) 64544 10-inch. 
By Theo Kvle. Tenor (In Engllih) '18061 10-inch, 

By Leo Slczak, Tenor (InGcrman) 61202 lO-inch, 

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

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

delightful lerennde is almost the only bright spot in Mascagni'a 

passionate and tragic operatic melodrama. 

SCENE—/) Square In a Sicilian Village 
After the Sidllana the chorus of villagers is heard, also 
behind the scenes. Sind during this chorus the curtain rises, 
showing a square in the village, with the church at one side 
and the cottage of Turlddu't mother on the other. 

Gli aranci olezzano (Blossoms of Oranges) 

By New York Grand Opera Chorus 

{In Italian) 64048 10-inch. *1.00 
By Li Scab Chorus 

(/n Ilalian) *66218 12-inch. 1.25 
It is Easter Day and crowds of villagers cross the square and 
enter the church. Sanlazza enters, and knocking at Ltic/o'i 
door, asks her if she has seen TariJdu. 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 villager 
announce Alfio, who appears and sings a merry song. 

11 eavallo scalpita (Gayly Moves the 
Tramping Horse) -«.ra»wiMo 

By Pwqiule Amato, Baritone (tdlh Metropolitan Opera Chorus) 

(In Ilalian) 87097 10-inch, »2.00 
(/n Italian) *45003 10-inoh, l.OO 

By Rento Minolfi, Baritone 


{■■ 13 lidppy and free, hia wife Lola loves him and guaids 
wIuIp he is gone — lhi» i« the burden of hia aii. 
Ihepc.iHanM diiperaeand Aljio ialcit wilh Lucioand Sonlit 
-. 1„. says he ha. iusl «en Tanddu. Lucia i» Butpr i«d, 
V"-tiiTi- from Saniuzza she keeps silenl, 
Mi'.'F Alfia has entered the chuich, the Elastet music is he 
11 .ind i<\\ Itneel and join in the singing. 

Rcgina Coeli (Queen of the Heavens) 

Uy Li Scala Chorui {InllalianJ •68216 12-inch. >l.23 

All HO iiilo the church except Lacia and Saniuzza. and the 
.baiLaled girl now sings her touching lomanza, beginning: 

,h-T p 


Voi lo sapetc (Well You Know. Good Mother) 

By Mjrt;:irctc Maiicnauer. Contralto [In Italian) 88430 12-inoh, »3.00 

By Emma Calvii. Soprano {In Italian) 88086 12-incb. 3XM) 

StiinR wiLh the lEcnenibiance oF her gtcat wrong >he nnn of vengeance, bul love over- 
powers revEiige. and in spite oF herself, she criea: "( loveil Dim I ah, I loved hirol " Then 

the ifioupht of her rivnl, Lola, returns and she gives way lo despair, throwing herself at 
the ierl of the gentle mother oi Turiddu. who is powcrks^ lo ...d hci .in.! who can only 
pray tor the wretched woman. 

Lucia tries to comfort her and p.-iascs into the church just as Turiddu a 
Saniuzza why she does not wo to mass. She says she cannot, and accuses 
which puts him in a rage, and he tells her brutally ihdl she is now nolhing 

Tu qui. Santuzza (Thou Here. Santuzza! 

By [). Bcsalii. Soprano, and G. Ciccolini.Tcnur llaha,, S.SOZZ 

No No Turiddu 

Q U B salu and L 

Turiddu mi tolse 1 onore Turiddu For&akes Me 

ByB.Bcsalu anJE.Badini -.Inllalum 5.M)21 12-,n..-h. H .50 

By Cbra Joanna and Renzo Minolfi i/n llalian: ' AjWM l(>-,nL.l,, 1-00 

Ad essi io non perdono ("Tis They W^ho Are Shameful) 

ByClaraJoanna and Renzo Minolfi (//. Ilalion) '45002 10-inch. » 1.00 


piereot the consequence* of her 
tha heautihil Intermezzo U played. 


Victor Herbert's Orcheitra 

60074 10-i 
Pryor*! Orcheitra *626I8 lO-i 

Victot Concert Orchestra 

■17311 10-i 
Vcsselk'a lulian Bind '67896 lo-i 
Pietro's Accordion Quartet 

'17941 10-i 
Uurtado Brothers Royal 
Marimba Band 18048 lO-i 

The instantaneous popularity oF I hit 
was remarkable, and in no small measu: 
to make CaoaUeiia RiaHcana\\it liemendoi 
that it was. The beautiful melody and the lovely 
backi[n>und of peaceful harmony make the Inlei- 

After the storm and passion of the iirst scene. 
(hU lovely number comes as a blessed relief. The 
curtain does not fall during the playing of the 
Intermezzo, although the stage is empty. 
PART 11 

A casa, a casa (Now Homeward) 

By La ScaU Chorus 
The services being over, the people now com 
less mood, invites thi 

, *0.7S 




Brindisi (Drinking Son(f) 

By Enrico Caruio, Tenor 

By GeOTge Hamlin. Tenor 

By Otto Marak. Tenor, and Chorup 

(InlloUan) 81062 10-inch. f2.00 

{In Italian) 64245 10-inoh. 1.00 

(In Gernian) *4508S 10-ioch, l.OO 

tone of Maocagni's opera comes tkit merry 

lOugh at thai moment the culminalmg tA*t - AJ, J^ ^ 
gedy ot the dud wae close at hand. ' ^ * ^ - ~ ^ ^ 

■ l iMa g'i l Br i 


t fori 

^tfio now entera. and when TarldJu offere him a cup, he refuseB. Turldda thtot 
the wine, saying carelessly. " Very well 1 suit your plesBure I " 

The seiiouaness of iKis scene ii not lost on the peasants, who now leave the 
men together. A challenge is quickly given and accepted after the Sicilian !i 
Tuiiddu vicioualy biting Aljia'a ear. end they arrange to meet in the garden. 

Turidda riovv cbIU his mother from the cottage, and asks for her blessing, biddin 
if he does not return, to be a mother to Sonluiia. 

Addio alia tnadre (Turiddu's Farewell to Hia Mother) 

{In Italian) B6498 12-inch, 
{In Italian) 76015 I2-mch. 
(In Italian) *'99021 12-inch. 

By Enrico Caruso, Tenor 
By Gennaro de Tura, Tenor 
By G. Ciccoliai. Tenor 


Finale to the Opera 

By Mmes. Joanna. Rumbelli and Chorus 
Lucio is distressed and bewildered, and calls ah 
now heard and a woman screams " Turiddu is mur< 

senseless, and the curtain slowly falls. 

{In Italia 

n) *49003 10-inch, t 
liringly. Confused criei 
ttuxia and Lacia sink d 


{In Entli,h)] 

rCemi from ~Cavillerii" By Victor Opei 
I Gam from ••Pagllaca" By Victor Opera Company 
iTuriddu, mi tobe Benla and Badini {In llaUan\\ ..^^ , 

IMainma. quel vino By G. Coccolini. Tenor (/n /Mfran)l'*"" 

{Tu qui Saatuiii (Thou.Santuzzi) By Beialvi and Ciccolinil,,..- 
No. No. Turiddu By Be»lil and Ciccolini (/n Uallan)^''^^^ 

/Prelude By La SciU Orche»traU«.nj 

iSelection ("Alfio-.Soo,.- "EutefChonl.,- ■■|n«rn,«zo ") Pryor'^BP'"'* 
ICli tranci olezzano By La Scala Chorus 

" ■ By La Scala Chorus 

By Joanna and Minolfl 
-By Joanna and Minolfi 
"' Joanna. Soprano; Sra. | 

,nd La ScaU Choru. (/n /(o/tan) 49003 


{Turiddu. mi tolse 
Ad easi io non perdi 
■ Finale dell' Opera— By CI: 
I Rum belli. Mecio-Sopr: 

(In Italian) 


:aV3llo scalpita By Renzo Minolfi. Baritone l/n Italian 

(A casa. a casa (Now Homeward I] La Scala Chorus (ItaUan) | 
1 Cuglitlmo Raldig— Padre Noilra Mu,«nl and Molinari (llalianji' 
IIntermei£o By Pryor'i Orchestra) 

t Carmen -Toreador OgaJa. Huguel and Chorum lllalianll 

llnlermezzo Victor Concert Orchestral 

1 Tale, of Hoffman—BarcamlU Victor Concert Orcheilral 

{loterniezzo Pietro's Accordi _ 
PagUacci—Vtill la glabba (Accordion) Pieiro) 

flmermezzo Venella's Italian Band) 
t Minuet [BoccherinI] Vaaelta', Italian Bandi 
rrrinklied (Drinkintf Sonff) Otto Marak and Chorus (Cermanll .,__- 
• — ■-—■■■■ — /„ /:,„„„! r ♦^*""> 

J 1-450 14 


12-inch. •1.29 
12-inch. 1.50 
12-inch, 1.50 
12-inch. 1.25 
1 2- inch. 1.25 
lO-ioch, 1.00 
10-ineh. 1.00 
10-inch. l.OO 
10-ioch. .75 
10-inch. .75 
10-inch. .75 

6TB96 10-i: 



Her Heart {Sherma, 

Andreleaa-lAarak and Chorus {In German) | '*" 
_ By Theo Karle. Tenor {In E"gl''l>)\igofyi 


Comic opera in three acU. Text by ClairviUe and Gabet; munc by Robert PUnquette. 
First produced at ihe Folia EhamaUqua, Paria, April 19, 1877, where it ran for 400continaaua 
perfoniiBiicea. Flril New York prodtiction at the Fifth Avenue Theatre, October 27, 1877. 


HENRI, the MarquU of Vallerm 

GRENICHEUX. b young villagor Tenor 

GASPARD, a mi»er Ba« 

SERPOLETTE, the good-for-nothins Soprano 

CERMAINE, the loit Marchiooeaa Meizo-S(q>nuiO 

Sheriff Bam 

That and Ptact ! Nonnmtiy: ttntt tif Loali XV. 

The Qkimes of Normandy abounda in atriking numbcn. 
and the muiic i« full of gnyety and French grace. It ha* had 
no Jeaa than aix thousand performance*^ • teatimony to its 
enduring place in popular appreciation. 

The opera openiinan old Norman villaoe, where a fairia 
in pragreei. Henri, the Marqali of Katfenri, nai juit returned 
to nia native tovm after an absence of many yeara. The 
■oiiKT rLAHguETTi village goaaipi are discuning with vehemence, scandal* about 

StTpolclte, the village good-for-nothing, who arrive* juat in 
time to vindicate herself by turning the tables on her traducers. Ca^md, the miaer, haa a 
plan for marrying hi* niece, Germalne, to the aheriff, but the youtlg giri objecta, telling him 
that if ahe must wed she feels it her duty to marry Gnnlcheux, a young villager, in gratitnde 
for his saving her life. To escape the marriage, which is distasteful to both Gamaint and 
Crtnlchaa, and to fly from the vengeance of Gaipatd and the sheriff, she and Gnnlcheux take 
advantage of the privileges of fair lime and become servants of the Maiqidi. 

In the second act the ghosts are reported to be roaming the Castle of Volleroi. The 
Manjutt does not credit these stories and soon discovers it is only old Gatpard, the miser, 
who, when found out, goes crazy through fear of losing the treasures he haa concealed 
there. In the last act the castle is restored to its former splendor and the Marquii is giving 
a (tie to which he invites all the villagers, including the crazy Gaipard. Strpatellt is there a* 
a fine lady with Crenlchtax as her factotum. After a love scene between the Maniiili and 
Cermalnc, it is discovered that the latter is the rightful heiress and true claimant to the title 
of MarchioncB. The story comes to a fitting conclusion with the betrothal oF the Marqalt txtd 
Camalne, over whom the bells of Comeville ring out sweetly and gladly to tell the happy newa. 

Getns from " Chimes of Nortnandy" Victor Light Opera Co 31788 12-inch, tlJW 

Cl>ci™i, "Silini HHDe.-"J'»« Look « Tlus"-"Cold Swew is on 
Mj Brow — Thst Nislit ill Ne"er Fcjr«el"— "Bell Clicjrai"— Finsli. 

I Selection of the Principal Airs By Souss's Band! 

"Suntlal Monger. Ca»ip Gadder," Ad I— "JoM Lank ■! Thii"— L,.., ,,. . ,». 

•Th.. Night lirNeerForset.' Aa m--"S«ien I'm by Your Side." 35134 12-ulch. 1.29 
Act ll-"Legend oi the Belli." Act 1— "Not s Ghost u All," Ad 11 
Nalla InUrmaio—-Pai da FUun (Dellba) -PryoT'i Bandl 

Selection of the Principal Airs (Some oi oiove) Sousa's Band 31180 12-inch. 1.00 

I Pott and Ptaiant Ooatun (wm Suppt) Prsor i Bana I 

i Selection of the Principal Airs By Victor Orchestral 

"On Billow Rockinj|'-''\l'ith Jaj Mr HoMt"-"As He'. Lookins l.,.o„ , , - t .... 
SomewhM Pale '-^Xesnd of the Belli"-"Ju.t Look u "Hist. Ju.1 ^33983 IZ-Ulch. 1.29 
Look St Thii ■— ■■CidBcSmn"— Fmalo. 
£nnMs Siiadkn Vider (Mialial 



Text hy A. D'Ennery, Louii Gallet and Edward Blau, l>aMd upon the play of iKe i 
Dame by Comcillc. BloHCying a Famoui Spaniih hero. El OJ (1040-1099). Mu»c by j 
MaMenet. Firit production at ike Op«ra. Paria, November 30, 1SS3, with a notable 
including Jean and Eduard de Reszlie and Pol Plan^on. The first American produc 
occurred at [he New Orleans Opera. Fint New York preaentabon February 1 2. 1907. i 
the de Reszkea, Plan^on, Lanalle. de Vsre and Litvinne. 


King Ferdinand Baritone 

Don URRAQUE, hU eon Baritone 

Count Cormas Bass 

CH1M£NE. hU daughter Soprano 

Don RODRICUE. known aa The Cid Tenor 

Don Diego, hi> father Bats 

LEDNORE, maid to Chim^ne Soprano 

Courtiera, »oldier«, townspeople. 

Time and Plao 

StollU, Spain : Tenth Cenlary. 

:t Rodrigae. i 
[ueror.- and 
h the Moors, 

As the curtain rise* upon I 

iffectionately called "The Con<fL 
returned from a aucceuful encountr 
to be knighted by King Ferdinand. The ceremony tal 
at the house of CounI Carmai, whose daughln, Chim 
love with the Cid. The affair has the approval of the King 
and the royal family, for while Ftrdinand'i daughter 



npOBsibility of such a i 

e of her 


QJ'i father. Tlie loaa of the appointment 
which he had been led to enpect eo infuriates 
the Coanl that he gro»)y insuhs Dicgo. who 

appeali to his son to sven^ the honor of ihei 
family. The Od promiBeB. but ia dismayed to 
find that it is his belrnthed's father who is to 
be his adversary in the duel. By accident, 
rather than design, Rodriguc kills the Count. 

to avenge his death. The King, however. 
refuses all her entreaties for justice, and will 
not condemn Rndrigue to deaiK; one reason 
beiiiR that the Moors are again advancing on 
Spain, and the GJ is needed to command an 
army which is to goto meet them. Before his 
departure he seeks a meeting with Chimint. 
who. despite her father's death, cannot alto- 
gether harden her heart against him. 

The Cid'i encounters with the Moors at 
first result disastrously, and news of his defeat 
and death is brought to the King, but a second 
report says that he is alive and has routed 
the enemy. Shortly thereafter the hero him- 
self appears, and Chiminc. love for her father 
again uppermost, demands that he be con- 
demned to death. King Ferdinand acquiesces 
without any real purpose of complying, and 
requests her to pronounce the death sentence. 
This she cannot bring herself to do. and 
when Roi/n'^ue draws his dagger to kill himself 
if she will not wed him, Chimint is forced to 
acknowledge that love conquers all. 




IT HWtHiTi! M. l.ftn^ W 

"t--- I 


' O souverain, 6 Juf e. 6 pSre t 
(Almighty Lord, Oh Jud^e, 
Oh Father!) 

By Enrico Caruso. Tenor 

UnFrenrh) e8»94 12-inch. 13.00 
Mr. Caruso has given the air from Act III. 
which Rodrigue sings alone In hi* camp the 
nighl before the great battle with the Moor*. 
giving it in the original key. which is a crucial 
test (or any singer. The short introductory 

ruly her 


.\lT|ii|i1ily l."iil, l)h ,ludei-. nh Father. 

1 l.u'-. 'Tl»"'''lili','''i'ii"' cbrk'lhf 'lUy': 
I fi.ll.iv,- wlirr,- Tliv law ^hall Irad "le, 
N'< vain r>'»:i<'t <-haII f'er Ih- mine. 
Thine iniasr only ^lanfls h<-turt' mr. 
My >ou] sfaall trust Iliy lore divine! 



Text by Lu!^ lllica. Muiic by Alberto FrBnchetti. Pint produced at Genos in 1692; 
and ■ Tevi*ed venion was bTought out at L> Scala December % of the aame ycBt. Pro- 
duced in Hamburg, October 3, 1893. Firrt American production at Bueooa Airea, July 21. 
1900. FirM in the United Stalea at the Metropolitan Opera Houce, Philadelphia, November 
2ft 1913, by the Philadelphia-Chicago Opera Company, the caat includina TiKa Ruffo, RoM 
Raiaa, Amedeo Baaci, Guitave Hubcrdeau. Henri Scott, Ruby Heyl and Federeci Venturini, 
Wamery, Nicolay, Erolle, Foaetl* and de Keyaer. 

Columbus Baritone 

Queen Isabella Soprano 




The libretto, by Luigi lllica. preaenta in 
a simple manner w>me epiaodea From three 
peiioJa in the life of the discoverer of 
America, and takea lufficient libeitiei with 
hiatorical fact to give the atoty a romantic 
touch and an elective ending in the death of 
Ceiambtu at the tomb at iMobtlla. 

The first act portrays a square m Sala. 

manca, before the Council chainber, in I4C0, 

p J fl^^HI ""d showa Cob mA i i i rejected by the Council 

I T^^^^HI and broken in spirit. He is finally befriended 

by the Qncra, who, as a dramatiG and aym- 

pathetic eiMlinK to the scene, takes the crown 

rram her head and preaenta it to him as he 

falls at her feet overcome with gratitude. 

The second act takea place on the Santa 

Maria in 1492. The tailors, discouraged at 

the apparent failure of the long voyage, are 

about to throw Colaitiiut into the ocean, 

when land is sighted, and all are soon 


The next act takes place in America. 
An Indian, husband of Queen Anacoana, is 
murdered by the Spaniards, and the Qneen pretends to be in love with his murderer, 
Ralando, in order to be revenged. The Indians revolt against the Spaniards, but are soon 
subdued, and Ralando handa Anaeoana over to the Spanish general to be deported as B 
captive to Spain. Gueotra, in love with the Queen's daughter, }anil(a, tries to save the 
prince** from being deported, but, as the Indian rebel* are being hurried, the young gill 
dirowt herself into the flames and perishea with her people. 

In the Epilogue the action returns to Spain, showing Gueoera and Columbua among the 
tomb* of the kings of Castile. GucDera goe* in aearch of Queen Iteidia, while maidena bear> 
Bg wreath* enter the crypt. Celumbta i* (o shocked to learn that hi* beloved Queen ha* 
died and is buried there that he loses his reason and dtea of grief near the tomb. 

Upon thi* Franchetti built an elective score with passages of real melody and several 
inMnimental clinuuce* of genuine power. The best number in the *core i* thi* fine air (or 
CUamtai, which Mr. Ruffo *ing* with a gloiiou* outpouring of hi* noble voice and much 
dramatic power. 

Aman laaau le stelle (Our Love is Like the Stars) 

By Tina Ruffo. Baritone (/aAoAan) 8S4S6 la-lndi, (SiW 



Berlioz's dramatic legend in four pail*: book baaed on da . 
L-m, partly by Gandonniere. but conipleted by Berlioz himtel 
. 1646, at the OpAa Camlqat, Pari*, in concert farm, li 
I Damiosch. February 12, 18S0. It was given at Monte 

1693. with Jean de Renke aa Faail. Revived tKei« March 
id Renaud. Fint American performance of the operatic ve 



STOPHELE3 (M<fJm4a/' -tUmt) 

Plaee : A Gtrman elllaa 


In hi* "Fault" Berlioz hai 

Even UB B musical tegend which 
u all the picturesqueneu ol 
the original work. 

Whatever aevere criiica may 
•ay of it! merits in the highest 

■ wonderful work. Strange 

are found side by side; even 
the wild oigie of fiends called 

"Pandemonium." which almost 
tiansgresses the license of genius, 
must be admired for its astound- 
<tral effects. On the 

other hand, ther 
numbers for Margut 

'hich have been 

Berlioz, disregarding Goethe's poem, located the opening scene on a plain in Hungaty 
simply to excuse the interpolation of the ftakoczy March. We quote Berlioz himseU 
here; "The march on the Hungarian Rakociy theme, written one night at Vienna, 
made such a sensation at Peslh that I introduced it into my Faust score, taking the liberty of 
putting my hero in Hungaiy and making him witness the passage of a Hungarian troop 
across the plain where he is wandering in reverie." But f^oul Gunsbourg. who adapted 
the cantata for the stage, changed the first acene to a room with open windows showing the 
la dancing and the military passing by to the strains of the Hungarian March. Here 
Fault soliloquizes on the vanity of all things, while the people make 
meriy outside, and the march of the soldiers makes an inspiring 
finish to the scene. 

Hungarian (Ralcoczy) March 

By Sousa's Band '68052 I2-in.. tl.25 

By I'Orchestre Symphooique '39462 12-in.. 1.25 

By Sousa's Band 31424 12-in.. l.OO 

By Pryor's Band 4314 lO-in., .60 

This is Berlioz's trealment of the famous "Etakoczy March," 

known as a national Hungarian melody for a hundred years. Its 

stirring measures so fascinated the composer that, contrary to his 

original intention, he laid the scene of his " Faust " legend in Hungary 

in order that he might make use of this wild and pulse-quickening 

melody. His 

in this 
although a war 
and wrote to N 
Rakoczy Mar. 

of the 


friend of Berlioz, ci 
nc. Tardieu in iaS2 
* * is twice ai long 

to lemember that Liszt. 
Lsidered himself aggrieved 

"My transcription of the 
IS the well-known version 
is. Delicate sentiments of 
induced me to withhold it 

friendship for the illustrious Fi 

from publication until after 

made use of one of my earlier transcriptions." 

Scene II shows Faial alone in his study, as in the Counod 

version. He is about to take poison, when the strains of the 

, Easier hymn come from the adjoining church and arrest his purpose. 

iaud'i sraiEiNO coa- Mtpfilali^hela then appears and suggests that they go forth and 
ITTTON OP MiraitTO see the world together, to which Faaal consent*. 
• DvaUiJ'aiaJHta.iJ—Sw. nan B3. 



The next acene corteaponda to the Csiilen Sc«De at Gounod, and ihtn 
in Marguerile't conase. — ■-■ 
The demon no« 
mona the will-i 

The apritea come flying to MargutHlt'i dooi, and the demon 

, __ , ... __ ._ ... ._. of the devil. 

Then, after the dance of the wiU-o'-the-wiapa, MephUlo^Kla ainga hia aetenade: 

Serenade^ Mephifltopheles 

By Emilio de Goforza. Baritone (In FmwA) 8S447 12-inch. •3.00 

By Pol PUn«on, Baaa (In Fnnch) 81034 lO-inch. 2.00 

in the accompaniment of which Berlioz haa reproduced the peculiar effect of the guitar by 
pluicato creacendoa for atringa. 

Drir Kilhcrinc. why to tbe door of Ihy lover, come Bwiy do nol cMtr; 

DtBweat thDii nigh? Il were (oily to venture. 

Why there timidly hover7 whyart there? Refrain, not enter Iherel 

Berlioz'a MephiMtapMa ia a much more aardonic and leaa gentlemanly devil than the 
otM we are accualomed to (00 in Gounod'a opera. 

While the qiritea danca Mtafaalta apparendy aleepa, but aoon comei from the houae in 
* kind of trance. Sha ttiea to enter die church, but the influence of Mt^MepMei preventi^ 
and ahe return* to the booae and falU into the aima of Faiul, 

The laat act contain* four acenea. Scene 1 ahowa a moonlit room where the uohiqipy 
Mmtaerite ainga her lamenL Thia changea to a rodnr paaa where Mtptitloplttla iafcoma 
Fauti that MarfotHU ia about to be esecDled for the murder of her mother. Faiul demanda that 

a atriking moving pan 

I, while at the close the angels i 

n to rescue the aoul ti the pardoned Margueiitt, 

Hnafarian March ByS _ 

'^dnwn— fWoA Bv La Scaia Orchaliaf'' 

.Muet dca Folleti By rOrcheatre Symphoniquel, 

. o„. ... cnglish. at the Surrey Theatre. December 21. Il 

1. Italian, with Jenny Lmd. The first American peiformance < 
k-e was that at the New Orlean. Ope.a. March 7. I&43. J 
'..tti have all appeared here as Marie. Revived m 1902-03 < 
le for Sembrich. the cut indudins Chariea Cilibert mm Salp 
nerMein in 1909, with Tetnzziiii, McCornuck and Cilibert. 


D, a peaauil of T3no[ 

IZIO, Serjeant of the 2IM 

E. Vivandiire of the 21m 


7^ tant b laid In tht Su)la Tgnl, 

Up to IS40 Donizetti had 
I operu, and during that yeai 

him. Ha Daughter of 
I ihi Rtglmtal ia a bril- 
I liant little opera, with 
I it> rollicking (ongt, il> 

drumi. its vivaciou* 

J old Ctupontl. Few 
I worka are >o rich in 
1 melody or pouen a 

more entertaining p lot, 

which lelU of the Ty- 

loleae peaianl Tony, 

who entena regiment 

to win the heart of i[> 

eleatiJhn, or daughter. 

I firat produced in IMO 


in the Alp* and who foUowa the Tesinient to be 
near her. The young girl retumi hii ajection, 
aod they decide to appeal to Sulpldo, 

In Biting for Mnrfc 't hand in marriaBe Tonlo't 
auit is brought before the regiment, which de- 
cide! that he may have the Vivandiitt providing 
he joini the army, which he promptly does. 
Sulpliio meet! the Marchionea of Btrt^tlJ a.nd 
gives her a letter which he had Found addressed 
to her at the time the baby Marie was found on 
the battlefield. 

The Marchlonai, who had married a French 
army captain far beneath her own ranic, imme- 
diately recognizes the young giil aa her daugh- 
ter. The marriage had been a secret one and 
the child was confided to her father's care at her 
birth. Not wishing to acknowledge this marriage 
even now, the Manhlontu declares Marie to be 
her niece, and dismisses Tonio as a totally unfit 
persork to wed a high-born maiden. 

Marie aasumes her proper position in society. 
her "aunt" selecting a wealthy Count as 
a future huaband for her. However, in the midst 
of all her beaubful nirroundings Maiit continues 
to long for her sweetheart Tbnfo. Her mother. 
Mill pretending to be her aunt, endeavors to 
persuade her to give up Ton/o and marry the ""'' '"■" 
**" Count but Marit flatly refuses. In desperation ''i**'*"" 
reveals herself as the girl'a own mother, and the maiden then urees to 
iihe* and marry the Count. Touched by Marit'i filial devotion, the Mar- 
to allow her to marry Tania, who in the meantime, through rapid promotion, 
has reached a high tank in the French army under Napoleon. 

Per viver vlcino (To Be Near Her) 
By John McCamuck, Tenor 

{InhaUan) T4221 12-inch. 

Variations on an Air ftom " Daughter of the Refiment " 

(Arrinfed by Adolphe Adam) 

By Frieda Hempel. Soprano {French) 86404 

Salttt k la France t (Hall to France I) 

By Mile. Hcilbronner. Soprano 

(OmU^aW— Sh Maa) (In French) 35409 12-iDch, 1.29 




fOrertiu'e to Diufhter o{ the 1 

Reffiment By Pryor'sBaad' 

Dance af the Serpen's (Boccalari) I 

ByPryor' " '' 

35065 12-inch. 


y VetMlla's Band, 
I FmDlaooloSeltcllon (Auber) P 

[ By Vaulta'.Bandi 

rSalut i la France! (Hail to France t) 1 

I ByMUe.Heilbronner.Soprano (FfencA)l_,,_„ 



Libtetto by BBrbier and Cant. M>uic by Ciaeomo MtyaAanr. Rtm prcxlactioa Pkrit. 
Optra Cemlque, April 4, 1699. Fint LondcMi production, under direction of Meyerii— r, 
July 26. IB59. Firit Ameiican proclucti<Hi, November 24, 1064. with Cordier. BrisnoG Mtd 
Amodio. Sung by lima di Muntke at Booth's Theatre in IS67 ; in 1S79 with Mariman wmI 
Campuiini ; and In 1882 with Patti. Revived in 1892 for Maria Van Zandt. and by OMar 
Hammerttein in 1907 For Mme. Tetrazziiu. 


HOEL, a BOatherd Baritone 

CORENTINO. bag-piper Tenoi 

DINORAH, betrothed to Hocl Soprano 


Pfsce: Breton village rfPhbtntl. 

Althongh the name of Meyerbeer ia uaually ••- 
Mciated wiUi Roiien U Diaile, ProthOt and HutaiKalt, 
hie open. ParAm Jt Ptattrntl (afterwards reviaed aad 
renamed Dinorah) , waa at one time a favorite work wiA 

The revival of Meyerbeer's sparkling opera during 
the last Manhattan season was moat welcomei not on^ 
for its tuitefulness, but becanae it was an ideal mediam 
for die «d)ibition of Mme. Tetmmni's marvelous gilll. 
Old fipera'Boei* in America will temembor dM 
productions of the past — that arranged fiH Marie Van 
Zandt in 1892; Patti's famous penofinanea • dooen 
years Wore: and the fine imparsonatiofw of Gorstia'. 
di Murska and Marimon. But it is safe to aav that no 
exponent of the part of the wandering Breton ahapbwd- 
eas has ever excelled Mme. Tetranini in die rAle. 

The plot is utterly absurd — its demented nat'git^ 
seeking a runaway lorsr ; the lover himaelf, iifho ooti- 
Iraiy to operatic precedent is a baritone, and wbo 
spends a year chaiinK an imaginary treasure: a weak- 
kneed bag-piiiei. These are the principal character*. 

But in the music Meyerbeer has atoned for dio 

trivialiw of the libretto, and the audience listens to the 

■ guitii AHCDN* AS iioiL delightful metodies and pays little attention to the plot. 

The action is laid in Brittany. Dinoiah, a maiden of tbo 

village of PloCrniel, is about to be wedded to HotI, a goat-herd, when a storm destroy* 

the bouse of the bride's father. HoiU resolves to rebuild it, and goes oS to seek treasut* 

in a haunted region, while Dinarah, thinking herself deserted, losei her reason, and wander* 

through the country with har faithful goat, seeking the absent Hod, 


As the curtain rises, Dinoiak enters in her bridal dress, seeking her goat, and finding 

the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object) 

Si. carina caprettina (Yes, My Beloved One) 

By Ciuscppins Hu^et, Soprano (In llallan) 35160 12-inch. •1.25 

Slumbtr. durliiiB. sweelly iLumbci, Ptrcfasnce <hc has wandered on Ihc hilU 

S1«p. my belov'd one, ileep! Amid the thorns^ 

e... .L :__ .. ;, pisyiat. Ah! went thou to he wired by the ■""■ 

'Neilh the caoliHB shadows here I will be there tn defend Ihee— fear Dotl 

Flowi a streamlet, fresh sod clear, Yei, darling, deep in peace. 

Swift, among the flower* atraying. Sweet little birds, your warbling ccsse, 

j^., -,_ -..__ .._ ,. -,„^_ jjj, beauleoua one mual aleep. 

Awake ber notl Softer stilll 

j*i»/ «£ r iJt ?> iMT 


CortnBtto, B bBg-p!per, enten and u tomfiad at tha nght o( Dinatak, believins he to be 
■n evil (airy about whom he had heard, who cauaei the runaway Iraveter to dance till he 
diet. Dlnorah, in a apirit of mi*chief, makes him dance until he ia exhauMed, and run* 
away laughing. 

Hoti enters. Mill seeking the tteaanre, and confide* in Cerenlino, telling him that the 
wizard with whom he had lived U>r a year had initiucted him to aeelc for a while goat 
which would guide him to the gold. The bell of Dtnarah'a goat i* heard, and Hotl puriuea 
it, draggiDg with him the terrified Corenlino. 


The second act begins with the famoui shadow dance, (or which Meyerbeer haa 
furnished tome most beautiful music Dlnarah enters, and seeing her shadow in the 
moonlight, imagines it is a friend and sings and dance* to it. 

Ombra leg^iera (Shadow Song) 

By Luiia Tetrasiini 

By AmeliCa Galli-i 

(Jn Italian) 74532 12-inch. l.SO 
By Otive Kline (In Italian) »i047 12-inch. l.SO 

Ligbt flitting ahadoik'. companion gay 

Play here betidTlne'. dark feari twtide me 
When thou doit go far from me! 
Ah! to not away, go not away I 

Each coming morn I Ibee would find. 

Ah prif 

If iCou 


That 11 

. gfaall b 

iride be claim 

fell hati 
(A cloud fauei ottr iht niacn — Ike tliadaa iiiappenrs.'i 
This dance is accompanied by a waltz, which i* full 
of the mo*t brilliant vocal effects including a florid cadenza 
for voice and flute, as in Lucia. 

The act close* with the rescue of Dlnomh by Hoel when 
the bridge, on which she was cro**ing ■ ravine, gives away. 


Act 111 opens with the famou* "Hunter's Song." long a 
favorite concert number- 
Chant Am Chasseur (Hunter's Song) 

By Pol PUncoQ, Bs» {f^ano ace.) (In Frtnch) 6I065 10-inch. *2.00 

Hotl enters, bearing the form of Diitotah, who it still senseless. Thinking her dead, he 
bitterly reproaches himself in a fine air, Sti otnJicala. 

Sei vendicata assai (Thou Art Avenged I) 

Within thcH arms I preai 
Desdl— sht besven, I'll n 
Look up actin, dear angr 

and now! 

Dhnrah now open* her eye* and recognizes //off, her reason having been restored 
by die shock. The reunited Icmrs go to the village, are greeted by their friendib and the 
cttftain blla on prsparatiinia [or the wedding. 



Libietto by Miry and Du Locle ; muaic by Verdi. FinI produced at Parity Much 1 1, 
1667; in London, at Her Majeity's Theatre. June 4. 1667. AJthoush it wai revia ad aai 
improved by Verdi in 1883, it is •eldom given nowaday*. Revived at La Seals, Milan, in 
1912 and recently at Monte Carlo (or Ruffo. 

Orttfinal Pari* Cut 

PHIUP II Obin, Basi 

Don Carlos Mor«re. Tenor 

Marquis DE POSA Faure. BarOant 

Grand Inquisitor Belval. Bau 

Elizabeth de Valois Saw. Sbp™>o 

Princess EPOU Cueymard, Sopram 

Don Carlos belong* to lbs inlermediato stage of Verdi'* career aa a composer. Aftet 
hi* TrovBlore, Tiaviata and Masked Ball had been produced, the younger muiiciana, influ- 
enced by the doctrines o( Wagner which bad reached Italy, began to protest against the 
current Btyle of llallan opera. Verdi, however, had already taken a step forward in Don 
Qtflos, written for the Paris Qp^o, and it was enthusiastically received. 

Schiller's magnificenl drams pve Verdi great opportunities for dramatic writing, and 
some of his greatest aria*, notably the fine Per me glunto, may be found in this opera. 

The libretto is based on Schiller's drama of Don Carlo*, and tell* of the erratic and morbid aon 
of Philip II of Spain, whowasengaged to Eliiabeth of France, butaubsequently became her step- 
ton. The conduct of Don Cor/os finalhr became aa scandalous that hia father placed him under 
arrest and confined him in the Madrid prison, where he died in 1 36B. at the age of twenty-three. 

The •■ine plot had previously been tised by Bona, Milan, 1847; Costa, Lond<Hii 1844: 
Mnariiwr^ Nm/Je^ IS62i mad «ln bj F«mii. Openw with tba suna tide but a diffenmt plot 



were thaw of £>up)eMii (Pari*, I7S0) and Deshsye* (PbHe. 1600). JohnToweni aliio men. 
tiona Mill Mtier^ Baithe (1S28) and Nocdal (1810). 

Don Cartoi, moa of Philip II of Spain. U in love with ElUabeth of VatoU, daushler of the 
French Kla^ Henry II. For itate reaaona, hawevei. Henry haa arranged that hia daughter 
ihall RiBny King PMip, and accordingly the royal ceremony 
takes place. The panion which Carlos feeli for hia young 
■tepmother ia aa inlente as ever, and he confides in RoJrigo, 
Martptlti^ Paia, who entreats the Prince to leave the Spanish 
Court in the hope that he will forget hia love. Carloa begs 
the Queen to obtain /%/i> j permiuion far him to join the 
Flemings in their struggle against the cruelties of the 
Spaniards. Time seems to have but strengthened the mutual 
affection of the pair, and the Qitttn is unable to conceal from 
Carlia the fact that her love for him is greater than ever. 

Prfnceu Eholi. who ia herself in love with Carlo,, learns 
of the Queen 'i affection for the Prince. Her jealousy is 
arouaed and she tella all to Philifi. This maddens the Kir^ 
who is already angry with hia son for his sympathy with 
Huaa AS DON CAsLos '^i* Flemings, and. on the advice of the Cranil Inqamhr, 
, . , Carlo, is thrown into prison, RoJrigo visits the Prince there. 
and IS shot by friends of the King, who auapect him o( helping the Fleminga. Carloj ia 
freed and goes to St. Just Monastery to keep a tryst with Elirabtlh. The King surprises 
L J.- . . .... ,^,„ Car/o. to the Officers of 

!. and his anger bein^ ^ ^ ^.^^^ , .... .. 

the Inquisition, who bear him away to his death as the curtain 
The Victor presents three of the most (amous of (he number 
Carlo* and Rodrigo, which Caruso and Sf 
for RoJrigo, given by Ruffo : and the fan 

Lc duet bef 

Oio chc neir alma (God 

By Enrico Caruso and Antonio Scotti 

h, played by Sousa. 

My Soul) 

{In Italian) 89064 12-inch. *4.00 

Per me eiunto S i\ di supremo (The Supreme Day) 

By Tins Ruffo. Baritone {u Italian) 92038 


{Grand March 
Tmnhama — Pllgrinu ' Chonii {tV: 



(Dun /«IU»An'->w) (Dwi Huahti) 


Libretto by Lorenzo ds Ponle. Muiic by Wolfgang Amadeua Mozart. First produced 
at Prague. October 29. 1787; at Vienna. May 7. 1788; at Berlin. 1791; Pari* 1811. Firat 
London production April 12. 1817 ; produced in New York May 29. IB26. Pint New Orieana 
production May 9. 1833. Some notable levivala occurred in 18S9 at Metropolitan Opera 
House, with Reichmann. Kaliich. Behreni and Ficchet; in IS96 with Sembrich. Nordics, 
Eamei and Plan<;on; in 1900 with Sembrich. Nordica and de Recke; and at the Manhattan 
Opera in 1909 with Ruu, Donalda. Bonci and Renaud. 

At the great Mozart Festival performance of 1914 in Salzburg, tha composer's birth- 
place, the cast (made up almost entirely of Victor artists), included Lilli Lehmaiui, Farrar, 
de Segurola, McCormack and Forsell. 


Don QOVANNI. a licentious young nobleman Baritone 

Don OTTAVIO. {Ckl-U,h'.rm-al>) betrothed to Donna Anna Tenor 

LEPOREI.LO, {Lcpj^-ril'-loli) servant of Don Giovanni Bass 

DON Pedro, [Pav^nhj the Commandant Bass 

DONNA Anna his daughter Soprano 

MASETTO. (MioWJoIi) a peasant Bass 

ZERUNA IZtr-l^'-nah] betrothed to Masetto Soprano 

DONNA Elvira. (S^w'-™*) a lady of Burgos S^ano 

Peasants, Musicians. Dancers. Demons. 

Scene and Period .' Seotlte, la the mlddlt of the leetitleenlh century. 

Mozart's Don Giovanni was written 
Prague. Da Ponte. the librettist, was a Vi 
Nozze di Figaro. The plot of the opera wi 
founded upon a play entitled Ei Budador Jc SeiHlla ]i 
Comirada de picdta, attributed to TirsD de Molina, a 
Spanish monk and prior 
or a monastery at Ma- 
drid. This had also 
served as a basis for 
numerous other "Don 
. .."ploys and operas 
by Fabrizzi. Gardi, Rai- 


I 1787 and produced during the same year al 
ineae Court dramatist, who had also written Li 

SCESE\-ne Courtyard 
of the Cammandanl'i 

Palace al Seville. Il 
I, Nighi 

The wicked Don 
his gay conquests. 


penetrate hU dissuiie. Her father come* to t\ 
who makes his escape, followed by Ltportllo, h 
Bod charg«> her betrothed, Dan Oltaeio, to avf 


In a Datrttd Spot 

Outside SevilU 



Leponllo ■ 

conceal themselves 
Bs B lady approaches 
in a earriaBB. Hop- 

queat, the ZJon come* 
forward, hat in hand, 
but is surprised to 
find that it is Donna 

has lately deceived 

"hi." ^cape! 

explain as best he 
can. Z^pore/b rather 
enjoys the situation, 
produces hia diary, and adds to the lady's anger by 
reading a list oi the mistresses of the Don. Tliis hst 
is recited by Ltportllo in the famous iKlla bionda. 

Nellabionda (The Fair One) 

By Marcel Journct. I 

U-ioeh. * 

p. fully conff 

and twenty; 



tlK hiindrt 


unique cha 

o always 

ds forth 


oil to the 


ainie. of 


suave and 

ed Don. 


ally called 

the Cat- 



1 of the broadest hum 

t. and is 


with all the 

sly humo 

r, gaiety. 

ly and se 


ent which it 



A rustic wedding party comprUing Zaiina, MoMello 
and a company of peaMnta are enjoying an outing. 
Don GioeannI and Leporeilo appear, and the Don u 
charmed at the Bight of so much youthful beauty. He 
bids Leporeilo conduct the party to his palace and give 
them refreshment!, contriving, however, to detain 
Zerlina. Maiello protests, but the Don pointa aigniE. 
canity to his sword and the bridegroom prudently 
decides la Follow the peasants. 

The Don then proceeds to flatter the young girl 
and tells her she is too beautiful for auch a clown a* 
Maiello. She is impressed and coquettes with him in 
the melodious duet. La d darem, the witty phrases and 
delicate harmonies of which malce it one of the gems 
of Mozart's opera. 

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

By GeriMine Farrar. Soprano, and 
Antonio Seotti. Baritone 

(InHatim) 69013 IZ-inch, »^JOQ 
By Grasielk Psr«to, Soprano, and Titta Rufio, Baritone 

(In liaUm) 92SOS la-ineh, *4.00 
This celebrated number, which has been annc hv Vitaif 
famous artists during the one hundred and twenty-eioBt jekr* 
since its first hearing, is one of the beat examples of me many 


not iciiBn. 1 







ne, 1 

ove, br 


e but 

I wouid and : 

,el I would 


I fetl 



thy scorn s 


, I c 

ould a( 

jt become 

Don GiovsHNi: 
Come Iben, dI 

Il come then 

. Aet 




Don GiovsNxi: 
Nay, love, in 

vain thou f- 


GovonnI is about to lead Zerlina away, when Donna Ehlra, 

who haa been watching, rescues the young gir' and caniea bar 

n off, to the chagrin of the Don. Donna Anna now enters tvidi 

t Ks Doit CIO- OUoPfo, who asks the help of his friend Don QoDannf in tracing 

DitUT At A the murderer of ZXnnai4nfu 'i father. The Z>on assures them M 

I (LOKDOM, 1875) hU devotion, and goes to hu palace, while Donna Anne tells her 

lover that she recognizes by hb voice that Don CbmnnJ is the one who slew her father. They 

depart, and L^ordlo and die Z>Bn enter. The servant relates that when Donna Eislra and 

^BJliKimmvtA at the pidaca. and Ekttm attempted to tell die peeaanta the truth about the 

-Ms^ w Ud btr gaa^ auttid* tha gU» and then locked iL Ha is complimented by hii 



Smg, B famoui baritone n 

Fin ch* han dal vino (Wine. Flow 
a Fountain) 

By Titta Ruffo. Baritone. 

ilitllaUm) B7174 lO-inch, *2.00 
Don GiovANsr: 

Wine, flow a (oimliint 

Even v«U1, bid to the fesul, 

Quicklj' repair. All that are witty. 

All that ire pretty, 

Provide each one with encellenl fate. 

Tllen, set them tripping it. wilful or willing: 

Fully with twenty names of the fair! 

Ruffo'l daihing portrajral of the Den is luinoiis in 
Europe and South America, and wai one oE hia greateit 
aucceaaea here. He aingsthia lively irfniAif with brilliancy 
tad abandon. 

Tlieacene changea toZ)on G?oDonnf 'j garden. Ztrilna ii 
ondcavoring to make her peace with Maitllo, but he ii 
aalky. She then ting* her lovely BalO, battl. 

Batti, batti. o bel Masetto (Scold Me. 
dear Masetto) 

By Marcella Sembrich. Soprano (/n Italian) 8B026 12-incb. (3,00 

Thii gentle number ia in striking contrast to the brilliant 
rriting in the lighter ' " <■ ■» . ■ 

Here I vow 
Maaito is only half ap- 
peased, but goes in to 
dance with hia bride. 
Donna ^nnn, Donna Elefra 
and Don Ollavlo. disguised 
and masked, entec and aing 
a trio, in which they pledge 

n the a, 

Zerf/naawayfromher jeal' 
ous and watchful lover, and finally succeeds, but Ztrilna 
calls for help and Matello and the three conapiratora rush 
to her assistance. They denounce Don CloMitnl, who 
defies them with drawn aword, and makea hia escape 

(ortsA CDHiaOl) 

l3, "Deh -^ ni alia finestra" 
n Thy "V^ low. Love) 

i/n Italian^ 88194 12-incb. I3.00 
mjlio de Gogorzi. Baritone 

'InUalian 6844? 12-inch. 3.0O 
Itto Ruffo. Baritone 

< In Italian) 871 12 lO-ioch, 3.00 

. Hector Dufraane. Baritone 

{/n French) *4S01 

Oh, ff my pray-r tboD baretl, 
W»vt 6ui tbot •m. of mow. 

Cinil thuu my «a»Ieu tiKhing 
With cold (ndifreBte er«:l? 

Ah: yjvU^t l]iou ^.c mc dymg 

Thy sigh werf balm .mid ■ hei 
Oh. ?p. onf kis!. ont wprd, t 

ith niuaketa, KekiDBthe . . 

n the right track. Tlien (ollowa a aeriea oE amuaing ai 

he auppoaed Don by the three conapiratora, bul it prorea It 

tage o( the aituaticin to make hia escape. Ottavlo then aing 

soro (Fly Then, My Love) 

ihn MeCorauck, Tcaof (InlUdian) Z4484 




rinuet from Act I By Victor Dance Orchestral, ,„,. n !„„i. •■ .m 

jStrtatde By M. Hector Dufranne. Baritone (In Frcnchi\., 

SiJ'&iOsRoi—Un jegatddttayaul—UonBtyle, Ttmr (frencA)/*' 

45011 lO-inch. 






II by Luigi Sustuia. after Carlo Goldoni ; munic by Eimi 
n MuDJcb November 27. 1903. u Dit NeagieHgen Fmaen. 1 
ihs Metrofollum Opera Hou«. New York. Januaiy 3. 1912. * 
I ornia and Lambert Murphy. 



Lt Donnt Curiott ia a genuine comedy. The 
plot ii very ttmple, and deals with the scheni' 
ing of Beatrice. Roaaura, Eleanora and ColomUna 
to gum enlcance to the Friendahip Clubhouw!, 
of which their husbands and loveie are mem- 
ber*. Over the door of the cluh may be <een 
the motto. "No Women Admitted." Each 
woman has her own theory as to the doings 
behind closed doors, and they seek in various 
ways (o gain an entrance. In reality the men 

pleasures, and chuckling over the intense curiosity 
of their wives and sweethearts. 

With the help of Colombtna and Arlecchino. 
and by luring the keys from the pocket of 
one of the members, the ladies finally succeed 
in making an entrance within the sacred walls, 
and are surprised to find the men enjoying 
themselves harmlessly at dinner. On being dis- 
covered by the husbands they are forgiven, and 
the evening ends happily with o merry dance. 

The Victor offers an air From Act H-the lav« 
duet of Roiaura and FloHndc, sung after the former 
has induced her tiancfe to give her the keys. 

II cor nel contento (My Heart, 

«»D »« How it Leaps in Rejoicing) 

Farrar sad Herman Jadlowker (Ilallan) 88359 12-tneIi. 13.00 


(Don Paht^uiJ/Mll 

Comic opera In three acU : text ami muiic by Gaetano Donixetti, Libretto a^^itnl 
from the older Italian open Ser Marc' Anianh, by CaroeraDO. Rnt praaanled at the TMttw 
da tlalleni. Paiii, on lanuary 4. IS43. Firat pmductioa in Pari*, io French. 1664; London, 
June 30. 1643. Firat New York production March 9, 1846, io En^iah. and in 1649 in Italian. 

Revived at the New Theatre. New York. Decembei 23. 1909, with di Paaqualu Bona, 
Scotii and Pini-Corsi 1 at the Metropolitan in 1913 with Sembiicb, Scotti and Roaai; and at 
the Boalon Opera Home with Nielaen, Dourrillon. Antonio Pini-Coiai and Famari. 


Don PASQUALE, an old bachelor Baaa 

Dr. MALATESTA, his friend, a physician Baritone 

ERNESTO, nephew of Don Pa«quale Tenor 

NORINA, beloved of Emeato ■ .Soprano 

A NOTARY Baritone 

ChoTui of Valeta and Chambermaida. Majordoma; DrcHroakerand Hairdreaaer. 

and Period: Rome; the beginning of the nineteenth centary. 

I those opera-goera who 
cneap, gaudy and lacking in 
elie, the true spirit of comedy 
delightful when the opera ia 

This brightest of genuine lyric comedies always appeal) 
liiid the present-day comic opera or musical comedy to 
genuine humor. Don Paiquale is pure entertainment, nothi: 
being found in the music as well as the plot ; and both a: 
presented by competent artists. 

Overture to Don Paaquale 

By La Scab Orchestra '68010 12-inch, *1.M 

SCEN£~..4 Boom In Don Posgue/e i Hoatt 
The Don is eagerly awaiting the arrival of Dr. Matattda, who haa promised to obtain 
for him a young and lovely bride. 



Son nov'ore (Tis Nine O'clock t) 

By Pmi-Corsi and Badini 

UnltaHan) *6B273 12-iiicli, *1^5 
Tke Doctor enter*, declare! he hea found tbc bride, 
•ad proceed* lo describe tbo cknnner. The Don i* 
overioyed, and iniista or aeeing ihe lady at once. When 
the Deelor leavea^ Patquale give* vent lo hii feeling* in 
an amiuing air. 

Un foco insolito (A Fire All Unfelt; 

By Piai-Cor*i and Badini 

\Jnltaiian) *62104 lO-incfa, lO.rS 

Of old ige enfeeblinB mc, 
Thin twenty muct slrongsr. 

urged by hi* uncle 

Hi* nephew enter*, and i* again urg 
to give up rJorina, whom the uncle call* 
tiah widow. £mei(o tehues. and Z}on /'aiQua/e announce* 
hi* intention of marrying and disinheriting hi* nephew. 
The young man. at lirst incredulous, is finally convinced 
that hi* uncle i* in eameat and give* way to despair. 

So^o soave e caato (Fond Dream of 

By Ciiucppe Acerbi, Tenor 

Before leaving hi* uncle, Entato beg* hi 
Patmalt *ay* it wa* the Doctor hiinielf who 
the ha|»>y bride. Ernttto is aBtani*hcd to 
(riend, had deserted him. 

SCENE 11—^ Rocm In Soiina't Hoiae 

Norfna is reading a ronuQce, and at the beginning of her air quotes 

Quel ^ardo (Glances so Soft) 

By Giuseppina Hutfuet, Soprano (inttaban) *66272 12-ineh, 11,25 

She then declare* that *hc> too, know* the value of a ^ance and *mile. 

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

By Amelia Pollini, Soprano (/» Italian) *62103 10-inch, «0.Z5 

(5f 'itince'' ™\f'\<Z'd sad lendir, (»f "IvA bcwLtdhinS 'wi'".'^' 

(In Italian) •63634 10-ineh. fO.Z5 
lo conaull Dr. Malateita for advicev bul Don 
ipoaed the plan and offered hi* own ■ider as 
ir that the Docfor, who he thought wa* hi* 

n Ihe book: 

I know— ai 
A hidden ti 

old D 

:, ah. dear 

A *ervBnt gives her a letter from Emato, juit a* the Doctor enter* 
he ha* conceived a acheme to force her lover's guardian lo consent to 
declare* ahe will have nothing to do with it, bidding him to read Emato'i deapairi _ 
wdl letter, in which the young man tella her he i* di*inhe[ited and will leave Rome. 

The Doctor laothe* her, telling her he will induce Emato to remain, and then reveals 
the details of the plot against Don PaKtualt, in which he propoae* to play on the vanity of 
the old bachelor, by pretending to find him a young and lovely wife. They decide that 
Noitna shall play the part of ihi* gitl, and go through a mock marriage with Don Potqualt. 
ma begin* to rehearae her new rflle. 

•Z>i*t4A«/A«Mi^&* ** 

Hi MM^f^tlM ^tfrnhhit, 1hfpt§n*9t m4 Amumkf —.•«,.. 

<^f9Mtmif 990M 12-liidk. f4j00 

f (f< f I' (■f'lfi If unt nlli-iinutB N 

,|k .li. I III) !'• '( '•( ' nun 'ImU', 


H.M t.|..» lM\ I.U.I, ,..•• mnv li»-ll»r.. , ' •'~' ■wtmv— xe*. sir.— OhP 

h ;, 1 . I'-il. I.. .(..H.J l»orTo«! 

' 1^1 -I Mr«rff. brmro, ctpftatt 

i\ >. .i'lii. «h*'"l '(lilt I'Hi »-M]li(i-fl Oh, clever creature I Juit the tliin«f 

M..,i.l I ..I li.|.. M.. K.M M« »»MtlMir „,^^, ^"« wo uung I 

\ I i«M Imiillt* '**•" *''"• '*•■ ^••<* ^"» be quite tumM! 

I Ii, itt tM)- <N t Mt«MMMi>tt Ih Mmilt«i>r *prl||litly duet, which cIomi the act 

\\\ Wsw^YSSY^Wm \\\\%\\^\y mittfiiio. ind Kri\«tco Badiai« BaHcmm 

(MihM) *6aMr la-iadi, tars 


,^A\ 1^ X,^N\^NNN^ V\>^%rH. WSW *^* IW^ WliV^ WlWl A ^ rt» M > Who 

.^S^^'^N A V^iVt'V^N^. /Wm^. IMA MVK^ ^ tM« ikM hlb 
^x^ >j^,'»;ssv,^ t^ *i|ff ^^ V<*P^^Wl K*» V^Vf««ti to hii ^ril^ h 

\.^>x,*J** s.'WMlkt*^^ W^ WiWi^ ^ M W* wmIt <m h 'w J L ^ Hr 

^St*' ** ^^^--^-^^ N> v-^V-^N- Wr liw v*^MS «(Aii Kiir. »<*toii **y»o ^ P^ 
•-^ . > vt*" J"*'^^' Hx«^^ >fc'^vV «>«>rN!«>«' ♦♦te ^**r. mwfc 'N* *•• jj*?^ ^^ 

hut A'or^io 

*\>V^^ t^^' '^'«*>< 1^ »Vr^»v*^;^.'^'< wriA *f * *y, r^'-mf '-ret hiteT t?^ — 

^^^m^iM Immovable; 

_ ne; 

N ^ 

.< >i^ ..N-11. * --r^'CZtPlLMiiTr-' "— 


ib!ialian) ^16566 lO-inch, MlM 
• o knov nor if h-j wak« o- a^ ♦«-«» 

-i**"^ He'« like a man by Ij/htni^ **'«*««■' 

Take brart. Pa-'jvjal#- t,v r -.j u , 
^^ Don't be divcourai^H' C^i vV^ ^'i*^^ 

' N "*& Nowma: ■ • "^ >'^-'' brains. 

\ -^ ffiK SS." all; ZIT^ *« -rv^-i. «d 

m TQK. «K»ea with n«e m<) •«oo»J,meBt bnS„ 

• * ■ •'. . tV..» ^ 

Son tradito (I Am Betrayed 1) 

A iBuchini Btock to ill 1 me«t. 
NORIHA Oa Emilia) : 

Now you see, ungrateful heart, 

CounstLl'd mr to plajr tliis part 
E*H£ltD tlo Narina): 

(In Italian) *62097 10-tncIi. t 

Pa>qu»1e, poor, drar wight. 

Silly o 

■s betray I 

ACT m 

(Same a* Act I — On the fiaot and furniture art piled up drttta, bandboxtt, fun, etc., in grtal 
fiahn. Seroanti art running la andfm mllh buitle and eidlemaif) 
Don Paiqaale !■ Been amid the confuiion, looking with utmoat coiutemation Bt a I 
pile o{ billa. He throwa them down in deapBir, and >• Norina approackea, dreaaed li 
«ut, reaolvei to make one lait attempt to remain maMer in hii own hoiue. 

Signorina in tanta &etta (My Lady. Why This Haste ?) 

By P'"'1'n Corat, Soprano, and Antonio Pini-Corai. Baritone 

_ {Inltakan) •M273 12-inch. » 


_ PrilhR, wheic ace you runninB in auch boaler 

Ibins that Tery aoon ii told: 
the theatie to divert ne. 

ibind teeg. and wiacly hsldi hia 
For when he ipeaka ihere'a do one liati 
PUDUALI {with riling aarmthi: 

Not ID put me to the trial. Madame.— 


Sit la all over with you, Don Pauiiiale! 
Jl that now cemaini for you to do 
It quietly to go and diown yourulf!) 

Bet*e«i. ... 

I aha 11 be at 

Thi* U too much, and the unhapp] 

I the plot, and I 

y up to tha Dodor. ejuUma: " Bralhei-in-kw, i 


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 (or the guilty lovers that 
evening and teach them a severe lesson. Piuquale gloats over his coming triumph. 

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

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

{DoukkJ^aced— See below) {In Italian) 62103 10-inch, $0. 75 

Pasquale: Malatbsta {aside)'. 

Wait, wait, dear little wife, Oh, the poor fellow! 

I soon reveng'd will be: Vengeance he*s prating; 

E'en now 'tis near, my life. Let the dolt bellow — 

This night, withotit delay. He knows not what's waiting! 

E'en now 'tis near, my life. Let the dolt bellow— 

This night, withoixt delay. 
Thou must the reckoning pay! 

SCENE W—Don Pasquale a Garden— It is Nlghi— Ernesto Is DlscovereJ WaiUng 

This scene begins with the beautiful serenade, the most melodious of the airs in 
Donizetti's work. 

Serenata— Com' e gentil (Soft Beams the Li|fht) 

By Enrico Caruso, Tenor (In Italian) 85048 la-inch. $3J0O 

By Aristodemo Giorgini and La Scala Chorus (Italian) 76010 ia-inch« 2J00 
By Giovanni Martinelli and Metropolitan Chortis (Italian) 64700 10-inch, 1.00 


Oh! summer night, thy tranquil light And none are nigh, with curious eye; 

Was made for those who shun the busy day. Then why, my love, oh, why delay? 

Who love too well, yet blush to tell Your lattice open to the starry night. 

The hopes that led their hearts astray! And with your presence mske the world more 

All now is still, on dale, on hill, bright! 

Notina joins Ernesto, and they are reconciled in a duet. TeUMeA^sIn, Pas^ao/eand iha 
Doctor, with dark lanterns, enter softly and hide behind the trees, but the iiate old man can 
contain himself no longer and rushes out to denounce the lovers. Emedo 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 MaltUesia conaiders it 
time to end the farce, and proposes to rid Pasquale of his bride by marrying her to Emetio, 
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 die 
deception, consents to the union, and settles an income on the happy pair. 



Signorina in tanta fretta (My Lady, Why This Haste ?) 1 

By Emilia Corsi and Antonio Pini-Corsi (In Italian) [68273 12-inch, $1.25 

Son nov* ore By Pini-Corsi and Badini (In Italian)) 

fQucl tfiwrdo, un sorrisetto By Giuseppina Hujruet (/n /^^^^^ 12-inch, 1.25 

IPronta to son By Huguet and Badini (In Italian)) 

/Overture By La Scala OrchcstraKg^j^ 12-inch 1.25 

\ Barbiere di Siviglia — Manca un foglio By La Scala Orchestra) * 

tUn foco insolito By Pini-Corsi and Badini (In Italian)\ 

Vado, corro (Haste We!) By Emilia Corsi, Soprano. and 62104 10-inch, .75 
Ernesto Badini, Baritone (In Italian) . 

E rimasto la impi :trato By BrambiUa, A. Pini-Corsi, 1 

n?; ^!"^-^"/ *"^ Scipioni (Inltalian) ^^^^^ lo-inch, .75 

ELlisir a amore — lo sonno ricco 

By Passeri, A. Pini-Corsi and Chorus (In Italian), 
Cavatina — So anch*io lo virtU magics (I, Too, Thy Magic 

Virtues Know) By Amelia PoUinl, Soprano (In Italian) 
I Aspetta aspetta cara esoosina (Watt, Dear Little Wife) 
I By A. Pini-Corsi and Giovanni Polese (In Italian) 

rSotfno soave e casto By Giuseppe Acerbi, Tenor (In Italian) 
I rausi — Coro de soldados (5o/cfren Chorus) La Scala Chorus 

[Vado corro (Haste We) By Huguet and Badini (In Italian) 
Son tndito By GiuMqppina Hufuct, Antonio Pini-Corsi, 
OM0tmno PhU'CargL AgUMto So^odI (fn ItaUan) 



62103 10-inch, .75 

62624 10-tnch, .75 
62097 10-inch, .75 




T«xt by RomanL Music by Gaetano Donizetti. Fiiit produced in Milan. May 1 2, 1 832 ; 
BHcdona. 1033; Paria, 1839; Berlin. 1844. Pint London production December 10. 1836. 
FbatAmerieaii production at the New Orleans Opera March 30, 1642. Given in Boston in 
F»gli«k l)jr the »suiiw shottly aharvrard. Tbe Boston Ideal Opera Company presented an 
Elfish MTsioD in 1887. with the titla o( "Adina." Revived in 1904 at the Metropolitan with 
5enibrich.CBnuaiScatli«nd Rom; at the Manhattan Opera in 1909. with Binkert, Bond, Gib- 
bert andTrentini; and in 1916 at the Metropolitan Opera, with HempeLCarqso and deLuca. 


AIXNA. a wealthy and independent youns woman Soprano 

NEMORINO. a young peasant, in love with Adina Tenor 

BELCntE. seTKeant o( the village garriaon Bass 

Doctor DULCAMARA, a quack doctor Buffo 

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

Scsne anJ Period .- A tlUlt ItaUan eiOage ; ihe nineltailh caiturs. 

Tbia daljArful example of Donizetti's work is a real apira bmiffe, and while simple and 
unconveadoau mplow it has ahrqra been a ^Torite because of its lovely music 

Tbe itcwj idb of A^na, « Urely village beauty and heireso, loved by a young peaa. 
" ' '~ *'' < < > « and manly, ia afraid to praM bis suit i btit while tbia 

anb N tm oHim, whft rU*™g'' bandaome an 
beauQr tuMM him rrtkir codly iIm Is by k 



SCENE— 7^ HamtdeaJ^ AAna'iFm 
Adlna sod hor companion are seated 
der a tree wding. Namartnoimn 
abaerviiiK bu imamerata, and ■ 

Quant'ebellat (Ah I How 

By Emillo Pcrca. Tutor 
{/n Aotfon) *636X6 lO-Ineh, 10.79 


Ah! how iovelj! all! how dear la mel 



AJina then read* to her friends a legend 
of D cruel lady wka coldly treated a knight 
who loved her, but smiled on him when 
he gave her a love potion. Nemorino wiahei 
he could find the receipt for this potent elixir. 

Martial music it heard and Belmre, a 
dashing sergeant stationed near ihe village. 
appears with a bouquet for Adina. She has 
hut few smiles for the military man, which 


a his s 

what, a: 

t the faij 


■iS^J lells him th3l il is useless. 


heard, and DuUamara. a qua. k doctor, cor 
on ihe scene, riding in a splendid cartif 
He announces h>a wonderful medicines i, 
fa,„ous buffo song. Vdiie. udilt o ruMd. 

o rustici iGi- 

io Pini-Corsi. Bar 
gelo Ross.. Bass 
clor has leciled ihc 

ve Ear. Ye Rustics) 

none 'Inllatium *68152 12-inch. »1 
■lnIl^U^<: '62626 10-inch, 
wonderful effects of h.3 m^-dicines. saying- 

A'tmorino exclaims. " He.ivrn .t^^li mu.,! h^ve sgnl ihis miraculous doctor toour village !' 
He draws the quack aside, and asks hii.> if he has ^.n elixir thm can awaken love. Th( 
Doctor, of course, says that he ia the original invenlor of the liquid, and soon has Nemorino'. 
lasl coin in exchange for ihe coveltd potion, which is in lealilv a hodle of strong wine. 

As soon as the Doctor has drp.iried Nemorino drinks the .-lixir. and at once teels a ne« 
courage in his veins. He begins Io sing and dance, and Adimi, romini; in, is astonished K 


e that t 

is feet. 

o her, which piques her so much that when ih,.- serfie 
renews his suit, she consents to wed him in three days. A'cm^nio laughs loudly ai this, 
which further enrages the lady, and she sets the wedding lor lliat very day. This sobers 
Nemorino. who fears that the marriage may take place before the potion works, and he 
pleads for delay. Adina and Bekoie laugh al him, and the curtain falls as preparations for 
the wedding are begun. 

^Kiifc-fflarf «MO/J— 5« cagr 106. 



SCENE l—Ittlohr tf Ihe FamhouMt 
TLa weJdmK feaat U in progctm, but the notary luu not Bnived. Dulcamara i* 
t, and procluee* the Inteat duet from Venice, which he aika Adina to sing with hint. 
'' ' ' " 1 occur between • rich old d 

a amiiaiiiB dialogue, luppoeed ti 

■ young girL 

lo aono ricco e tu sei bella 
(I Have Riches. Thou 

Hast Beauty) 

By Mmc Pawcri. Soprano i 
Antonio Pini-Corii, Baritone; 
and La Scala Choriu 
Unllallan) *16566 10-inch, lO.TS 
The company now kocs to an adjoining 
room to dance ; all but the Doctor, who wya 
he doean't know when another h'ee dinner 
will come hit way, and therefore remaina 
Bl the feast. Nanorftn eotera. distracted, and 
tella the Doctor thai the elixir baa not yet 
taken effect. 

"Take another bottle," aaya the Doctor, 

"only twenty crowtu." ^emortno My* he haa 

money, but the Doctor tefuaea lo produce 

learning that Nanorino _ . 

by lack o( money, auggeata that he enlist 
aa a soldier, and be richer the fee of twenty 
crown*. Nanorino jumps at the chance, sign* 
the article*, run* in aearch of the Doctor, 
__. .. . . and drink* the aecond bottle 1 

A MtUJH iiuuiiUL or BtitiB d'auou The peasant girl*, having heard that the 

death oF Nanertna'i uncle ha* just made him 
rich, b«in to pay him attentions. The Doctor tella Nemortno that thi* popularity i* the 
roBulC of the eliiar he has Just sold him. AJina, woman-like, when ahe seea hei lover in 
•ock demand, promptly regret* having treated him so coldly, and runa out on the verge of 
taar*b Nmmitnt, noting her downcast look^ (eel* compassion (or her, and gazing ader her 
aadly, ainga the lovely ramarao, one oF the moat Famous of airs for tenor voices. 

Una furtiva latfrima {Down Her Cheek a Pearly Tear) 




By Enrico Caruso, Tenor 
By Enrico Caruao, Tenor {i 
By John McCormack. Tenor 
By Otto Msrak, Tenor 
By Pt"0''" Pcrea. Tenor 
By CkarU* Harrison, Tenor 

Ne^ected a* the opera, ai 
ng which NtmtrU» sing* lo 
IS opeta from being fra^otleii 

(In Italian) 88339 12-inch, *9.00 

Un Italian) 81027 lO-inch, 2.00 

(.In Italian) 74219 12-inch. 1,50 

(In German) *S»03r 12-inch. 1.50 

(In Italian) *b81i2 12-incb. 1.2S 

[InEngllih) '35354 13>iach. 1.35 


Tl.^ tr^(l> /W." 


When Nemorino has aut.« hia aif Adina comes on wilh the soldier's conlracl. whic 
has bought back. »>xd tella him that he must not go Hway. All misunderstandings at< 
cleared away, and Belcore nniva to hnd his biide-to-he embracing another. Ho^ 
he is philosophical and saving, " There are other women ! " marches off. while the vil 
tell Adma and Ntmorino of ihe laller's having fallen heir lo a fortune. Howevei 
Doctor claims credit for the reconciliation, and the curtain Falls aa he is relieviny ll.c pe 
of thrir v,;i^es In r.-lurn for bottl.-s of his vonderful Elhh 0/ Low .' 

iWohl drun^' :ius ihrem Her:tn 

I Una fun 

IQuanc'^ bclla r 
lUdite. o 

IIo 9ono ricco c tu sei belli I Hive Riches. Thou Hast 
Beauty 1 By Mam Pa.sscn. Pini-Corsr and Chorus l!a!ii!n 
Don Pasqualc -Qua-I^l. Atl II By Linda Brambilla, Pini- 
Corsi. Gictanu Pini-Corsi and Augusio Scipioni /n llijiiuu 

(Un» furtiva lagrima A Furtive Tear. 

By Charles Harrison ■ In Engliih ■ 
I Fau,l—All Hoil Then Dwillmg B/ Ch<.rU, Hamson [In English) 



muric 1^ EdwArd Jakobawi 
sdy 1 tmtre, London, November 9, 1085. F' * 
at the CaMno, New York, Match 10. 1686, where it had ^ v 
than twelva hundred peiformance 

t thai houM alone. The operetta haa had a number 

Characteri and Original American Cait 
CADCAUX, V ... f Francia Wil«on 

RAVANNEir"" *""" iw.S.Daboll 

Marquis de pomvert Carl Irving 

ERMINIE. hia daughter Pauline Hall 

JAVOTTE Marie Jan^in 

EUGENE Marcel, the Marqui** aecretaiy Harry Pepper 

CHEVAUER de BRABAZON. Marquil' guert . Max Freeman 

CERISE MARCEU Eugene '■ aiMer Marion Msnola 

Princess de GRAMPONEUR Jennie Weathenby 


Sergeant. Soldiera, Peuanta. Acrobat*, Clown*, Lord*, Ladie*. etc. 

Timt and Ptact : Fraaet ,- the laal century. 

The atory of Eiminie is founded on an old melodrama. "Robert Macaire," by Selby, 
and the open haa been u popular a* waa the play in it* time. Though Jakobowik! haa 
roduced other opera* — "Paolo," "The Three Beggan," "Dick." "Msmbeer Jan" and "A 
'enetian Siager" — none ha* approached the great *ucce** o( Erminie. 

At the "Tming of the opera ErmI dc firfuac, a young nobleman, i* on his way to the 
home of Ua protpactiTe fiancee, ErmliJe, whom he haa never ■a m . At a turn of Un mad 
he it atff Itfiil h^ two clerer thierea, Anunna and CaJtaax, who lie him to a tree and cany 



iff Ilia cIdlKcs. Later tliE two raeuei arrive ot the betrothal festivitio, RaDanna puaing 
limsflf off as tie Briisac. and inlroducing hii campanion, Cadeaui, at anolher nobleman. 
ifm(nic IS already m iovc wiih Eugene, hei (athei'i secrettiry, and Emal is in !ove with Ctiiit, 
lugcnt J Bistet. When (he prospeelive luitor eicapes from hU pfediceraent and appean 
it the banqupl. in u'C'i' disordei. the impoitats cry "Seize the villainr" declai ' 
Zrnil is the highwayman who attacked them thai morning. 

By promisins lo help £rmrnie secure the man she love*. RoiJannea gains the young girl" 
onfitii-ncc. and shr unwittingly aids him in hia plan to rob the house. In the end, bowevel. 

plan IS frusiatfti, and as the curtain falls the robber* ate atreated and the union at 

TC and Ermirie is assured. 



s from 


OpL-nin« Chorus, -A Soldier's Life"— Solo and Chorus. 
"Wh,.-n Love isYounK All ihe World U Gay"— Chorua. 
"Join m Ihe Pleasure"-Scilo, "What the Dicky Bird 
Says" -thorus. "LulUhy" Choru*. "Deign to Cheei )3 

Each 1 (earl"— Sob and Chorua, "Marriage is a Holy 
Union" - Finale, "Away f ihe Chateau" 

By the Victor Light Opera Company 

Qemafrom ■■Florodora" By ihc Victar Ughl Optra Componj,) 



"Soldiers- Chorus"- "Downy Jail.Bird. of a Feather "- 
\ "Dream Son«'' ■■Darkest the Hour" — "What the 

Dicky Birds Sqv "-" Lullaby "-Rnale Victor Orcbeam 
I C/irmu of mrmandy S^Ui:li<:n By Viclor Orchaha 

Lullaby By Mabel Garrison. Soprioo. and Mixed Chorui 7448 
ILuIlaby By Elsie Baker. Contraltol, _, . 

1 Message of the Violet By Olioe Klin,. 5opranar 

IGood Night Quartet By Victor Brass QuLir 

^ Firil llc'l Thr^yhs (Bell Solo': By iVm. H. Ih 

39983 12-inch. 1.29 

12-inch, 1.90 

awliu) CFiach) 


(Att-ivlf-mi) iHtr-nah-iwc-) 


adapted by Maria PiaTe; from Victor Hugo'm draniB "Hemani"; muiic by 

Vaidi. Fint perfbrmance in Vcmice, March 9, 1644. Fint London production at 

r'a Theatre. March 8, 1645. At ita Parii onmlm. Januaiy 6. 1846, the libretto 

at NTictoT Hugo'i request, the chmracteri beins made Italians and the name of 

■en dMaCMl to // PrtacrlUo. Fiat New York production, 1646, at the Astor Ptacei in 

k I8S& Produced at the French Opera, New Orleans^ April 13. 1656. 

C*«t of Characters 

Don Carlos, King of Spain Baritone 

Don RUY Gomez DE SILVA, a Cnndeo of Spain Bass 

ERNAM. a bandit chief Tenor 

DON RKCARIX). an e«]uire of the King Tenor 

lAGO, (Em^toK) an esquire of Don Silva Ban 

ELVIRA. (EU^-fM betrothed to Don Silva Soprano 

GlOVANNA, (^B^MA'-niA) in attendance upon her . . Mezzo-Sop rano 

,d bandits, followera of Don Siha, ladies of Elcira, followers of 

iha Kinib Spanish and German noble* and ladies, electors and pages. 

Setae aaJ nihd : AMgaas t^^nt 1519. 

lUiiU'd ivA hra 


lartioei P«tti. Tenor, 
n thii paMionate aria, > 

Erridni. ihcir chief, appears on a 
neighboring height with a melancholy 
brow. Hi« men lemerlc Bt hi» gloomy 
appearance:, and he tell* them that he ia g 
powerlcM (o prevent the marriage af M 
hia betrothed to the aged Siha on the V 
morrow. He describes the peerleaa U 
£;..f™ in B fine aria. 1 

Come rugiada al cespite 
(The S'weetest Flow'r) 

By Giovanoi Martinclli, Tenor 

illalian)b4il4 lO-inch. »1.00 
By Luitfj Colazza. Tenor ^ 

{In llalian) 

♦62627 10-inch, .IS 
The bandits ofFer their liveg. if need 
be. in the service of their chiel. and it ji 
decided to rescue Eloiro that night. 

O tu che Talma a<lora (O 
Thou. My Life's Treasure) " 

and L> Sola Choni* {In Ilallan) 

ings of the chaima of his beloved. 

nd hia men depart In the direction of Sllea'i caatle and the a< 


Etmani involami (Ersani. Fly with Me) 

By Mmrcclla Sembrich, Soprano {In Italian) 68022 12-ioch. I9.00 

By Fncas Hempel, Soprano (In Italian) B8383 12-incb. 3.00 

ByMariaGrUi. Soprano (In llatian) *63ir3 lO-inch, .TS 

In this beautiful but despairing number abe call* on her lover to aave her. ainging: 

Eni.iii. flv wilh me; 
Prevent thi. haled mirrUge! 
Witb thH, e'en the birren desert 
Would lerin in Eden of enchanlmeni: 
One niBhlleaa, unending d»y! 
One Eden of enirhanUnent: 

Quante d'Iberia giovani (Noble Hispaoia's Blood) 

By Ida Giacomelli and La Scala Chotua (la Italian) 'IbSbr 10-inch. *0.ti 
She thanks them, aaying : "Each kindly wiah awake* a rcaponac in my own heart"; then 

dnga, aaide, a aecond number, " Talio tprtzai che d'Ernanl, " in which ahe tell* of her hope 

of reacue. The cKonia joina in the concluding itrain. 

We come now to one of the greateat acenea in the opera. Elolre, who haa left the room 

with the ladiea, Tetuma and ia amazed to diacovet !n her boudoir the King, who haa been 

tecretly in love with her. She appeala to hia honor, aaying : 

"1b pitj, rirc leave met" 

ml 17. 


Da quel di che t'ho veduta (From the Day When First 
Thy Dcauty i 

By Anv'ila da Aneelis. Soprino; Fraoeoco Cidadi. Baritone 

yln Italian) "SSIOB li-iocli, fUS 

The rrcord hrHina wilh ihr dramatic dia!oc"e between Cor/« and EfcfrO- Carfoj then 
declar<^9 hi» Iovl- in the nria "Da qu<r/ Ji" leading up la a d.amatie duel, whkh concludea 
this sixth numbiT. 

The KinH, maddi^ned by EInra's resislance. it about lo carry her away by force. She 
an«tcb« a HocRe. from Cm/o. ' bell and eri« ^ '■Co, or with thi. dagger I will .Uy U8 both f 
The ,3 about to ...mmpn h^s >.i,ard, when suddenly a secret panel door openi and 
£rna^i appedfb. 

Tu se' Ernani ! Thou Art Emani!) 

ByGiacomclli.Martinei-PittiandPifniMro lllallon) *16368 lO-inch, »0.75 

CU--/O.H refD«r.l,.-5 h,m and exclaims; "Thou art Emani. the aMBMin and bandit," and 

in the spirited Irio which folbwEi the rivals declare (heir hatred, while Elalra, almost dii. 

traded, etideavurs to protect her lover. 

Infelice e tu credevi (Unhappy One!) 

By Marcel J.iurnei. Bass {In Italian) 74008 12-inch. fl.SO 

By Pcrello de Sfguroli. Bm {In Italian) *5S007 IZ-inch. 1.90 

By Aristodemu Sillich. Bass (h llolian) '63421 lO-inch. .73 

In the midst of lhi» ihrillinR tableau now appears Sllca. who does not recognize the 

King and who is n.> astounded to find two rivals in the apartments of his future 

bride, quarreling for her possession. He summons his squires and soldiers, then eddressea 

himself to Elvira and reprn»rKes her in this well-known and impressive M/e/ice. one of the 

most beautiful of bass iirias. Three records of this favorite number are available— by 

)o.irnel, by de Segvirola and by Slllich. 

The author regrets that he is unable to give satisfactory English translations for the ma- 
jority of the Erno„i airs, but most of the available translations of £,noni are so distorted as 
to be almost meaningless. The few extracts which are 
given have been revised and made somewhat intel- 
ligible. "Opera in English," about which we hear so 
much nowadays, cannot be permanently successful 
without new translations for some of the older works. 
For instance, here is a specimen translation of the leW 
of this very ai. of InMkr : 


Now .-invon, 

■ ^^■ho 

tell ju. 

t i^'ha 

1 this means is 

>r,«iMly « high 

ly gifli 




In this conr 

it sh 

ould be stated 

i..t several Am. 

sir publ 


«.e entitled to 

raise for their 


iprciallv G. Schirmer 

ith man 



:.ns of ihe olde 

nd eolle 

of opera airs: 

id Olivet Ditso 

ly. whose Mus 

:icmns Library. 

splendid piece 

of m< 




contains many 


Vcdi come il buon vegliardo (Well I Kne^v My Trusty Vassal; 

By Maria Gr iau Soprano: Carlo Ottoboni* Bass : Remo Santfiortfi, Tenor ; 

and Giuseppi Sala, Baritone (In Italian) '''95169 12-inch, $1^5 

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, sasring : ** Duty to my King cancels all 

otfences.** The great finale then begins with Carlos ' solo, sung aside to his squires : 

"Well I knew my trusty vassal 
Fierce in^ hate, in passion tender 
Would his wrath and love surrender 
In the presence of his Kinp." 

This is one of the most impressive records of the Emani series. 

Finale, Act I 

By Maria Gr isi. Soprano; Carlo Ottoboni, Bass: Remo San^^iortfi, 

Tenor; and Giuseppi Sala, Baritone {In Italian) *16568 10-inch, $0.75 

The finale to Act 1 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: 

Caklos (to lirnani): Carlos: 

I will save thee I Power, dominion and love's delights, 

{Aloud to Silva): All these are mine — all my will must obey! 

Let this trusty friend depart. Silva: 

Eknani. 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! Couktibrs: 

Elvira: Well doth Silva hide his anger 

Fly, Ernani, let love teach thee prudence! Ilut within it still doth smolder! 

Emani yields to Eloira'» pleadings and in the confusion makes his escape. The curtain 
falls on an impressive tableau. 


SCENE— >l Hall in Silva '» Castle 

After his escape from the casde, nothing has been seen of EmanL Ehira believes the 
rumors of his death and despairingly consents to wed Don Silva, 

EsultiamI (Day of Gladness) 

By La Scala Chorus {In Italian) '''16569 10-inch, $0.75 

Tlie first scene of Act II occurs in a magnificent hall in the castle. The company of 
knights and pages of Siloa, and ladies in attendance on Elvira sing the opening chorus in 
praise of the noble Silva and his peerless bride. 

Oro quant* oto (I am the Bandit Emani) 

By Maria Bernacchi, Soprano : Luisi Colaxza, Tenor : and Torres de Luna, 

Bass {In Italian) ^^16569 10-inch, $0.75 

Silva, attired as a Grandee, enters. His squire, Jago, announces a holy man, who craves 
the hospitality of the castle. Emani, 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 chain*; . . . My 
enemies are without the castle . . Seize me and deliver me up, for I am 

weary of life!" 

Silva, however, refuses to betray one whom he has received as a guest. The trio, 
which is one of the great scenes of the opera, then follows. 

La vedremo, o vetflio audace (I Will Prove, Audacious 

By Ernesto Caronna, Baritone, and Torres de Luna, Bass 
{In Italian) *16570 10-ineh, $0.75 




The ri^laLni^rs Um^ news (hot >hc King and his warriora are without the castle. Silva 
hides Emoni in a s«ret passat-c and orders thai the Kins be admilled. Don Carlos inquires, 
wilh irony, why SihaS castle is so well guarded, nnd demands that he surrender ErnanI or 
lose his own life. Silvo rt'luses. The soldiers are ordered lo search the castle. This duel 
Ihen ocurs, b.-Bmnin,; : 

Vieni meco [Come, Thou Dearest Maident 

By Maria GriM. Soprano: Francesco Cit'adj. Daniunc; Carlo Ottoboni. 
Bassl and Lj Scala Chorus t In tt,:U„r-. '10570 lO-inch. i 

This record becins wilh a chorus of soldiers, wh.i hav.- .-xplorcl the castle but have I 
no trace of LmaiM. The KinB is rtbout )o torture iWiu into revralinR the s.-crel. when 
rushes in and bt-K* 'he mercv of his Maiesty. Coi/oj turns to h.-r. and sinps consoling 
the briRht future before her as his Queen, and in tl»- «rcal Irio which follow, ihe 
fliclint; emotions of those in the scene <irg expressed in \':-iAV^ l.cry mus.t. 

A te scegli. se^uitni (Choose Thy Sword, and Follow! 

By Luigi Culaiza. Tenor, and Torres de Luna. Bass 

[li: Ilaimn "35169 12-inch. : 
The Kinc hi.s followers, and the Lady Elvita having r.-liied. 5i;ca exclaims: ' 
cannol hate with the haired [ bear th.-r. vile King I ' He then takes down tv^o si 
from the armory, and releasing E'n^ni from his hiding place, challenges h,m to coi 
Ernani refuses, saving that his life bclon;;s to 5'Vva. who has saved it. Sika taunts 
wilh cowardice and Ernoni consents to fight, but asks for one look at Ekira. Silca t. 
that the Kinn has taken her away. - Fool I '■ cries Ema-i to the astonished Grandee. 
King is our rival I ■' and agrees lo combine with Sika against their mutual foe. Once 

• Douifc-FortJ Rno'J- Set BMC / 17. 


vL<u fc 

B of liM mcMt dramatic a 

In arcion, cavalieri (To Horse. Ye WamoTB) 

By Gtiueppi Sala, Tenor; Ceure Preve, Baritone; and La ScaUChorui 

(Inilalltm) *16Sri lO-inch. «0.7S 
The act doses with the spirited duet and chorus hy Emani. Sllea and the warriors of th« 
Don. who prepare to pursue the King to the death. 


SCENE— <4 VauU In AU-la-ChapdU Canday 

k de* verd' anni miei (Oh Bright and Fleeting Shado^vs) 

By Mario Aneona. Baritone (Inllaban) 8B062 12-inch, MAO 

By Giuseppe de Luc*. Baritone (/n Italian) r4906 12-iiich, 1.30 

The third act occurs in the Tomb of Charlemasne at Aia-la-Chapelle. CorfiM can- 
als himself in the tomb of his ancestor to witness the meeting of the conspirators who 
e plotttng against him. He is depressed and melancfioly, and sings this famous O de vaJ, 
which he pledges himself to better deeds should the Electors, then in session, proclaim 

i ridesti il leon di Castiglia (Rouse the Lion of Castile) 

By La Scala Chorus {In Italian) *16S71 10-ineh. *0.75 

The coD^iiiators, among whom sre Emant and Sllea, assemble at the tomb, Emaid is 
Kwen to assassinate CaAia, and greels the decision with joy. exclaiming that his dead father 
ill at last be avenged. The great ensemble then followi. 

> sommo Carlo (Oh. Noble Carlos) 

By Matcia Battinini. Baritone: Emilia Corsi, Soprano; Luifl Colazza, 
Tenor ; Ar>»tod«no Sillich, Bass ; and La S«al* Chorus 

(hllttban) 92046 12-ineli. *3J>0 
By Msria Grisl. Remo SanftorCi FrutMMO Cigada and La Scala Chorus 

(/n/laAm) *3flirO 12.inch. 13,& 



The Loumln^ o( caiman having an.mun^d that Car/oi is proclaimed Emperoi. he cornea 
from the tomb and surprises the conspiialors. Al the BBine time the Electors and the Kinga 
courtiers enler frarn .1 secret door. Carloi condemnB the plotters to death, when HotramsheB 
to him and asiks for ht^'cv The Emperor heeds her, pardons them all. and unites Ehira 
and E,nam. \n this gi fal Unalu ^11 glorify the Emperor «cept Silaa, who still secretly crie. 


SC:ENL l.n^.c 0/ a J'^U.- ,„ An.goi: 

Festa da ballo (Hail. Bright Hour of Gladness' 

By La Scab Chorus /" Ih.Imn' Iu5r2 lO-inch. iO.T5 

■] hr lov,.r.-i H<.- now happily .inited. and this sl',-.u- ^}„^^>, ilu.,, ;,t /■.,™n,-\ p„li>c^.. which, 
with hi, ..stiilrs. has lirrn >,stur,.-d lo him, .\ ,huiL]. <.l l„.l,. -, ,u.,-.k.. ,,„d |,.,.:.-= j;ir,.-ls the 
happy pair. 

Ferna, crudel estinguere iStay Thee. My Lordli 

By Maria Bernacchi. Soprano; Luipi Colaiia. Tenor: and Torres dc Luna. 

Baritone iln Italian) "35170 J2.inch. 11.25 

Elvira and £.»a>F/ at,- alone on the fi.ace, oblivious lo all hut each other, when a blast 

from a horn is heard. Emani awakes horn hi» dieam of bNss and reco^ni^cs the sound of 

• Doutlt-FacJ R,c^rJ-Sfr K-t' 1 17. 


his own hunting horn, which he had given to Siloa as a pledge to die when the revengeful 
Don should demand his life. The distracted Elvira pleads with Silva for her husband, but 
in vain. After an affecting farewell Emani fulfills his vow, stabs himself and dies, while 
Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Silva is gloat- 
ing over his terrible revenge. 


By Perelld de Se^furola, Bassl^,.^^. 
By PerelU deStgurola. Bass {In Iialian)r^^^^ 

12.inch. $1.50 

35170 12.inch, 1.25 


12-inch, 1J25 

12-inch, 1.25 

{Infelice e tu credevi 
Puriiani—Sorgea la notte 

Ferna, crudel By Maria Bernacchi, Soprano : Lui^fi 1 

Colaxza, Tenor: and Torres de Luna, Bass (In ItaUan) I . 

O sommo Carlo By Maria Grisi, Soprano : Remo Santfiortfi,r 

Tenor: Francesco Cicada, Baritone; and Chorus (Italian)} 

Emani Selection By Pryor*s Band\«^. . . 

Meittersinger— Prize Song By Victor Sorlin, 'Cellistr^ * * * 

A te scegli, se^^uimi By Lui^fi Colazza, Tenor, and 1 

Torres de Luna, Bass (/n Italian) I 

Vedi come il buon vetfliardo By Maria Grisi, 95169 

Soprano ; Remo Santf iortf i. Tenor ; Giuseppi Sala, Tenor : 

and Carlo Ottoboni, Bass {In Italian) 

Beviam, beviam By La Scala Chorus (In Italian)\ 

Da quel di che t*ho veduta By Angela de Antfelis, p5 168 

Soprano, and Francesco Cicada, Baritone (In Italian) J 

IO tu che Talma adora By Martinez-Patti, Tenor, 

and Chorus (In Italian) 

Quante d*Iberia tfiovani By Ida Giacomelli, Soprano, 

and Chorus (In Italian), 

Finale, Act I By Maria Grisi, Soprano : Carlo Ottoboni, 
Bass : Remo Santfiortfi, Tenor; and Giuseppi Sala, Tenor 
'u se* Ernani By Ida Giacomelli, Soprano ; Martinez- 
Patti, Tenor; and Enrico Pitfnataro, Baritone (In Italian)^ 

{Esultiam I By La Scala Chorus (In Italian) ] 

Oro quant* oro By Maria Bernacchi, Soprano ; > 16569 

Luitf i Colazza, Tenor ; and Torres de Luna, Bass (/n Italian) J 

I La vedremo By Ernesto Caronna, Baritone, and 

Torres de Luna, Bass (In Italian) 

Vieni meco By Maria Grisi, Soprano ; Francesco Ci^^ada, 
Baritone; Carlo Ottoboni, Bass; and Chorus (In Italian)] 

In arcion, cavalieril By Giuseppi Sala, Tenor ; ] 

Cesare Preve. Bass : and Chorus (/n//a//an)> 165 71 10-inch, .75 

Si ridesti il leon di Castitflia By La Scala Chorus (Italian) | 

Festa da ballo **0 come felici** By La Scala Chorus 1 

(In Italian)L^^^^ 

12 -inch, 1.25 

16567 10-inch, .75 

16568 10-inch, .75 

10-inch. .75 

16570 10-inch, .75 

Hamlet— O vin, Jiscaccia la Matezza 

By Francesco Cigada, Baritone, and Chorus (In Italian) 

'Emani involami (Emani, Fly 'with Me) 

By Maria Grisi, Soprano (In Italian) 
Ballo in Maschera — O Figlio d* IngMterra 

By Huguet, Salvador, Qgada, Sillich, and Chorus (In Italian) 

Infelice e tu credevi (Unhappy One!) 

By Aristodemo Sillich, Bass (In Italian) 
Manon — Oh, Manon, sempre la stressa 

By Giorgio Malesci, Tenor (In Italian)^ 

Come rutfiada al eespite By Luigi Colazza (In Italian)] 

O tu che Talma adora ^6262 7 

By Martinez-Patti, Tenor, and Chorus (In Italian)] 

10-inch. .75 

63173 10-inch. .75 

63421 10-inch. 


10-inch, .75 




Text by Tachaikowiky and Constantii 
PuaKkin'a poetic lomsnce of the aame nami 
produced at St. Peteriburg. 1679. following 
ConiervBlory in MwcK 1879. Firrt Berlin 
>t the Theatre deaWi 

>e Shilowaky, ba.ed on Alexander Sergiewitch 
:. Mu>ic by Peler Iljitch Tachaikowiky. Pint 
a performance by the students of the Moscow 
performance at the Victoria Theatre. 1806, and 
' Hamburg, 1692. Fir^t Londonptoduction ii 

x>ndonptoduction in 
1892; revived at Covent Garden in 1906 with Emmy 'Destinn aa Tatiana. Tlie work has 
figured frequently in the repertory of continental opera houses, but haa had no adequate 
production on the opera stage in America. In 1914 J. M. Medvedieff's newly-formed opera 
company gave three scenes at the Star Casino. New York, a popular East Side music hall. 
Several yeara ago Walter Damrosch brought out the work in concert form with the folk>W' 


inded proprietress 

her daughters 

Madam Lerin. 



FlUPIEVNA. a waiting-woman 
EUGEN ONEXUN, a Russian gallant 

LIEN3K1. his fnend ,. 

PRINCe GREMIN. a captain . . 
TRIQUET. a Frenchi 

Chorus of the New York Oratorio Society 


( Mary Hissem de Mobs 
( Mrs. Taylor.Jonea 

Mr.. Taylor.Jones 

Paul Dulault 

ic anJ PtriaJ .' The acllm laka place upon a landed alate and In St. Pelenturg; 


Pushkin's Iiagic sioty. -wHtirn m IB}3, it familiBr to every Ruuian. but the poem is 
■catccly known ui □ili!:t countne?. The idea of &d opera on the subject of Eugen On^gin 
was suggested lo Tschaikowsky hy a li><md in 1677, while he was profeaur of harmony at the 
Conservaloiy ol Mascow. and it pvov^d to be the most populai of all operas in Ruuia. 
It is the ihitd of Tschaikowskv^i u[)' r.i3, the lint two atlempta at lyric drama Having been 
destroyed by ihe compusti ni ii=-d l-v him in other ways. 

The npi-ta. lold almost L-niiicIv in Pushkin* vera*, with » few addition*, ia the «oiy oF 
a Russian aiisloctet. hufen On.ffin, wlio accompanies his friend Litnaki to the country home 
of the lattcr's fi,in..rr, VIgn Lc-n„. 

SCENE |-.\fm<-, Lc,m J Cmini/K Wflc. nea, S(- PtUr^irg 

The first si:ciissht.«-a the garden ol Mme. Lean's house, and she is seen sealed under a 
tree liatEning to her d3U|{hlPts, Tiili:ina and Olga, who are singing a sentimental ditty about a 
nighiinpale. The g.rls <:om^ inlo the garden. T-oHono with a novel she has been reading, and 
whicli has muili eKiiteJ htr. Her 8isc<-i laughs and tells her that abe iafooliali to be •OMnti- 
mental. The noist of wheels is hcaid, and a cairiage i* aeen approackiiiK cantaming Zjowlf . 
who is betrothed ici Olga, and his friend. Onigln, lienij^ inttoducea hia chum, who, rather 
bored, lakca small interest in these rural scene*. O^a 's romantic •!**», however, falU in lov« 
with the haughty Oiiei/iii at first sight. 

SCENE M—TaUiutiftBtJnam 

Toliarii is discovrfed lost in a deep reverie. She is dreaming of the handsome £ii^n, 
and in het inexpeiience pours out her soul in n letter which she confides lo her nurse lo cany 
■y dear to her. 


lan »ho has suddenly becom 

SCENE 111-^ Fiild on Mmt. Lerln't Etialt 
ana, in her indiseteel letter, has asked Eugen to meet her here, but ■ 
repentance lor her rash act. The blas.^ Onilm does not feel much ■ 
B simple country girl, but comrs to the ren 
ime nor incUnation for love, and suggests tl 
e with shame and confusion, runs away in ,! 

SCENE I A Ughled Balhofm i. 


..\ ball is bcini: i;iv 
•iana. and HIrls with h. 
sg/ntoaduel. andlhe 

on in honor of Taliana's birthday. Eugen, who is prese 
r, sUlcr- This arouses the jealousy of Olga's fianc^. who 

SCENE 11- A'cuf Ihe miui'c Mill 



The loUowing morn 
> cold and ihe combal 

In^ near a villa»:e mill on the banks of a stream, the adveis 
anls shiver as they make their preparations. Everylhins ( 


tally w.unded. and O-iCgm, 

r the firs 

As they take aim /.« 
his life. IS overwhelmed w.lh, 

ACT 111 
SCENE IThc I'ala,, oj (.\"„„ 

Alter six years uf restless travelinp in se.-.rch ol pr.^c- of mind, Onegin returns to St. 
Petersburg, and is invited by 'Pm.ce C",m,m tn a hall »■ his palace. Here, to his astonish- 
ment, he tneela Taliona, now the wile of the Pi incc. a man ol dislim.tmi, and high in favor 
with the Czar. He promptly falls in love with the beautiful woman who as a simple coun. 
try girl he spurned years before; seeks het out and declares his love. .-Mter a mighty 
struggle Tallana determines to be true to hor husband, while aclmiiti.i^ that she still loves 
Orxtsin, and the curtain falls as he leaves the palace, overcome by mingled bitterness and 
passion, and the feeling that his life has been an empty waste. 

The opera is full of the romantic melancholy melodies with which Tschaikowsky was so 
prolific-melodies that have won all hearts. One of these is the "Air de L.enski." "A 
Distant Echo of My Youth" l£t/io l:.inlain Je mo >eu„i..;e . 

Air de Lienski Echo lointain de ma jeunesse i A Distant Echo 
of My Youth) 

By Enrico Catuso. Tenor l/n Fienc/i) Bt!583 12-iach. 13.00 



Text t>y Boito, taken from Stialceapearc'a cometlj. Tht Mtny Wica of Windsor. Mu>ic 
by VerdL Firrt proauction. MiUn. M«cK 1893. FLrm Berlin production June I. I893j 
Vieiuw. June 21. IS93i Buenoi Airea. July 9. 1S93; Parii, April IB. 1894. Fiimt London 
pioduclion May 19. 1894, under the managemenl of Sir Auguatui Hania. Ftiet North 
American production at the Metropolitan Opera Houae. New York; February 4. 1895, widi 
Eamea. Maurel, Scalchi, de Luaaan and Campanari, under the direction of Maurice Crau, 
Several performancea were given in ie96,a{teTwhich it waanot heard asainat the Metropolitan 
f or f ourteen year*. Campanari waa the only member of the original caat to appear in the 
1909 reWval, iIm new caat includins Scotti, Deatinn, Alda, Gay aiul ftanzenberg. 

I and Original Metropolitan Cast 

SIR JOHN FALSTAFF Baritone Maurel 

FENTON, a young gentleman Tenor. . . .Ruaailano 

Ford, a wealthy burgher . Baritone. . .Campanari 

Dr. CAIUS, a phyaictan Tenor Vonni 

P;^?^-}(ollo.„.o(F.I..S.. " 

Mrs. ALICE Ford Soprano Eamea 

NANETTA, her daughter Soprano. . -de Luaaan 

Mrs. QUICKLEY Contralto Scalchi 

Mrs. MEC Pace Mezzo-Soprano de Vigne 

It was the youthful dream of the great compoier. Verdi, 
to write a comic opera, but it wai not until he waa nearing 
eighty yeara oi age that his dream was realized. The muaie 
of Fahtaff denotes in all things almost the antithesis of the 
style and methods and ideals of Verdi's early operas. The 
music is vivacioua and aparkling. being interspersed with 
delightful fragments of melody. 

Sir John Falilaffia a merry rogue, ao conceited as to be. 
lieve himself irrenstible to all womankind. Hia egotism leads him to think he has fascia 
nated both Mslieu Page and MMtai Alice Ford, and he writes each of the ladies a love letter 
identical in ccHilenta. The two women compare the notes and plan to punish the Knight for 
preauming loaddress them in such terms of affection. 

FoiJ limmi ol Fablaff'i advances to his wife and flies into a jealous rage. Mlilmi FarJ 


friends. determin<:d 1„ 
Falilaff. but the i-ii. 

refuge m a riolli.-, 
Mfi/rcjj FufJ has lh<- 
thrown into the d.tch. 

nd III 

«haltLnK-lip (.t-r.,,.- Ihr 

ruLlup ..: ■■!.. 

U.k.-i ..., 


nd' ero paggio (When I Was Page) 

By Anionic Scotti, Bjritone {In llal, 

<6I94 12-inch, I3.O0 


Words by Barbicr and Carre, founded upon 
Goelhp'a tragedy. Music by Charles Gounod. 
First produced at the Th^dlre L\,rique, Pari*, 
March 19, 1859. First performance in Berlin 
at the Royal Opera, January 1863; in London 
" tie II, 1S63: in New York. November 26. 
63, at the Academy of Music, with Kellogg. 
Mazzoleni. Biachi and Yppolilo. 

Some famous American produc 
were in 1863. with Nilsson, Scalchi, and 
Campsnini : and the same year with Nor- 
dica (d*but) as Margufrlle: in 1892 with 
Eames. the de Reszkes and Laaallei 
and in 1913 with Caruso and Farrar. The 

politan since 1914. 


Faust IFtxali Tenor 

MEPHISTOPHELES (Afrf.(B-(o/'-ff.fc«) Ban 

Valentine {f^r^nj^n) . . Baritone 

BRANDER. or Wagner Baritone 

SIEBEL i.Sa'^D . .. , Mezzo-Soprang 
MARGUERITE (A/flAr-e^rW). . Soprano 

MARTHA . Contralto 

Students, Soldiera, Villagers. 
Sorcerers, Spirits. 

Fausi. the Aged Philosopher. Wcin'e? of Lffc 



Fifty -eight yean have elapsed since 
the firit production of this tna«terpiece 
by Gounod 1 and it ia to-day sung 
throughout the world more than any 
other five operas combined. At the 
Paris Op^ra alone it has been given 
more than 1500 times. 

It seema strange now, in view of 
the overwhelming success ol Faust, to 
recall that it was received with indiffer- 
ence in Paris, and all but failed in 
Milan. The London production, how- 
ever, with Titiens, Ciuglini. Trebelli, 
CaMier and Santley. was quite success, 
(u); and in the following June Palli aang 
Martatritt for the first time, the opera 
receiving a tremendous ovation. 

The story is familiar to almost 
every one and will be but briefly 
sketched here. The libretto by Batbiec 
and Carre does not attempt to follow 
the Goethe drama, but merely malte. 
use of the Ftaat-Matguaitc incident. 
Thia is sufficient, howevei. to provide an 
iDtenaelyintereatingaubiect for Gounod's 
lovely muaic 

Prelude to Fauat 


36 AujQurd-bui MERCREDI 3 Mara 1069. 


I'W. Oll.tiOinOU 


K-ulnlinT ■ inriroTDD ■ gufjliu) 

,.i-_,,LES CHOEllRS''"aoien 

f »Wr 

The prelude to Faust is 
follow. The fateful single i 
OTckeMra with which it opens 
oua chromatic chords slealit 
strings form a fitting inttoduc 
of such unusual portent. 

The tempo ia then accelerated and a pas 
aage suggesting Faial't mental stniggles leadi 
to the lovely melody in F major {DioptOKnle) 
The prelude closes with auslained chords, sol 


The Compacc 

The first act lev 

^^""'"TT.e fitful 
aged Famt. as after 
but little of true kno 

eats the studio ol Fa 
musty parchment rolls 
light or an e.piring la 
a lifetime apenl in ih 

U9l, an BEed philosophe 

.„d Ih. ,ud. .cicnliSc . 

mp it B symbol of the de 

pursuit oi learning, h 

and a 


of the 
the hea 
s that h 

who is 
t of the 

\-sin: 111 vain do 
Through my vigi] 

hy pily 


,f strife 

Never a reply wii 
1 'i™knii°vainr"i 

brhind ms; 

o f"ih 

nd st,k 


, (dufuiVfiiglji) Of my i 


Tired of the alniggle, he reaolve* to 
end it with a poiwxioiu dranght, and 
raiaei the goblet to hi* lip*; but pau*e« 
•* the (ong* ot some happy peaaanl* 
float ihrouBh the open window. 

La va(fa pupilU (Rise, 
Slumb ring Maiden) 

By Gennaro De Tura and 
La ScaU Choru* {In IlaHan) 

76019 12>ui» «2U>0 

Who ha^timl llVUincni 

falber'i band 
Why now dosi 1 
Chords or Reafeu (vIlAaiit) 

br my 

ipers. roung and 
wllh biiTHt ilorrl 



V>K -^ 


'' '■ ^ 





Mais ce Dieu, que peut-il pour moi I 
(But this God. What Will He do 

for Me?) 

By M. Campafnola, Tenor, and M. Cerdan. 

Ba** (/nFrencA) 'SSOar 13-iiu lUO 
He Koe* to ike window, and filled with mge at the 
light of human happiness, he curses all earthly thing* 
'Is on Satan to aid him. 

To pve me back my love, 
lis Believing and its glow. 
AccuDt he all ye Ihougblg of ej 

Mtphlilophelet, attired in the diesa of a gallant, promptly appeaia in response to the 
call and proposes that the good Doctor shall enter into a compact with him. In return 
for riches, glory, power, anything he deairea. Fmut shall mere ^ give up his aoull The 
aged pbiloaopher, spuming gold and power, die* out for youth, on^ youtlil 

lo vo^lio il piacer A moi les plaisirs (The Pleasures of Youth) 
By Leon Camp>|[noU. Tenor, and M. Cerdan. Ba» (Fitachl '59087 12-ia.. tl.90 
By Caetano Pini-Corsi, Tenor and Ariatodemo Sillicb. Ba» 

Unhahan) *63I74 10-in.. .13 
The bargum L. >oon »g.e..<l upon and Fautt i> iiboiil to pledge hi. >oi]l Ln return (oc youth 

and love, but as he atLlI hesilatea. Mtphiato taya. " See how (air youth invites you I Look 1" 

P merveille (Heavenly Vision) 

By Enrico CaruH). Tenor: Marcel Journey Ba*s tin Ficnchi 89039 12-in.. t4-00 

Then Eollows the delicate 
■tnngB which accompanies the i 
gazina upon ihe beautiful Margt 

The (croll is signed in Ic 
drains the magic potion anc 
info a youth. The spirited di 
ends the first act. 

{ The tcrne ahawi a ft, 
A motley crowd of studeni 
[ themselves —drin kin 


Kemnesse Scene 

By Nen' York Grand Opera Chorui [ 

By La Scala Chorus I 

Each group delivers its quota in distinctive fashion 

trasling with the laughing, chattering passages allolti 

'DtiAk-FaaJ ReearJ-Stt tail 147. 

I 74213 12-inch, »1.50 
) *681bO 12-inch. 1.25 
lers' sturdy declaration con- 
women L the falsetto of the 


CD*«pinK old men alwaj'a proriiiB > (BTorile portiMi of thi* number. At the cloaa tl>a dif- 
ferent BToupi combine into a dtorua o( (uc pan*. 

" — •' ^erry (irl* 40 eye n* 

lal It THeuit^ 

R?.^ ■" 

id wl 

lile liquet, coitw or fin. 

We know 

Hhil c 

nutter, to we hive wue? 

To deipi> 

Old Meh 

Like » n 

rast-day bring, the old Bory, 




/ nch hot-heldeA boy ' 


for 1 

o-day-6 liltl= glory! 




Only^ I. 

Long li« 

llott'incvcr thry defy us. Rf il ancient city, be it nulden pretly, 

Xevcr run sway! Both muit fall our prey! 

Here VaUnllne, Margatillt'i brother, i* found Bmans the aoldier* who are aboot Id 
depart for the war. He sings the noble Dia pottaiU, a farewell to hi* aiater and hie hooMi 

Dio possente (Even the Bravest Heart) 

By Antonio Scotti, Baritone (/n llatlan) 88203 la-Ineh, tSjOO 

By Emilio dc Goforza. Baritone (In Ilallen) 80174 11-inek, SJOO 

By Titta RuSo, Baritone (In Italian) 92043 13-iadi, 9.00 

By Reinald Werrenrath. Baritone [In Engllth) *SS07» la-ineh, 130 

By Franccaco Cicada. Baritone (/n IlaUan) *68aT5 12-inch. 1.35 

In the preceding recitative he BpcaLa of his (ears in leaving hia aiater MargaaOi Jant, 

and contemplate* with affection the amulet ahe haa given him to bring good (ortuna. 

VjiLiHTiHa; However great tbe danger, 

Dear gift of niv liiter, Tbere'i naught can do me taata. 

Made more holy by her pray'r. Protected by ihia chanal 

The familiar "Cavatina" then (oUowa: 

Even bravett heart may swell, 
la tbe moment of farewell. 

QuTei^omr'l leave behind; 
Oft ihall i think of you. 

But when danger to slory shBl! call me, 

I still will be first In the fray. 

Af^ bliihe as a knighi in his bridal airay. 
rairlest what fate m:>y befall me, 
When glon. shall call mc. 

Ofl shall I Fadly Ihink of you 

Thia Dio fioiitnlt waa not in the original production of the opera, 
but waa written by Gounod especially for Santley in the Engliak 
production at Her MajesnT's Theatre. 1864. America heard it for the 
first time in 1667, when Santley sang it in Philadelphia at a perform, 
ance by the Caroline Richings Company. 

Le veau d*or (The Calf of Gold) 

By Pol Plan^on. Baas (/n FrencA) 81038 10-inch. * 3.00 

By Marcel Journet.Baas {InFnnch) 64036 lO-inch, 1.00 

We are now in the full buatle of the Fair Scene, where in front 

an inn a crowd of drinkers are liatening to one of their number, 

Wagner, singing a somewhat coarse dilty concerning a rat. MtpfiMf- 

phtla breaka in upon the revelers, and offer* to sing a song of hia 

own, "The Song of the Golden Calf." After the diabolically aug' 

geative introduction by the orchestra, with it* semi-quaver* Mid 

descending chromatjca, we hear the bold opening passage of this 

anthem in praiae of Mammon, of which the calf is sj'mbolic 

'DoM^fatml RKm4 ■&■ »«t N7. 


ro the wund of iinglina coini 
DariFc wilh icil in leslive ai 

Round a 

Calf of Gold, strangeil god bclowl 

To his temple overffowinK 

Crowds bi-foi* his vilf shape bowing. 

As they strive in abfect loif, 

Ai wit>i souls dtbasfd Ihey circle 

Round about the pedestal. 

Mcphlilophtla now proceeda to a*- 
tonish the company by hia feati of magit^ 
fir*t [cading their palmi and then draw- 
ing wine h'om tke harrel of Bacchu* — 
the inn lign perched up aloft — each man 
drawing the wine he hke* the heaL The 
■cene which followi ii a moat dramatic 

Faust— Scene des Epeea 
(Scene of the S'words) 

By Paiqtiale Amato, Baritone; 

Maroel Jour net. Bars; and 

Metropolitan Opera Cboruf 


(InFnnch) 80059 12-inch. 14.00 

By M. Vifneau, Baritone, 

and Cliorui {la Frtnch) 

*69227 10>inch. .75 

TUbbiihy wi 


What ho. Baecfaui! up there! some tiquo 

Com* while you can. 

And each one diink the wine he Hkes th( 

affronts Valenlint by proposing the health of Mai 

He th. .... 

and the soldier draws his sword, only to lind that some unfoi 
force has made it powerless in his hand. 

I propoM the hi 

dearest of all 

Our MirgariU! 

Bridle thy U 

My 1- 


my hand 
Valentine, kowerei, tumi the handle upwards, thus making the 
Sign of the Craaa, the soldier* doing Ukewise, and they now face the 
Tempter with confidence. 


«11!T1«.. l.I MAlCUH-iri AVD 

Ml-jr-ACT 1 

om Kermeaae Scene 

yor-8 Band 

■16592 1 

serve* Marguerlle, and approaching her, 

, greeU hei 

' req>ectfull 


liigh-born anil lovely maid, forgive 
Ut me, your willing slave. atlcnJ ; 

r'ou h'o1!."''lo- 


ie^lly decline* hii atlentioni. laying: 


Flower Song — Le parlate d'amor (In the Language of Love) 

By Louite Homer. Contralto U" Italian) 87073 lO-incb, *Z.OO 

By Corinne Moftf an. Contralto (In Engllth) *3S0B6 13-iaeh, ia5 

By Rita Fornia. Soprano (In Fnnch) 64162 lO-tnch. 1.00 

By Emma Zacearia. Mezzo-Sopraoo {/» Uallan) '62089 10-inch, .79 

Sletd DOW think* to put ikU cune U> 
by meana of a flower, nnging 

"In the language 

Id shall H'ithci:" 
t«t, and preporea to send a measage of love 

-. m 


g | | l lr'C" l 

■ni irWnr-^A-iMi'/lktlia 


Salut demeure (All Hail, Thou Dwelling) 

By EnrUa Caruso \ In French) 88003 12'iach, $3.00 

By John McCormick i In llJian] 74220 12-iDcb. l.SO 

By Gcoryc Hamlin \ In Engli,h] 7-»139 12-inch, 1.50 

By Charlts Harrison i/n Eng//!/.) '35354 13-inch. 1.2S 

Mephi'tophtles and Fuuil, who have been eecrctly welching 
SicM, nnw iipptMr; ihe Icmplpr hflna in high spirils at the appar- 
ent sudL-c5s ol his sthpnips, whik- I-'uuil gazea in rapture al the 
garden where hi^ heluv.'d one i^ »onl lo walk, and «ngB hi. lovely 
cauallna. I If lliua rh.vpMiii^ps ihp modert dwelling of Marguerite: 

While l-„n>t is sineinR hia apostrophe to Ma, 
Mcphiilnpbeles. with an pye to more practical ihit „ . 
Siehtl's humtile no!ii-t:dv with a bptendid houquet. a more littini 

I bouquet, a more fitlii 

ivilh which Marguerllt is 



-niers the garden 

o( the handsome 
el in the market 
announced on the . 


Finiluig herielf in no humot b> ■pin. MargutHtc movi 
tDwwd the houae anil lea the fiowent which the ilopi 
admire. thinkinK them from Sleitl. The bos o( jewel* tb( 
catchei her eye, end after *ome miaipvingi the opeiu — 
Then foUown the bright and ipaTldinK " Jewel Song, ' or Air 
At hijoax, in which childiah glee and virginal caquattiahne» 
are ao happily < 

__ / «le<p did I dream of aught 

la the delighted Margaerilt. 

Air <les Bqoux (Jewel Son^) 
By Nellie Melba, Sopmno 

{laFiench) 88066 IX-incti. *3.00 
By Marcella Sembrich. Sopnao 

(InFraich) 68024 la-iocli. 3.00 
By Gcr»Ulnc Farrar, Soprano 

(InFmtdt) B814? ll-inch. SXK> 
By Glotepplna Huftiet, Soprano 

(/n/lobOn) *6B160 la-inch, I.2A 

Quartet— Seifneur Dieul (Saints Above. What Lovely Gems I) 

By Geraldine Farrar, Soprano; Enrico Cariuo, Tenor; Marcel JournecBaMi 
and Mme. Gilibert, Mexxo-Soprano (/n French) 95204 la-inch, 15,00 

The firrt part of the great quartet begin* with the entrance of Martha, b *uiccp- 
liU* nMtnm woo i* companion to the motherlc** girl. The duenna ii struck with a*ton- 
UuncDtat the aight of the jewel*, and begin* to question Margaerilt, when (he i* intet- 
npled hv MtptMo^tda, who appear* with Fault; and to eicute hi* entrance tell* Martha 
Ait her hndtaiHl is dead. Thi* announcement is received with erica of grief and sympathy 
fimm dia won>en, and the imprudve paiue which eniues i* followed by the beautiful 
qoHlet. in which Gounod expresse* the various emotions of the charactera 

MtphUopMa then begins to flatter the vain matron and pay her mock attention*, *o 
that Faail may have an opportunity to plead hi* cau*e without interruption. Thia 
dialogtM with me susceptible duenna funiiahes the only touch of comedy in the opera. 

Hsppr "ill iM >l>e n"n Mephistopheles: 

*he demurs, while the crafty 

Quartet— Eh quoi toujours aeule ? (But 'Why So Lonely ?) 

By Oaraldine Farrar. Soprano; Enrico Caruso. Teaor; Marcel Journec 

BtMt and Mme. Gilibert, Meuo-Soprano UtFnaeh) 95209 IX-in^ 15410 

prcMnonable Birl'i hnut tui 
toward the handaome (Uui 
Ihu B lover should be. 

She was an anRcl; 

An angrr. «i«cr 10 Ihirc. 

Mtphltlephtia hat auccee 
Martha, who vainly loolu foi 
and he now watches with aa 
who are wandering among (hi 

My lord! 

tion Mephiatopheles (Oh Night. Draw Thy 

Marcel Journec B*h (In Frenth) 641 1! 

Marducrite'i Surrender 


Tardi si fa ! (The Hour is Late 1) 

By Ceraldine Fam.r. Sopnno. 

and Enrico Caruso, Tenor 

{In Frtnch) 89032 12-uich, *4.00 
Matgacrile, finding heiself alone with Faail, loolu in vun 
fdr Martha, and not aeeing her, endeavor* to bid farewell to 
hfi lover. 

r ia Utel Finwelll 

Brighl and U<xd^ 
To love thy bcBi 

Wlii not enjoy Ihii loiely Ohl how Mrange. liire ■ 
riiL^ht a little longei? Dors the eyenmg bind n 

Dammi ancor (Let Me Gaze on TKy 


By Alice Nielsen. Soprano, and Florencio Constantino. Tenor 

(In halian\ 74076 12-inch. *1.S0 
(This iTiord ;• in i>..rt the i^me « 69032. one elccDtion being that the i«il>live. The 
Hour i> L,lc.'' b«w<;en M«,gt,filr and lo«,l. is omHIed. i 

Eternelle (Forever Thine) 

By Gcrildint Farrar, Soprano, and Enrico Caruso. Tenor 

I In French I 89031 12-inch. »4-0O 
And now thr. lovcts plichl iheir troth in the fateful word ■" Elcrncllc,'' whicli. with the 
solemn chords in the woodwind, sounds hl<c a true lovr-r's M,;h. 

Elle ouvre sa fenetre (See ! She Opens the W^inJo^v !) 

By Ceraldine Farrar. Soprano, and Marcel Journet. Bass 

,ln French) 8904O 12-inch. J 
Hurrying away lull of thoughla of the morrow, when he will see his Ma.g„crile a 
Fauil \a confronted by the sneering Mcphislopheles, who bars his way. 



Thou hut ovrrhord 


Not ■ 
Thai « 

Rcpeit it igiin, bird I 
Soft wind thai fallol! 
He Ions met Ah, a 

How (he boughs emhrace and murmur! 

Oneof the mostofiginal and beautiful of the Faust melodiea. 

tbia makes a fittiag tenrnnation of the exquiutely beautiful 

Garden Scene. A lovely melody in 9/8 time, divided between 

flute and clarionet (onna the haaia of 
the moTcment, and in thii the topraiM 
join* in ahort dreamy phrue*. 

Het longing for the passing of night 
and the return of Fauil, expressed in the 
last ecstatic phrase, is answered by the 
cry of her lover, and Mtphhtophtla, who 
haa been holding Fauat back, now 

F*UST {ruxhing lo tht mndcvi): 

(Tht crriain shaly falh-t 

Fantasie ^m Garden Scene 

ByMischa Elman. 

Violinist {Piano ace.) 
64122 10-inch, 


For those who wish to enjoy some 
of the exquisite melodies of this act in 
an irutrumental form only, the potpourri 
by Elman is included here. 

In this record the young artist doea 
not show us (eats of execution, but 
brings out all the senauoua beauty of 
the music which Gounod composed for 
thia immortal scene. It ia one of the 
loreliaat bin of violin pUTitmwoawa AA *. 

end, took part with t 

Now ii for mc. loo, mournfut th« durt 
HoH and dclifht have uu'd from life ■ 

The (cene abruptly change! to the ■quore in (roni of the o 
rgutritt (hown at one lidc. The victorious aoMiera, juat re 
impanied hy delighted wives and sweetheaTti. and aing th( 
bilsnt inapiring number, and one of the Bneat marchea evei 
a previous opera by the compoier, but wu added to Fauat. 

poniam il brando (Soldiers' Chorus) 

By New York Grand Opera Chorua {In FraieK. 

By Pryor'a Band {Do^lt-FaaJ—S^ imn 147) 
By La Scala Chorua {Douik-FaaJ—S~ Mx 1*7) (Italian 
By Mouauia Aah Party of Walea (/n EnglUh, 


The unhaj^y MargatrlU, (huaned by her companions and deaerled by all »ove the 
Uthful Sittd, U brooiHng within the cottasa. fearing to meet her brother, who hat juit 
raturned from the war. Mtpkilophdtt, not content with the evil he hat already wrought, 
retunw to taunt the maiden with her fault, and (ing* thi> insulting and literally infernal 
•ong, each vene of which ends with ■ mocking laugh. 

Serenade — Mephistopheles (Catarin*. "While You Play at 

By Pol Plaapon. Bass (/n FroKh) 81040 lO-inch, *2J>0 

By Tito RuSb. Baritone (/n Itabm) 07232 lO-ineh. 2.00 

By Mu«d Jonrnet. Bass (/nFrsncA) 740S6 12-mch. 1.90 

_, I. hi I ti>[ bill hi I hi I ha I 

On thy finger ipicldini dearly— 

Ha'i bat ^It^ai" '"* ' "" 

Cwerinii! crurf. crufll 
Cnil to denr to bim who fnvcs (her— 
And for Ihce doth monrn md sigh— 
•A dnf\t kiss from thy roiy lips. 
Thus to slight a fiitbful lavrr. 
Who BD long hilb bren i ronr. 

-vous. messieurs? (What is Your "Will?) 

• Caruso. Tenor; Antonio Scotti. Baritone: and Mtrcel 
ot. Bias (In Frrncli) 95206 12-i 

looae. Journet and de Goffona (In French) 74004 12-i 

u.n\ae with ihame of hU sixer'a disg'^ece. comes from the hou 
IS your will with me?" Mephislophtia tepliea in hii moi 

A ^ 


V ^A 



K>' ' 

-'■ c — 











"*■'" ■ 

The Death 

of V.l,«i„. 

ccj the author her 

-ne de L'Eglise (I) ( Church Scene. Part I) 
By Geraldine Firrar aad Marcel Journet (/n Fnnch) 

-nmenta i lieti (Doat Thou Remember?) 

By Tiita RuEFo. Bantoae (In Italian) 

Ac now come to the impreidve and almost terrible scene oui 
Margaerile, cursed by her dying brother, abandoned by all 

ing at a imall altar. Fearing to enter, and endeavoring to ■ 

iipplicales Heaven to acceptlier repentance. 


A> (hit terrible prophecy u heard (rom the ioTuible £vU Spirit, Mmgaailt i* terri&ed. 

Seine de L'E^lise (II) (Church Scene, Part II) 

By Gerildine Farrar, Soprano: Marcel Jouract. Bau: and 

Metropolitan Opera Chortia 

(/n Fnneh) 8903T 12-ineh. *4.00 
The unhappy ^U almoat over- 
e, cries out wildly : 


. Ihis 

cruel doomP 
Then M the chorale is heard 
from vrithin the church, she endeavor* 
to break the encircling Satanic ipell 
and kneels asain in prayer. 

What frail mortal ifasll a 


Ah! ISht falnlt.) 

n gives way, and with a 


Gounod placed his ballet between the death of Vatenllnt and the Prison Scene : called 
it a Walpurgis Night, set it in a mountain fautnesa amid ruina. and called (o the scene the 
claaoic queens, Heltn, Phrjint and Qspafro. who danced to weird and distorted versions iA 
melodies from the opera. 

Ballet Music (Part 1 — Valae, "Les Nubiennes ") 

By L'Orchestre Symphom'que. Pari* 5B015 12-incb. *I.CK> 

By Vessells*! Italian Band {D<iiMi-FoadRra>fd—SH page 147) 172B4 IO>inch. .79 

The first part, which in the open 
companies the dance of the Nubiar 
is a most striking portion, beginni.., 
introductory chords, followed by the i 
in this delicioua melody : 
afterward repeated wiUi bassoon obUiaatD. 


Ballet Music No. l—Adugio (Cleopatra and the Golden Cup) 

By L*Orchestre Symphonique, Pari* 58018 12-iiiclu $1jOO 

The second part is the adagfo movement accompanying the acene in which the 
Nubian Slaves drink from golden cups the poiaona of CUipatfa, who herself moiatena her 
lips from a vase in which she has dissolved her most precioua pearla. 

Ballet Music Nos. 5 and 6 (Les Troyennes et Variation) 

By L*Orche8tre Symphonique* Paris 58020 12-inch, $IjOO 

By Ves8ella*8 Italian Band *17284 lO-ineh, .75 

These two parts are heard during the appearance of the goddeaa Phiyne, who riaei^ a 
veiled apparition, and commands the dance to recommence. 

Ballet Music— Finale, '' Danse de Phryni ** 

By L*Orchestre Symphonique, Paris 58021 12-inch, $IjOO 

The finale is brisk in movement, rising to a wild climax and ending auddenfy widi 
a crashing chord. It is a most effective and exciting bit of ballet compoaition, and atiWMnr 
panies the dance of Phry^ne, who aurpasses all her rivals and wina the favor of Fan^, arousnig 
the anger and jealousy of the courtesana — Helen, Cleopaira, AMpada and Lal» — and the danoi 
develops into a bacchanalian frenzy, graphically pictured in Gounod'a muaic 


SCENE— 7%e "Primn Cell rfMarguaUe 

The short final act of Fauat ia truly one of the grandest of operatic oompotiliaiii^ 
Goethe*a atoiy giving Gounod ample opportuni^ for aome moat dnmalic writing. 
Afaifnsrfte'i reaaon ia gone — grief and remorse have driven her inaane, uid in a fnoE^ ahe 
haa destroyed her child. Condemned to death, she liea in priaon, into 
and Fanut, defying bolta and bara, have entered. 


The day is dawning. 
The scaffold has been set; 
Compel, without delay, 

Thy beloved one to follow thee I 

The maiden sleeps — the keys are here I 

On but thyself it depends to save lier. 

Mon coeur est pinitri d^^pouvante ! (My Heart is Tom) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

(/n Frtnch) 89033 la-ineh, $4^00 

Gazing at the unhappy girl, who ia sleep- tf ^ jj*^ 
ing on a pallet of straw, Fousf cries : 

PfwtrM* • ■ 
4^ kt^H a t&rm 

Marguekite (awaking) : 
Ah, do I hear once again, the song of time 

gone by — 
Twas not the cry of the demons — 
*Ti8 his own voice I hear! 
His hand is here to save me, I am free! 

and, aa the full measure of his own guilt comes to him, continues : 


Oh, what anguish! She lies there at my feet 
A young and lovely being, imprisoned here 
As if herself, not 1, were guilty! 
No wonder that her fright has reason ta'en 

away ! 
Marguerite! Marguerite! 

She forgets all but that her loved one ia before her, and sings in a transport of love 2 

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 mel 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 I voici la rue (This is the Fair) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

{In French) 89034 12.inch, $4.00 

Marguerite's mind wandering, she sings dreamily of the Fair, where first Faust appeared 
to her: 



The Redemption of Marguerite 


.1.11 - .yr did nol d=ir 

^t (he firal meetiiiK with Fatal, his respectful greeting, and hel 

Harkl haw Ibc nighlingare abovt 
To every el.i-ing cnmsan tos.: 
Fondly munnuH thy love: 


Thfre i. y« lirat lo ave th**: 
Mirguerile: Thou shilt not pcriib! 

The impassioned duel then follows. Fduit endettvoring to pwiuade her to eacape; 
the punr weak niiiid cannot (irasp the idea of MJety. The duet i> interrupted by the 
patient Mcph,sli,phck>, whcisi' bmi;il ">}/(rf( " begiiii the final trio. 

Trio— Alerte! ou vous 

Dy Geraldine Far 

etes perdus I (Then Leave Her I) 

By Vessella's Italian Band 
By Victor Opera Trio 
By HufTuet. Lari and do Lu. 
Mtphi,laphtks. fe^irinK (he con,\. 

Fmch) 9Sa09 13-iach. *9.00 
*3944» la-inch. 1.25 
{/n Eagtlth) 60097 ICK-incfa, .75 
{h llallan) •b20ei 10-inch. .75 

:. and uncertain of his own power, cries 

As he sin^s, the iriin 

The inspiring- Irio. perhaps iKe n.ost ihrillini; and ...nvin- of nil ope.atic ■ on, posit ions, 
then commences; .Vf«rgii.-rr/r continuing her p.,.ycr, h'.m.l u,,rin.^ h-r In (..ll.>«. bin., while 
Mephislophelcs, in despemlion. repents his wiiriiin;; to r.iu>l. 

Anges purs ! 'Holy Angels ' 

By Mme. Auguei dc Monealant. M. Rocoa .ind M. Pi>.>rre d'Assy 

l>, l-\,-'<t-h D3227 10-inch. *0.75 

At the close of the trio, McphiMnphcIn is about to triumph u\er the soil! of his victim, 
when a company of anKeis appear and annoimce that Ma<^ucrik- is savrd The Evil One. 
draKging Foujf with him, disappears in a fiery abyss. 
• Ooutit-FoK J flif Of J— 5cc can 1 47. 


Gems from Faust By Victor Opera Co. 31879 12-mch, $1.00 

" KermeMc Waltz " — ** Flower Song " — " Jewel Song " — " Garden Scene ** — *' Prison 
Scene " — " Soldiers* Chorus " 

Selection from Faust By Sou8a*8 Band 31104 12-inch 1.00 

Introduction to Kermesse Scene. Act I — Flower Song, Act II — Kermesse Waltz, Act I— 
Soldiers* Chorus, Act IV 

[Selection from Faust By Victor Band 

Introduction to Act lU — Flower Song — Waltz and Ballet 
from Finale, Act II 

Crown Diamonds Overture (Auber) By Victor Band^ 

35016 12-inch. 1.25 

(Even the Bravest Heart Reinald Werrenrath iln English)\^^^-^ 
\ Bohemian Girl— Heart Bow'd Down By Werrenrath {In English) r^^^^ 

12-inch, 1.50 

[Mais ce Dieu, que peut-il pour moi 1 

By Campagnola, Tenor, and Cerdan, Bass (In French) 
A moi les plaisirs 

By Campagrwla, Tenor, and Cerdan, Bass (In Frtrtch). 

55087 12-inch, 1.50 

/Flower Song By Corinne Morgan (/n £ii^//*A)\^-^^^ lo ;««k i 4« 

\ Drink To Me Only With Thine Eyes By Harry Macdonough^^^^^ 12-inch, 1.25 

f All Hail Thou Dwelling Lowly 

By Charles Harrison (In English) 
Elixir of Lope (Elisir d'amore) A Furtioe Tear 

By Chafes Harrison (In English) 

35354 12-inch, 1.25 

[Aria dei gioielli (Jewel Song) 1 

By Giuseppina Huguet, Soprano (/n //a//an)>68160 12-inch, 1.25 
[La Kermesse (Kermesse Scene) By La Seala Chorus (In Italian) I 

/Prison Scene By Vessella's Band\-- . .^ -^ . , _ -^ 

1 Foporita-Fantasie By Vessella's liaUan Bandr^^^^ 12-inch, 1.25 

Dio possente (Even the Bravest Heart) 1 

By Francesco Cigada (In Italian) \bS27 5 12-inch, 1^5 
FoDfortta — Quando le soglie By Miltrt and Minoffi (In Italian) ) 

{Alerte 1 ou vous 8tes perdus 1 (Then Leave Her 1) 1 

Huguet, Lara and De Luna>62085 10-inch, .75 
Le parlate d*amor (Flower Song) By Emma 2^ccariaj 


fDeponiam il hrando (Soldiers* Chorus) By La Scala ^^^'^'^^l^^^^^i 
\ DonPasquale — Sognosoaoee casta ByAcerhi, Tenor {In Italian)) 

10-inch, .75 


lo voglio il piacer (The Pleasures of Youth) 

By Pini-Corsi and Sillich (In Italian) 
Forza del Destino—Solenne in quest * ora Colazza and Caronna 

63174 10-inch, .75 

/Soldiers* Chorus Pryor's Band\-^-^^ -^ . - 

t Devil's March (von Suppe) Pryor's Band^^^^^ lO-inch, .75 

r^altz from Kermesse Scene Pryor's Band\-^--^ ... , 

In Happy Moments (from "Marttana") j^lan Turner r^^^^ lO-mch, .75 

Ballet Music C*Dance of Nubian Slaves**) Vessella*s Band] 

Ballet Music (**Dance of the Trojan Maidens** and [17284 lO-inch, .75 

''Mirror Dance**) By Vessella*s lulian Band] 

[ Anges purs 1 By Mme. Auguez de Montalant, | 

M. Roccm and M. Pierre d*Afsy (In French) >69227 lO-lnch, .75 
Choral dn epSu Bjy M. Vign^m, Barikum^ tmd Cho. (in Fmieh)\ 





T.-XI l.v Alphonsc Rover «nd CuXavc >AaiV, a.l.ipr. .1 fio.i. ,. dr.ini., ul Rnculard- 
Dair.«ud, "/.t ComU Jc Camm/ng,.,..'' Music by C^icUi.... Do.i./clti. In ils prescn. form il 
was h>«l produced »t ihe AcaJdmiv. Pails. Dccembet .>. IrMU. h.r:^t London pioduclion in 
Engliah, 1643: [n Italian February lb. 1647. First Nc« Oilcni, piodiiclion February "J. 1843, 
EnRliah version al ihe Park Thratre. New York. Odob.r 4, 1848. Some Jatpr American 
productions wer.^ in l8<»5-%. with Manelli. Cremoniiii. Ancnna aiul I'tan<.on : .^nd in 1898. 
al WalUck's rbe.,lr<. by the Roy„l Italian Opera Conip.iny, ...irl n, \'X>) M lli<- M.,,ropolitan, 

ALflK>.S-<) XI, KinH of Castile Bariloiir 

FF.RDINAND. » young novire o( the Convent ol St. J;.nn^ of I, uiiiposH-ll,i, 

afterwardH an ofAccr ]\„n, 

DON GA.SI',-\K. the King's Minister it-nn, 

Balthazar, Superior of the Convent of Si. James. . . B^is. 

Leonora di gusmann, the Ki..H** f^ivoriie Soi.r.,nu 

Inez. l.e. conRdame .... Sopnino 

Courtiers. Guards. Monks, Attendants, etc. 

and Ftriod: Tht action is 

lak' pUc m Ca>l 



SCENE — The Moruuieiy of St. Jamea 

The rise of the curtain disdoaes a Spanish cloister with its secluded garden and weather- 
stained wall, while in the distance is a glimpse of the tiled roofs of the city. Ferdinand, a 
novice in the monastery, confesses to the Prior, Balthazar, that he has seen a beautiful 
woman and has fallen in love with her. He describes his meeting with the iaix one in a 
lovely song, Una oergine, 

(Itslisn) (French) (Englifh) 

Una vergine — Un ange, une femme inconnue — (Like An Angel) 

By Florencio ConsUntino, Tenor {In Italian) 64090 10-inch, $1.00 

By Leon CampagnoU, Tenor {In French) ^45119 10- inch, 1.00 

The good Prior is horrified and urges him to confess and repent 

Non sai tu che d*un giusto (Knoiv^st Thou) 

By Gino Martinex-Patti and Cesare Preve (Italian) *62695 10-inch, $0.75 

Balthazar: For thee I will break ev'ry tie! 

Ah, mv son, my life's latest solace. To thee all my soul I surrender — 

May tnv innocence rescue thee still! At thy dear feet content to die! 

Thou, thou who shouldst be my successor. Forgive me! Father, I go! 

And all my solemn duties fill. Balthazak: 

Fekdinand: Hence, audacious! away in madness! 

Ah, father, I love her! I'll not curse thee! no— -depart I 

Balthazar: If Heaven spare thee, soon in sadness. 

This woman, wretched one! oh, knowest thou Thou'lt hither bring a broken heart! 

Who has lur*d thee thus to shame? Ferdinand: 

Ferdinand: Ah, dear Idol! this heart so enchaining, 

I know her not; but I love her! In vain thy spell I strive to break! 

Fexdinand (tft rapture): To thee only my truth maintaining. 

Yes, ador'd one! this heart's dearest idol! My cloister I forsake! 

The Prior's pleading fails to restore FerdlnanJ to his duty, and he leaves the convent to 
search for the beieiutiful 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 Leortora, and a 
chorus of maidens are gathering flowers. They sing a melodious chorus, 

Bei raggi lucenti (Ye Beams of Gold) 

By Ida Roselli* Soprano, and La Scala Chorus (Italian) '*'62635 10-inch, $0.75 

which tells of the love which their mistress feels for a handsome youth whom she has seen 
but once, and who is now on his way to the Isle at 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 Ferdinand 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 I (Fly From Thee!) 

By Clotilde Espofito and Sig. Martinez-Patti '*'68309 12.inch. $1.25 

Ferdirtand, beginning the duet, indignantly refuses, saying: 

Ferdinand: Thy vows and thy love I 

Fly from thee! Oh, never! No longer rcRret me — 

'Twerc madness to try Mine image remove. 

From thee to sever; The rose tho* she fair be, 

'Twere better to die! A canker that wears, 

Leonora: Can never rcstor'd be 

Farewell! Go; forget me! By anguish or tears! 

Irtez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives 
Ferdtrumd the parchment and bids him again to depart, then exits hastily. Ferdinand reads 
it and is delighted to find that it is a captain's commission, and declares that he will win 
great honors to lay at the feet of his love. 



)r (Oh. Love !) 

MaticDiuer and Pasquilc Amato B9062 12-inch, 

e clicunnlanceB connected wilh her departure from het tathei' 

When from my falhcr't hallt ^DU bore tnt, 

Ali'sTVi'iiTn 'hrw wail5 I'hV'd. fu^filW 
\4'0Uld be ttlOK VOWt so i-KOTul 

King (irtCA rnnam): N« maicl 

Silfnt »nd alone, shunned by Ihe world. 

The lip wMy (mile, but the heart ii wecfinal 

e not look so higb as Ihce. 
Tiirfc) : 

avct ioH IqtcI her bo'^in filline. 
sw«t rctiKXiH each Hbre thrJAini, 
-e her heart! 



SCENE— y4 Room in the Palace 

Ferdinand, who has won distinction in the wars, is received by the King, who asks him 
to name his own reward. The young captain asks for the hand of a noble lady to whom 
he owes all his renown, and when the King asks her name he points to Leonora, Alfonso 
gazes at her coldly and sternly and sings his ironical air. 

A tanto amor (Thou FloivV Beloved) 

By Mario Ancona, Baritone {In Italian) 88069 12-inch, $3.00 

By Mattia Battistini, Baritone (/n Italian) 92045 12-inch, 3.00 

By Francesco Cigada, Baritone {In Italian) *16536 10-inch, .75 

Alfonso: Both night and mom; 

Thou flow'r belov'd, Fad'st from my breast, 

And in hope's garden cherish*d. Thine ev'ry beauty perished, 

With bighs and tears refreshed. And in thy stead alone have left a thorn! 

He consents to the marriage, however, and announcing that they must prepare to wed in 
an hour, goes out with Ferdinand. Leonora^ left alone, decides to sacrifice her own feeling 
and renounce Ferdinand. She gives expression to her mingled joy and despair in a noble air : 

O mio Fernando (Oh, My Ferdinand) 

By Margarete Matzenauer, Contralto (in Italian) 88363 12-inch, $3.00 

Lbonora: All should be thine, save my poor name de- 

Oh, my Ferdinand, were mine this earth's graded; 

whole treasure — And thine should be, too, my life's latest sigh! 

Mine, too, each star of yon blue hcav'n: Ah! But ere I give to thee a name thus 

To purchase thee one pleasure, clouded. 

All, all at once by this fond band were giv'n! And thou deceive, I'll die! 

Her resolution is no sooner taken, however, than she resolves to tell him all and throw 
herself on his mercy. She calls Irtex, and bidding her seek out Ferdinartd and reveal all, goes 
to her apartments to prepare for the wedding. Inez prepares to obey, but on her way is 
arrested oy the order of the King. 

The King enters vnth Ferdinani, to ifrhom he gives the tide of Count of Zamora. Leortora 
appears and is overjoyed to see Ferdinand still looking at her lovingly, not knowing that Inez 
has failed in her mission, and that he is yet ignorant of her secret 

The ceremony is performed and the pair are presented to the Court, but are met with 
cold and averted looks. Ferdinand, although not aware of the cause, resents this and is about 
to draw his sword when Balthazar enters and demands peace. 

When he learns of the wedding he is horrified, and tells Ferdinand he has married the 
King's mistress. Ferdinand is furious and denounces the King, who, seized with sudden 
remorse, begins the great finale to Act 111. 

Orsii, Fernando (Stay I Hear Me, Ferdinand!) 

By Maria Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; 

Francesco Cigada, 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, followed by Balthazar. Leonora faints as the curtain falls. 


SCENE — The Cloisters of the Monastery 

The opening number in this act is the impressive Splendon piu belle, considered by many 
critics to be the finest of the Favorita numbers. The scene represents the cloister at the 
Convent of St lames of Compostella, illumined by the rays of tne rising sun. Tlie monks 
have assembled to welcome back the p/odigal Ferdinand, who, heartbroken at the falseness 
of Leonora, is returning to renew his vows. The ceremonies are conducted by Balthazar, who 
begins this great number. 

Splendon piu belle in ciel le stelle (In Heavenly Splendor) 

By Marcel Tournet and Opera Chorus (In Italian) 74279 12-in.. $1.50 

By Torres de Luna, Bass, and LaScala Chorus (In Italian) *68061 12-in., 1.25 
By Perello de Se^rola. Bass, and La Scala Chorus (Italian) * 1 65 5 1 1 0-in., .75 

Balthazar entreats him to lift his eyes from earthly things and contemplate the stars, 
which typify a forgiving Heaven. 

*DoM^andRm»rdSm page 152. 



casta a look b<^hii.d him <o the world U 
Iiihin' iFrcn.:hJ 

Spirto gentil Aoge si pur 

By Ciruso. Ttnor 
By Gcnnaro dc Tura. Tenor 
By Hippohto U=iro. Tenor 
By Evan Williams. Tenor 
By Leon Campaenola. Tenor 

Th^ monks now l,-.,l ;-,vJ„„mJM. 
u B novii:^ lo <-ntr^,.t Ici^ivcnr^s dI l>r 
ingly MU al li.e alia, . Fr,dma„d cme 
him In rtse. I-le is at hrat hocriRea t 

(Spirit So Fair) 

{In Italian} 88004 12-inch. 

{In Italian) 76012 12-iDch. 

(Inllallan) 74496 12-uich. 

(InEngUih) 74141 IZ-ioch. 

(/n FmikA) 49119 lO-inch, 





chapel. Leonora, who has come hither disguiKcl 
over, hears him take the Rnsl vowi and deapair- 
rom the chapel, and seeing a poor novice, BxiiU 
Flora, and hids her begone. 

I r, II . ...1. I. .T.iJi, Pauian'f. torreoi onward ih« dathei, 

I .k. I ■ ".■ .: •■■■■•'■■ ■■■■ O-er my boiom itill art thou itiBning 

III..-. -I,;.- ih. !i..|.. .1...I. I ■:,!.■ nio.row And « togcthei- win liyc and dlel 

Pietoso al par d"un Nume i As Merciful as God) 

By Gsposito and Martinez-Patti (In Ifallon) *6265d ID-iach, *0.79 

Agiiin gently reminding him of his vows, she falls from weaknes* snd privation. 


,■ Ji..<. 


JFavorita Fantasie By Vessella's Italian Bandl , , ,„^^ ,. 

lUn ange. une femme inconnue I 

By Leon Campafinola. Tenor • In F„mh.\45ll9 
lAngc si pur By Leon Campagnola. Tenor In I'renih-l 

iQuando le soglie ■ From My Father's Halls- By Lina I 

Mileri. Contralto, and Renzo Minolli. Baritone llalio:r \oS27:' 
\ Fau6l D;opo«en(e iCouno^/l Bu hranceico ClaJu i h, Il<il,<,n.\ 
iFia verollasciarli! (Fly From Thee! Clotilde E,p< ) 

Soprano, and Sig. Martinei-Patii, Tenor /;. Ihiluir joH309 



. dfin U 

n Leonora (Leonora. Thi 
(Splcndon piu belle in ciel lln Hi 
I Torres dc Luna. Bass, and L: 

/A tan to amor ( Flow "r Beloved: 
|Aht pavcnta il furor Codolini.Ci 




chc d'ur 
ggilueent. Beams 
. Fernando iStay! I 
y Cappiello, Aeerbi 

le) F. Cigada 

nly Splendor 

ila Choru5 

By CieaJa 


( KnoVst Thou . 
r. and Ccsare Prove 
sfGold Rosclli am 

I llalln 


If, Ila/:., 
In Hal,., 

h, I, aha 



eSegurolaand Choi 
Kor^off and Bcvl 

: In Italian l 
In Italian \ , , 

•DoutlcJ^aaJRccB'J—Sa ufw 


Opera in two kcU, adapted bj SonnleithDer from Bouilly'a Lienen, en I'Aibbvt Cxif 
MtMic by Beethoven. Firat prediuw) at Vienna, November 20, 1803. Given in Loi 
Uuj 18. 1832. In Paria at the ThcUre Lyrique. tnualated by Barbier and Cani, and in t 
Kli^ Mar S, I860. Firat AmericMi petfonnanM in New York, September 9, 1639. 
QnUlei Atanvera and Poole. Other notable praductioiia in IS50t with Mine. Catadori 
Karl Formes: m IB6B, with Mme. Rotter, Habelmann and Forme*; at the New Oil 
_^_, Operfc in Italian, December II, 1677; tbeDamioacb piaducti< 
^^ 1864, with Brandt. Belz and Koegel; tbe Metropolitan performa 
D l90l,withTeroinaaiL^i»Mni and the rcvintli o( l913Bnd 


Don Fernando. Mbiiater Baritone 

Don PtZARRO, Governor of theSlatePriaon.. Baritone 

FLDRESTAN, a priaoner .Tenor 

LtoNQRE, hia wife, known aa Fidelia Soprano 

ROCCO, jailor Baaa 

MARZELUNE. hi* dausbter Sopi 

JAQUINO, gatekeeper * 

Soldier*. Priaonen; People, etc 

Place ! A Spai^ih Stale prtwn In the ddnllg o/ StvtIU. 

FiMh muat ever be regarded with great intereat aa being the only opera written by 
of die ^eateat compoaeia. Orisinally given u FiJelh, it was lewritten and condensed 
two ad* by Breuning. itill a third reviwon being made in 1814 by Treitw:hke. At the 
of the aecond oroductioD in 1806 the title wa* changed to Leonore, Beethoven writing ■ 
overture, imxw known aa Laonoie No. 3. 

Leonofc Overttuv No. 3 

By Viator Coaecrt Orcheatra [ParU I and //} 
/Bjr^nMarCoao«rtOrehMtn (PaHUI) 
\ AA^Jmm4lkSi/mi>liciv (BtAMe«) ^ VtuM,-t BomII 

35268 12-ioch. • 


The acli 


,. h^M bee 

th.- ., 

ned her 

nounced hi« 
dealh. meanwhile pulling ihe unfortunate man Ln the loweal 
dunRi'on, where he la expected to die by gradual alarva- 
tion. Ihu» uonrceesary a resort to violent mean*. 

Don Flotestan, however, haa a devoted wiic who re- 
fuses Id believe the report nf his death. Disguiaing 
herseir .« a s«vanl, and aasummB the name of Fidtti„. 
the secures emplovnient with fiocco, ihe head jailor. 
Rocio'^ dauchl^r r.-.lls ir. love with the supposed hand- 
some youLh, and he ia soon in such high favor (hat he is 
permitted to acconip.>nv Nscco on his visits lo the prisoner. 

I le»niK that the Minister of the Interior is coming to 
the prison to mveali-^te the Buppusrd death of Fhrtdan. 
the Governor decides to murder him. and asks Aocco'jhelp. 
Fidetio overhears thp conversation and gets Rocco to allow 
hertodislhe grave. Just aa Don Piiarra ie about to strike 
the fatal blow, RJdia rushes forward, proclaims herself 
[he 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 

throw themselves on their knees before Don FctnanJo and 

joyfully rejoice in their cominB liberation. 

I Prisoners' Chorus (Oh! What DelJKhtl) 

! By Victor Male Clwnw (/n Em/IsA) !sS5T6 12-ia 

}Un</ \Bfelhoven: Victor Oratorio Otanil 

he most famous of operatic chorus. 

The lUa 



Text by C. Haflner mad Richard Genie. Munc by Johann Strauii. Fint productiiHi, 
Vienna. April 5, 1847, at the Theatre an dei Wein. Produced at Beilin. luly. [874. Given 
in Paria under the title of La Chautt Sourii and La Ttlgant: and in Italy aa // f^plttrelh. 
Fint London pToduction in 1893, at the Cobuig Court llieatTe. Given in English by the 
Beecfaam Opera Company in 1910. at Hia Majesty's Theatre Produced at the Casino, New 
York, March 16. 1885, with De Wolf Hopper in the cart. Given several performances at the 
German Theatre, and revived at the Metropolitan Opera House by Mi. Amberg's Company, 
March 6. 1890. A notable revival occurred at the Metropolitan February 15, 1905. with a 
Caat including Caruso, Sembrich, Walker. Alten. Reiss and Coritz. In 19)2 an adaptation hy 
Gladys Unger, called "The Night Birdi," was given in London, and later in New York, under 
the title 'The Merry Countess," with new lyrics by Arthur Anderson. 


Von ElSENSTEIN. a banker Tenor 

ROSAUND, hU wife Soprano 

Prince ORLOFSKY Tenor 

FfcWK, the prison director Tenor 

Dr. FALKE, a notary Tenor 

Dr. Bund, a lawyer Tenor 

ALFRED, f^nce Orlt^ky's musician Tenor 

ADELE, flouJind's maid Soprano 

An American, a Spaniard, a distinguished Egjrptian, members of the Ballet, etc 

TYnH anJ Ptact : Gtmai^ ; lAe latl ccnluiy. 

There are six composer* by the name of 
Strauss, but this comic opera is by the well-known 
writer of the "Blue Danube." The music is in the 
popular Viennese style, and was the pioneer of the 
Viennese operetta. In dramatic effect it la French. 
the libretto being an adaptation of Meilhac and 
Hal«vy's Lt RietlUon. 

Baron Oon EiMtnildn, who has been sentenced to 
prison for eight days for insulting an oAcial, is 
persuaded by Notary Faike to postpone for one day 
the beginning of hia sentence and to attend a ball at 
the residence of PHrxt OrlofakH' Falke, it appears 
has an old score to settle with oon Elatmldn, The 
I previous winter, attending a ball dressed as a bat, 
the baron had compelled him to walk to his home 
in his bird dress, to the amusement of the people. 
He now hopes to find en opportunity for revenge, 
and when Don ElKnilein takes a mournful farewell 
of his wife, telling her he is going to prison. Pallet 
invites Raialind and her maid, AJcIt, to attend the 

After the departure of her husband Roaalind 
is visited by an old admirer. Alfrtd, and when FrarJce, the governor of the prison, comes 
to lake Don Elitmltin to jail, he mistakes Alfred iar his prisoner, and carries him oS. 
Roaalind goee to the bsJl masked in order to better observe her husband. Fallf introduces 
her as a Hunnrian Counteaa, and she so enchants her unsuspecting husband that he pre- 
sents her wiUi his treasured watch, which the lady keeps to be used as evidence the next 
daj. France attand* the ball and makes love to AdtU. 


himself up. He is BurpriseJ r„ i"* ^ 

Wen arrested on iKe p„..>,,u- t- - \- 

evening, but keepE his ^•.■.u |i— . 

dUnds l.:,p 
The V 
cdley (mra this delightful 
.ier». f.mious for its entcandng 
meladips, its Raielyntid the delicate beau^ of the Bcore. In the recent revival under ihc 
title "Mtrty Lounteas," the plot was reviKd, and lella of a count who ■> arrested after 
an Buto accident and sentenced to five dayB in jail. This jail is the liveliest apot in town for 
that period of lime, and maltets come la a climax when the warden arrives, finds a ball in 
progress, and is himself ancsled and locked up. 

The Victor Opera Company ^ivea an altractive presenlalion of ihis version, containing 
portions o( eight of the principal numbers. 

Gems from "Merry Countess" 

Cl,o,us. -Thellouri fly Bv " Duel. "So. Mv Pet. Don't Fret ■—Solo and 
Chorus, ■■ Well I N..v,.r- trio. " Marri,-d Lii.' ^ Solo. " King Champagne "■ 
— Tiin.-l-aithlessOn." Chorus, ■' Oh. Whal a NiKht"— Chorus, -DarhnB, Do" 
By tht Viotur Opera Company 31875 12-inch, »1.00 


(DcAr FU-tca-Jth Hoi -lua-dtt) 


atiidllib eidifidtri titmtHii. 

91llll>. !>■ 1 3iiii' H«* 

S(r ilic'iitniK °$«lttnifl:. 


Ten and Kore by Richard Warner. First 
produced at the Royal Opera in Dresden, January 2, 
IS43. Produced in Berlin in 1844; Zurich. 1832; 
Weimar. 1853; Vienna. 1660; Munich. 1864. Rial 
London ptoduclion July 23. 1870. under ihe title 
L'OlanJae Dannalo, ttie book being translated 
into Italian by Marchcsi; and in EnKlish by 
Carl Row October 3. 1676. Another Italian 

"lied iT'yJccllo for,(a°mo? June, ""s??." Fi^ 
American production at Philadelphia. November 
8. 1876. by the Pappenheim Opera Company, in 
Italian : f^mt New York production, in Engliih, 
January 26, 1877; in Ceimsn. Match 12. 1877. 
Given at New Orleans Opera in 1877. 

jtJi^tiJiiitx i.w'gSiis^"^ 

DALAND, a Norwegian iiea capta 

SENTA, his daughter 

Eric a huntsman 

Mary, Senta's nurse 

Daland"s Steersman 

The Dutchman 

Sailors, Maidens, Hunte' 
Piact: OnlhtamUofi 



One oE the ni<Mt melodious of Wagner's operas, and the most popular in Germany 
to-day, Flltgrndc Hollander ii also the one which was most promptly condemned hy the 
critics after its production. Its presenl vague is a notable ezainple of the change in musical 
taste since 1643. 

Wagner was led to write the Flying Dutchman after reading Heine's legend of the 
unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had 
■worn that he would not desist if he had to sail on the ocean to eternity. To punish his 
blasphemy he ia condemned to the (ate ol the Wandering Jew, his only hope of salvation 
lying in his release through the devoiion unto death of a woroani and to find such a 
maiden he is allowed every seven years to go on shore. 

The overture is a complele miniature drama, embodj^ng 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 Tht Cuise ; 

The storm increases and reaches ^ 

I height in a wonderful piece of t j \ - 



i'-i- ■ ■- 

vivid effect. Amid a lull in the tempest, we hear the melancholy complaint of the Dutch- 
man from the great air in the first act, "Wit e/l . . . . mtin Crab, a kMou sich nichi? " 
{Mg greet — I find II not I) A gleam of hope appears in the Redemption theme, and a joyous 
strain is heard from the sailors of Daland'a ship, which is safe in the harbor. 

Thus the various events of the drama are presented in miniature i and the overture is 
in fact a complete rtiumi of the opera, summarizing the leading molha. 

SCENE^rAe Cooaf ofNonvay 

Thecurtain rises showinga rocky sea coast in Norway, 
with the ship of Daland anchored near the shore. A* 
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 wail for a change in (he wind, bids the crew 
go below and rest. 

The Sleerman remains on watch, and to keep awake 
sings a sailor ballad : 

Sierhshan: . . 

ThrouRh tlumder and wars of distant »as, 

\ brino Ihcc R goldtn rinfr. 
O fair south wind, to me he kincti 
My msirten d-lh spin and smp. 
Ilu-yu-lio: IlsllD-ho: 

r. and falls lo see the Flying Dulchman, which now appears, 
lasts. For one of her periodical visits. 

ails and drop the rusty anchor. The Datzhman stands on 
loliioquy. Gloomily gazing at ihe land, he sings his pre- 

Die Frist ist um (The Term is Past) Parts I and II 

By Friu FcinhaU. BariUMie (InCaman) 68464 IZ-inch, *U5 

with blood-red sails and black i 

The spectral crew furl the 

the deck, and delivers his great 


The tDsiden* arc busily 
■pinning and their pretty, 
moving (pinnins King is a 
purely lyric number, vHth a 
drowiy rhythm most fascinat- 
ing. Stnla, Dalend'i daughter. 
i> idly dreaming, with her 
eyei fixed on the fanciful por- 
trait of the Flying Dulchman 
which hang! on the wall. 

The legend of the un- 
happy Hollander hat made a 
strong impreisiott on the 
young girl, and he seems 
•Imoat a reality to her. The 
maidens ridicule her, saying 
that her lover, Erie, will be 
jealous of the Dulc 

man and th. 
Daland to g 
offering him 

. astonished 
:s the Sltcri- 

r, who asks 

CDUii rj^^ ^^^^^^ ^^^^^_ ^^^^ ^^^^^ bargiin? 

On hearing that DalanJ has a daughter 
he proposes marriage. The simple Nor- 
wegian is doiiled by such an honor from a 
man apparently so wealthy, and freely con- 
sents, piovided his daughter is pleased with 
the slrantfer. The wind changes and Daland 
sails for hU home, the Dulchman promising to 
follow at once. 

SCENE— .4 Roam in DalanJ'a Home 
Spinning Chorus 

By Victor Women's 
Chorus {In English) 3S494 

Lohengrin— Bridal Chona 12-in., •1.2S 
By VIcloT Women-, Oorus 
{In English) 

Maidens sninnine: 
Tra U ra U la la 

» herself and ci 


Traft ihr das SchifF (Senta's Ballad) 
By Jofaaana Oadski, Sopnno 

(/n German} B8116 12-ineh, *3JM1 


ilfamt' ihr unhai: 


Thi* ia the theme of RriempUon hy 

man'i Loot, snd ei Senia lingi the 

I benudrutly tender and melodlouB 

\raae. she runs toward the portrait | 

ilh oul«tf etched arm 9. hardly cob. | 

ious of the now aiarmed maidens. 



lack Ihf ma SI? 

B the wind! ^'o-l 

Hui: How bend* t 

^^^^^H '^- 

^ ^^M 


p!cd«e faim her loyc elemal. 




S^M^ ; outburst of passion that they 
run out and call Edc. who meeia ihem 
atthedoorwilhnewsof theDu(cAman'j 
.-.rrival, Thev run to ihe shore while 


■w> ^ 

Ere remams and reproaches S«,to. 

,.lt. I.^i^v . 

Suddenly ihp door ope 

s and ihe DuUhman appears. SmUi is transfixed wilh surprise a* 

she involunldrily compares ihc ponr«ll «-,lh the Uvmt; man. A; sll<^nce I<.!Iowb. The 

De,(cUu-i. h.s c-yes fixed on 

he nlowinK face of the maiden, adva.ices to^nr.! her. Dalond. 

well s^itisliod wilh ihc appa 

ent understanding between ihe 

stranu^r and his daUKhter. le 

aves them together. 

The HolL„d„ sees in 5 

nia the aniiel ol whom he had 

1 1 B 

dreamed and who is lo ban 

=h the curse, and sh,: see- the 
oripinal of the po.l...,l a,^ 


»'hith ihe sympalhv of he[ 

Kirli^h and romanl.c he.ui 


had been lavished. Ihe 



DuUhmun asks i'en/u ii she 


^ m 

agrees w.lh her f^ilhe,,, 
choice of a husband. She 
liladly consents, and a lone 


love duet follows, the fm^d h^flH '^^^a^H 

theme of which is "fauh ■ W" 4^H 

ahovc ■, ..l^^H 

DM-d re.enters and is ^ '"■' ^1 

drliKhted lo find such a com- 


plete understanding between 


the two. He invile, the 

•>1 2 ^M^H 

Dutchman to the fcle thai 



evtrning in celebration ol the 

safe arrival of the Norwegian 

I.EMIS.N A> .f^-■■A 


r unto death, ■ 

ACT in 

SCENE— D<>/<>n./'i Hathor 

Thia (cme showa the ahipa oncKored m 
the bay near Do/onJ'i home. Datand'MVtmelit 
VV with lanteraa. in contract to the gloom and 
■ilenca which marka (he Dutchman 'i ship. A 
■ay Norwegiaii chorus ii followed by a (pirited 
hornpipe with ■ niost peculiar rh}rthm. 

The maidena now appear with baaketa 
of eatables, and are joyfully received by the 
•ailora. Having supplied the wants of their 
own countrymen, they approach the Dutch' 
Bun'j ship and call to the sailors, but only a 
ghostly silence rewards them. Piqued at this 
neglect, they turn their remaining baaketa over 
to the Norwegian sailors and return home. 

Suddenly the sea around the Dulthman 
begina to rise, and a weird glow lights the 
ship. The crew appear and begin a sepulchral 
chan^ which causes the gay Norwegians to 
cease singing, cross themselves in terror, 
and finally go below. With mocking laughter, 
dks crew of the DuUhnaa also disappear and 
the ship is in darknesa, 

Senla and Eric appear and a stonnjr 
9 captain, and is beside himseU 

{Arim dec Erik (Erik's Sontf ) By Karl Jom. Tenor (In Gtrmm) ) 
DUlmagaifVdbtr—Hcrch.JleLenht 45067 lO-inch. *1.00 

{Mmp IVlea of JVlnJtm) Bg Karl Jem. Ttner (.InGtnaan)] 
Suddenly the HoUander comes upon the scene and is horror-stricken at the tableau. 
Believing Stnta to be false, he cries, "All is lost; Stnla, farewell I" 

The crews of both ships appear and the townsmen rush to the scene. The Dutchman 
I reveals his identity and de- 
clares himself cursed forever. 
I He springs upon his ship — 
expand as if 
ihc ship de- 
I parts, with the crew chanting 

Senta, in wild exaltation, 

rushes to the shore calhng 

I toward the deparling vessel : 

' "1 am faithful unio death," 

and throws herself into the 

sea. TTie Flying Dutchman 

sinks beneath the water, and 

rising from the wreck can be 

1 the forms of ScMxj and 

the Dutchmt 
other' e 




myiad DntehmsB Fan 

By Pryor'i Band 

JSSISS la-iaoh. I 

, iv^/ ; in Milan 1869; Paris, 1876; 

,..v7uuction February 2, 1865, with Carozzi-Zucchi, Massimilli 
ard again for fifteen years, when it was produced at the Acad 
rewritten by the composer, the cast including Annie LouiM 
i Del Puente. Given recently in San Franciaco by the Lomban 



IN A LEONORA.! i- lu 

ICARLO. |^»chUdren 

I ALVARO, iAM^f^-nh) 


ITONE, a friar 

Muleteers, Peasants, Soldiers, Friars, etc 

ne and Period : Spain and Italy ; about the middle of the eighietnih 

opera was never a great success ; its story, which is taken from 
\s, entitled Don Aloaro o la Fuerzer del Sino, being doleful and s 
not even the beautiful music could atone for the gloomy plot 
rture is a most interesting and rather elaborate one. 

ture {Doubh^/aced—See page 167) Pryor*f Band 35215 

ture. Part I La Scala Orchestral ^^^^^^ 

ture. Part II U Scala Orchestra/^*""^ 

V ith a trumpet blast which sufficiently foreshadows the tragic 
ing followed by an air in the minor, leading up to a striking th( 
the strings 

beautiful subW* **' *'" 



SCENE I — An Inn ai Homacadas 

The aeconcl act begins in a village inn, where Don Carlo, son of the murdered MarquU, 
is disguised as a student in order to better avenge his father. Leonora, who is traveling in 
male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sworn 
to kill her lover Aloaro and herself. She flees to the convent of Homacuelos. 

SCENE II — The Concent of Homacuelos 

Kneeling in the moonlight, she asks the Virgin to protect her, in a beautiful prayer. 
The effect produced by the solo voice with the background of male voices singing the 
Veniie in the chapel is powerful and thrilling. 

Madre, pietosa Vergine (Holy Mother, Have Mercy) 

By Celef tina Boninsetf&m, Soprano, and La Scala Chorus 

(In Italian) 92031 12.inch. $3.00 

Lzonoka: Leonora: 

Oh, Holy Virgin, O sublime song. 

Have mercy on mv 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 Fkiass: The pious father cannot refuse to receive me. 

Venite, adoremus et procelamus O Lord! Have mercy on me, 

An te Deum, ploremus, ploremus Nor abandon me. 

Coram Domino, coram Domino qui fecit nos. (She rings the bell of the convent.) 

Leonora is admitted to the convent by the Aibot, 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. She expresses her gratitude in another 
fine air in which we again have the etfect of the solemn chant of the priests blending with 
the prayer. 

La Vergine de^li zngeli (May Angels Guard Thee) 

By Celettma Boninsegna* and Scala Chorus (Italian) 91075 10-inch, $2.00 

Tbx FxiAis: Leokoka: 

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 Iter retreat. The monks return to 
the church.) 


SCENE— i4 Military Camp near VelleiH 

We are now transported to Italy, where we meet Aloaro, who has enlisted in the Spanish 
anny. In a sad but beautiful air he recounts his misfortunes. 

O tu che in seno agli* Angeli (Thou Heavenly One) 

By Enrico Caruso, Tenor (In Italian) 88207 12.inch, $3X)0 

In the next scene he saves the life of Don Carlo, whose wanderings in search of ven- 
geance have led him to this region. Both having assumed fictitious names, they do not know 
each other, and swear eternal friendship. Shortly afterward, during an engagement, Don 
Aloaro, wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he 
•ends away the soldiers and requests that he be left alone with Don Carlo. The great duet, 
the finest number in the opera, then occurs. 

Solenne in quest^ora (S^wear in This Hour) 

By Enrico Caruso, and Antonio Scotti (In Italian) 89001 12-inch, $4.00 

By Lambert Murphy and ReinaldWerrenrath {Italian) 70103 12-inch, 1.25 

By Carlo Barrcra and Giuseppe Matftfi {In Italian) *682 13 1 2-inch, 1 ^5 

By Luigl Colasxa and Emesto Caronna (In Italian) *631 74 10-inch, .75 

By VefMdk*a Italian Band *35512 12-inch, 1^5 




. swear that you will grant 
Alvaro: Look at my breast. 

with me . . . 

the letters. 

So be it. 
Alvaso ifteblv): 

Now I die nappy 

when I am dead destroy 

The wounded man confides a case oi 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 

Alvaso : 

My friend . . 
my last wish. 
Carlo : I swear ! 
Carlo: A key! 
Alvaro : 

Opon this case and you will find a scaled 
parcel. ... I trust it to your honor. 
. . . It contains a mystery which must die Carlo: Put thy trust in heaven! Both: Adieul 

Just at this point it may be well to settle a controversy which has been raging ever siiice 
the issue of the Caruso-Scotti record in 1906. This argument concerns the identity of die 
voices in the opening measures, and is the natural result of a remarkable similarity between 
Caruso's lower register and the medium tones of Scotti*s voice. 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 : 


farewell ! 

let me embrace 


mj i f r-plJ^^ 

ru ' ml 

do • «• • M 
/• front MM>, 


Don Caeum (floom) 

Don Alvaso (CASvao). 

pa • go UB mio «o(o 
40 ml r0 -Jkte mu. 

Lo ghi* to lo gta«rOb 
/ Jiwwr. / swemr. 

Snl CO • re car • ca • ta 

Aloaro, however, does not die, and in the next scene his identi^ becomes known to 
Don Carlo, who challenges him. They fight» and Aloaro, thinking he has killed his enemy, 
resolves to end his days in a monastery. 

SCENE — Same as Act 11, Scene 11 

Five years have now elapsed and the last act reveals again the cloister of Homacueloi^ 
where Aloaro, now Father Raphael, is discovered by Don Carlo, who revives the feud and 
tries to force him to renew the combat. Aloaro finally consents, and they agree to fight in 
a deserted spot near by. 

Invano Alvaro ! (In Vain, Alvaro !) 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

(In Italian) 89052 12.inch, $4.00 

This great scene has been recorded in two parts. Carlo demands that Alvaro renew the 

feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him with 

a terrible persistence, until the monk, goaded past endurance, consents to fight to the death. 


Yes! and for long years 

I have sought and nuw find thee. 

}\y thy hand I fell. 


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! 

Alvaro (recognising him): 
Don Carlos! Thou livest! 

IJut God restored my strength 
That I may avenge thy crimes! 

Alvaro : 

I^ave me! IJy this holy habit 
Thou may'st sec my repentance! 

Carlos (in /«rv) : Coward! 

Alvaro (agitated): Coward! Oh, God 
Give mc strength to forgive thee! 

Le minaccie, i fieri accenti (Thy Menaces Wild !) 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

{In Italian) 89053 
By Titta Ruffo and Emanuele Ischierdo {In Italian) 92504 

By Carlo Barrera and Giuseppe Ma^^ (Set page 167) 

(In Italian) 68213 

12-inch. $4.00 
12.inch, 4.00 

12-uich. 1,25 



Alotvo reooven hia poise and endeavors to appeal to the reason of his enemy, shovring 
him the futility of reopening the feud. Part II begins as follows : 

Alvako {firmly): 
Thy menaces wild 
Be heard only by the winds, 
I cannot listen! 
Brother, let us submit to fate 
And the will of God! 

Thou hast left me 
A sister deserted and dishonored! 

Alvako : 

No! I swear it! 

I adore her with a holy love. 

Caslos (Juriously) : 

Thy cowardly pleadin:^s 
Cannot move me to pitv. 
Take thy sword and fight! 

Alvako {recovering himself) : 

No, Satan shall not thus triumph. 
{Throws down his sword.) 


Then coward, I brand thee with dishonor! 
{Strikes him.) 


Oh, God, no more! 
Defend thyself! 


SCENE— ^ Wild Spot Near Homacudos 

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 Boninfe^&a, Soprano 

{In Italian) 92027 12.inch, $3.00 

A storm now breaks, and Leonora retires within the cave just as Alvaro 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 aisks Aloaro, who is 
known as Father Raphael, to confess him, but the monk is under the curse of the cave and 
cannot He goes to call the friar who dwells in the cave ; Leonora rushes forth, sees her 
brother wounded and embraces him, but true to his vow 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, 

Basf (Doubk-fateJ— See below) (In Italian) 68026 12-inch, $1.25 

Don Aloaro then completes the catalogue of horrors by throwing himself from a cliff 
)U8t 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 By Arthur Pryor's Band\« - ^ . - 

Orpheus in Hades Cherture (Offenbach) By Arthur Pryor's Bandr^"^ ^ ^ 

Overture, Part I and Part II By La Scala Orchestra 68009 

Le minaccie, i fieri accent! (Let Your Menaces) 

By Carlo Barrera and Giuseppe Ma^^i (In Italian) 

Solenne in quest*ora (Swear in This Hour) By Carlo 

Barrenu Tenor, and Giuseppe Ma^^i, Baritone (In Italian) . 

roa imprccare, umiliati By Ida Giacomelli, Soprano ; 

Gino Martinez-Patti and Cesare Preve (In Italian) 68026 

BaUo in MoMchera — Ah I qual soaoe Giacomelli and Martinez- Patti. 

12-inch. $1.25 
12-inch, 1.25 

68213 12.inch, 1.25 

12-inch, 1.25 

/Solenne in quctt*ora By Colazxa and Ernesto Caronna (ftalian)\g^^.^. 
I FauMi^Io ca^ ll placer By Pini-Corsi and Silllch (Italian) T^^^^ 

By Ves«ella*s Italian BandU««_ 
By Vessella's ItaUan Bandr^^^^ 

/Solenne in qvunt^ora 
\ MrfuirfeUSdKHon 

10-inch, .75 
12-inch. 1.25 




Libietto by Scribe, deviaed from the itory of LemieUT*i rwiBw 
opera, £^ CoDcme. Muncby Daniel FruicoUE*pritAuber. Fint 

froduction at the Opira Comlqut, Paiii. Januaiy 2& 18301 
reaented in Vienna. 1 630. London, at the Druiy Lane Theatn^ 
in EnglUli, Novembers, 1831; in Italian, at the Lyceum TliMtr^ 
1657. Firat American production at the Old Park Theatre, Nsw 
York, in EjikIUH, June 20, 1633. Produced in New Oileana la 
1836. It waa not until 1S64 that it wa. given in Italian in New 
York, at the Academy of Music, with Clara Louiae Kellon 
Colonel Mapleaon gave three perfoTmancei of the opet&BttM 
Academy of Muaic in 1 SSS. Zelie de Luuan made her disbot 
here in the port with the Boaton Ideali in 1668. Recendjr 
revived at the Manhattan Opera and afterwards at the Now 
Theatre by the Metropolitan forcea. 


?R\ DIAVOLO. calling himaelf'Marqula of San Marco" Tenor 

Lord ROCBURC (Lord Allcaah), an English traveler Tenor 

Lady Pamela (Lady Allcooh), his wife Soprano 

Lorenzo, Chief of the Carabiniera Tenor 

MATTEO, the innkeeper Basa 

ZERUNA, his daughter Soprano 

CIACOMO and BEPPO, companions of Fra Diavolo BaM-Tenor 


The Blory of Fra DiavoU) Is melodramatic in the hiEheil de- 
gree. Loniao, in command of the Roman Dragoons, is leaving 
Mallea'a inn to capture Dlaoolo and his brigands, just as Lord 
Rocbutg and his wife, Pamela, who are traveling under the 
names □( Lord and Lady Alkash, arrive, lamenliixR their mi*. 
fortunes, having been robbed on the road. Another traveler. 
callinE himself Mortal, of San Mano. who is no other than Fra 
Diaoola, appears soon after and is also welcomed by the inn. 
keeper, Malleo, and his daughter, Zerllna. Lortnio i> in love 
with Zerllna, but she has been promised by her father to a rich 
peasant The Marqai, openly courts Ladi/ Alkaih and at the 
same time manages to relieve her of her jewels. 

Glacomo and Beppo, two of Diaaolo'i companions, appear on 
the scene, and when all are asleep, are admitted through the 
window by the bandit. All three conceal themselves la ZtAlaa't 
room, and after she has retired they proceed to again rob Lord 

^ Rnd Lady Allcash. Loiemo now returns, having killed most of 
the band of robbers and recovered ihe Englishman's property. 

the proffered reward of 


ten thousand piastres, and his hopes of 
Zerbrut seem brighter. 

The soldiers arrive at the inn in time to 
discover the robbery, but Diavoio covers the 
retreat of his fellow-handits by pretending to 
have a rendezvous with some lady, arousing the 
ieatousy of both the Englishman and Lortixxo, 
the Utter challenging him to a duel. 

The last act of the opera shows the forest 
where the duel is to talce place. As Lorenzo 
sadly watches the marriage procession of Zerllna 
and the peasant /ronci'ico approach, he recognizes 
in the crowd Clacomc and Btppo. Both are 
arrested by the young captain, who through 
them hope* to capture the chief, Fra Dtavola. 
The two brigands are forced to betray DlaVolo 
and lure him into a trap, where he is ensnared 
and shot. As a fitting climax, the happy Lorenzo 
win* MaUeo'i daughter for hi* hride. 

Genu from Fra Diavoio 

Ownis^ "Vklori*"— Sole 
Reclbiuis ' — Elajl«r Choru*. ' 

Pmteel-Solo,' " Friend ™ 

"On Yonder RocI 

[Fra Diavoio Selection By Vessella's Italian Band! 

{ Daaghltr of Ihe Reglcatnt StUcllon {Donlzelll) V3S191 

I Bii Veixlla; Italian Band] 

IA(oe*e, la zitcUa (Atfnes. Beiutiful Flower) 1 

By PietroLara, Tenor (In Italian jL^,-, 
Barblti^—Guaitla Don Barlolo \ 

Bu Huguet. A. OmI. G. Plni-Cor^ and BaJlmi 



Word* by Friedrich Kind : muuc by Cat! Muin von Weber ; c 

vl3,IB20. ProducedatBerliii.Junel8, 1821: in Paris (u Aodj 

Blaze and Sauvnge, and many change*), at the Odfen, Dec«n 

. with translation by Pacini, and recilative* by Berlioz, at 

\cad«mie Royale, June 7. 1641, under the title of Le Franc 

:,-r. In London as Dtr FnlichaU or Tht Steenlh Bultel, 

many ballads inierted. July B. 1824; in Gennan. at 

:'« Theatre. May 9. 1832: in Italian, u // Franco Ardao, 

avent Garden, March 16, 1850 (recitative* by Co«ta). 

New York production, in English. March 2. 1825. Thj* 

followed by other venion*. Charles E. Horn appearing 

.'par in 1827. Gennan performances weie given at the 

roadway Theatre, 1856, and by other German companies 

Sixties. Produced at the Metropolitan under Dr. Dam- 

.1. IS64.andattheAcademyof Musicin18%. Revived 

elropolitan in 1910, with Cadsld. Jadlowker aT.-* <"-- 


The v/ord Fnlichatz, probably better translated 
"free markiman." means a Schutz or marksman 
lo use* charmed bullets which do nol depend on 

I Overture to Freischutz 

By Soum'i Band '35000 12-inch, *1.29 
By La Scila Orcheiira 

*62636 lO-ioch. .75 
The overture preaenlj the story of the opera 
a candenaed form. An mlroduction with a tender 
m paasage leads us into the forest. Night is fall- 
{ and mysteriouB sounds are heard. The allegm, 
presenting the doubts of the Rood but vacillating 
, ung hunter, begin*, and the sound of the magic 
I bullets can be heard as they drop in the meltina 
I pot. Nest a beautiful melody, portraying love and 
I happiness, appears, but this in turn is succeeded by 
I another mood of distress. At length the triumph- 
strain indicative of the final victory is sounded, 
I leading up to • splendid climai. 

The story of the opera is founded on a German 

tradition, told among huntsmen, that whoever will 

iLAiHE Dti AS AOATHA ^^j] j^j^ ^^yj ^ Zomlel, (he 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 ia 

extended, and he receives a fresh supply of the charmed miasilcs. 

Cune, head ranger to Olloka'. a Bohemian prince, has two asaistanls. Afiuand Caspar, both 
excellent marksmen. Max ia in love with Agna, Cuno't daughter, who baa promised to be 
hia bride only on condition that he proves himself 

the best shot at a forthcoming contest. This con- 

test, however, is won by Kllian, a peasant. Mai, [ 
in a dramatic air. bewails his bad luck. ' 

Durch die "Walder (Thro' the Forest) I 

By Karl Jorn, Tenor 

(/n German) *4507B 10-inch, *t.00 I 
He believes he is cursed by an 
which causes his hand to fait. 


Thro' the fori 

Jqv was wo 

While mj rifl. 

d fro 

' 1rio*h'd"'in"let 


he, fondly wavtt 


Jetst ist wohl ihr Fenster ofFen CNow^ Beside Her Lattice) 

By Karl Jiirn, Tenor (In German) '45078 10-inch. *1.00 

Co6par. who has already put himwlf in the 

tend Win own days □( grace, and advises Mai to 
seek ihe magician and Beeure some of the magic 

He finally induce* Max lo m< 

, in order lo receive the m 

ea v/\\\ always hit the i 

!ic bullets, which 
i>rk. Afoi departs 
y in a florid and , 

much alarmed at hia non-appea 
luein, endeavors to cheer her by s: 

Annie's Air, "Comes a Gallant 

By Marie A. Michailowa, Soprsno 

i/n fiuajiflnl *1134 10-iach. »1.00 

She deecr.brs playfully the Btlitudea shy maiden 
should assume when ihe right young man happens 

,.,-.* ganai-l ynmh luwarils me, 

. Bi- he «olde~ hfllt'd or dsfk. 

I dr>wn to earth for shynsu 

c .ou.ic girl says she will wait for her lover. Left 
r^vealitig a slarliwht night. She exclaims at the 
beauly of the nitiht. and folding her hands in prayer, 
she prays for the safety of her lover, and asks Heaven 
to watch over ihem both. 

Preghiera (Agatha's Prayer) 

By Emilia Corsi *o2b3b 10-inch, »0.r5 
By Louise Voift. Soprano 

'.In German) 'bS413 13-inch, 1.23 
Max arrives, followed by Annie, bul seems em- 
bairassed and snvs he must go to bring in a stag he 
has shot near the Wolfs Glen. ^?-.« be^a him nol 
lo go near th'it haunted spot, but he disregards her 
warning and goes out. 

The scene changes to the Wolf's Glen, where 
Caspar, and the magic hullets are cast 
lof horror, while th.- demon Zom/e/hovere 
near awaiting his prev. A/ai is telurning with his 
prize when he mrels the Prince, who asks him to 
shoot a dove. The hunter complies, just missing 
Agnei, who has come to the wood in scorch of her 
lover. Cajpar is wounded by the very bullet which 
he had intended should slay Agnc, at tl.^ hands of 
Max. Zamlcl carries off his victim, while Max is for. 
given and all ends happily. 

Max mee 

■J Rt,t>,J—Sii PC 


35000 12-ioch. tU9 

fOretture to Freiachutx By Soum'i Baadi 

I Camwn Sdecllon Bu Soum'i Band) 

fOverture to FreUehuts By La Sc»l> Orche»tr«l , _, , . . _, 

tl»«ahier» CAgith.-i»J Emilia C«r«. (//flftan)/*"''* '<'-"»='»' •" 

r'«yer from Freiiehutz By Victor Brui Quartetl,.... <» ' i. *■ 

KoKtfan Looe Song (Cintone ^irMima) Bu VUiot Oichtttrar*'^^" >»-"»<!'>■ •" 

(Leiie. leise, fromme Wei«e (Afstha'* Prayer) I 

By LouiM Voift (/n Gennan)[68473 12-inch. 1^5 
Tannhaaur—Dtch. tmn Halle Bjf Louit Volgl {in Gaman)] 

jDurch die Wilder (Thro' the Forett) ] 

By Karl Jom, Tenor (/n Gtman) UsOrS 1 0-inch. 1.00 
Jan ill laM Ih Ftnila offtn B» Karl Jem. Ttnot (In Gtman)] 


A Lyric Drama in a Prologue, Two Sceoca am 
ext by Luigi HKca. Miuic by Alberto Fnuichetti. Rnt pro 
F. Milan, in 1902. The opera wu given thirty Mffomui 
19. and has since been heard in Spain, Portugal, Huuia an 
can production. New YorL, January 22, 1910. with Caruao. C 

Cast of Characteri 

aovANNi nuppo Palm 


Carlo Worms [Students 

:risogono I 


ANE, her sister 

.ENE ARMUTH. an aged beggar-woman 

i^BBEL, hei nephew 

TAPP3, Proteatant Priest 



:;nora HEDVCE . 



SCENE— ^n AbandcncJ Mitt nt 

r Naiatibag 

A company at ■tudento, under the leaderBhip oE Ciocannl Palm, have occupied an oM 
mill, and are shipping aaclu of grain, which really contain politicat documents intended to 
roUM the people to revolt. Prominent among the students is iVormi, who previously had 
a love affair with Richt, a youns eiiI who is now betrothed to Locwt, the poet and warm 
irind of ir.u^. 

Loaat is expected to arrive at any moment, and Rltk/c dreads his coming, as she haa 
made up her mind to tell him her guilty secret. Wonm, however, diviuea her purpoae 
and bids her keep silent, as in the duel which was sure to occur LotiM would hkely be 
the one to die. 

Student!, udite I (Students, Hear Me 1) 

iJnhaHm) 67053 lO-lnch. fl.00 

., ...J new!^ 

The enthusiasm which follows Lotux 'i 
great address is rudely interrupted by the 
arrival of the police, who seize Palm and 
take him away to his dosth. 

SCENE— .,4 CeUagt It, (Ac Black Fond 
Seven years have elapsed. Hither 
Look has come after the disastrous cam- 
paign of 1606, which followed the plottios 
in tke old mill. He lives in this hut with 

(formi has disap- 
peared and is supposed to be dead. 

Loewe is about to be married to 
Rickc, and the biidesmaids now arrive to 
deck the cottage with flowers. Rfci^, think- 
ing of her past, is melancholy, but the 
marriage ceremony is performed and the 
bride and bridegroom are left alone. 
Ftdtrico clasps her in his arms and sings 
his beautiful air to the eyes of his bride. 

Non chiuder ^i occhi vaghi 
(Close Not Those 
Dreamy Eyes) 
By Enrico Caru»o, Tenor 
(InUaUan) 8T054 10-inch, 12.00 
Forgetting the past, Rickt yields herself to the joy of the moment and tenderly kisses 
him. when suddenly from the forest is heard a famihar voice singing an old student song. 
" Womul" joyfuUy cries FtJaico. and runa out to meet his old friend, who is wasted and 

Womu, in a dramatic aria, tells his friend how he has literally come back from the dead. 
He relates his thrilling escape from prison, his delight in his new-found liberty, and hia 
earnest desire for vengeance. 

Wormi is astonished to see Rickc. who has been listening half hidden behind the folda of 
a iiuitain. Sha looks coldly at him and he uneaaly says he must be on his way. FaiatleB 

heht wUh hiiT 

kneeling. _uk>. 
repliea with a 

_ tVen 
pnspaiaticMia lor 

■ra intenupled 
LooIm, who Bug 
had better be u 
country. Fired 
atlamiea embraci 
die for " 

The awful tl 

the fieli) U a dum of rains, battered wheeU and dead an< 
he> for the body of Fcdaico that she may look upon hb h( 
dying, but he recognizes her, and telling her that the bodjr i 
I JorKiva him a* he himself has done. Ridft looks on the fi 
d her hfe and (ocgivei him. 

\ie returns to her husband and when he dies in her anna w 
»n death, which she feels approaching. As the sun seta the 
.illeced remains of his army ia seen retreating. 




Libretto br Arrigo Bolla; an adaptation of Victor Huga'a drama. "AnBclo." 
Amilcaie Ponchielli. Fint Dietented at La Scala, Milan, April 8, 1B76. Rewritte 
and given at Genoa, December, IB76, and the following February at La Scala. F'w 
ptoducdon, June 7. 1863. Given in Petrosrad, lanuaiy 30. 16631 in Vienna. Apri 
■n France, at Nice. Decembei 29, 1686. FirH New York pro- 
duction. December 2a 1863. with NiWm. Scalcbi, Furach- 
Madi, del Puente and Novara. Revived at the Metropolitan 
Opera Houk. New York. December 25, 1913. 

Music by 
L by BoRo 
■t London 
28. 1863; 


La GIOCONDA. a ballad auigei Soprano 

La QECA, (St^-kdt) her blind mother Contralto 

ALVISE, {AI^-oKi one of the head* o( State Inquisition . . Bas* 

Laura, his wife Mezzo-Soprano 

ENZO GRIMALDO. b Genoese noble Tenor 

BARNABA, a apy of the hiquiaitian Baritone 

ZUANE. a boatman BaOT 

ISCPO. public letter-writer Tenor 

A Pilot Bas* 

Monks. Senaton, Sailors, Shipwri^ts^ Lodiea, 
Gentlemen. Populace, Masqueis. elc. 

The adim taka plac 

1 VwiCB, In tht ttetnitaUh ttntaty. 

work of great beauty, full of wonderful ariaa. duets and ensemble^ 
with fine choral effects, and a magnificent bolIeL 
The book i« founded on Hugo's "Tyrant of 
Padua," and tells a moat dramatic story, which, 
hovrever, cannot be called inviting, as the librettist 
ha* crowded iala 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 tha 
splendid scene* and colorful action. 


By VeBsella*s Band *3S4S9 la-io.. *US 
SCENE— 5lrcel near tht Adriatic Shett, Venit* 

GhtonJa, a ballad singer who is in love with 
Ento, a Genoese noble and captain of a ship now 
in the harbor, supports hei blind mother. La Cleca, 
by singing in the stieeta of Venice. She ha* at. 
tractedthe attention of Bamaha, an influential police 
spy. and he plans to gain her affections. 

This is the situation at the rise of the curtain. 
The stage is filled with people : peasants, sailors, 
masquers, oil m holiday attire. Bantaba is leaning 
asainst « pillar, watching the gay acene. The 
chorus sings their opening number, SpeiU and 

Festel panel (Sports and Feasting t) 

By La Seal* Choroa (/n/la&an) 

At the close of tliU number, BarmAa advancea and maac 
iF ihi^ Regatta. All haaten to the shore, while Bamata remaioa 
Q si^cure the lovely Gheanda. Cloconda enten, leading her moth 
nd Bamaba hastily hides behind a column to watch them. L 
II . bleuing her daughter for her tender care, and tkia leada to a 

'iglia che eeggi tremulo pie (Daughter, My F 

By A. Rossi Murino. Sopraoo; LApcs Niinea, Sopraiu 

Eroeato Badini. Baritone 

(/n llaUmi) 
=«DA UtnJtrly) 

I li.ii left mv Hgtailess. — bul not demlswl Beware ih«, modi 

Goconia leave* to seek Ento, but Bam^a stops her and boli 
SKe shuddeis with an instinctive avenian- m^A l.;J- >-■- 


Voce di donna (Angelic Voice) 

By Louue Homer (hltallan) 85104 12-inc)), «3.0O 

By Mftrfarete Obcr {In llallan) 64443 lO-inch, 1.00 
Considered by tomo lo be the fineit single number in Ponchielli'a 
work, this beautiful pauagc — 

ia Bung a* La Geea preienti the nMary, ■■ perhaps 
e pact o[ the aria. 
La Cieca: 

B; whom those words weie spoken. 

All go into the church except Emo, who itand* gazing 
Bfter Laara, having recognized his former lova. Bamaba 
approachea him and tella him that Laara plana to visit the 
Cenoeae noble's ship tfkat night. Eraa, whose love for 
Laara has revived at the sight of hei, is delighted at this 
news, and forgetting Gloconda, he letunu to his ship. 

This scene has been put by Ponchielli into the form of a 
dramatic dueL 

EnZO Grimaldo (Duet Bnro and Binuba) 
By F. Conti. Tenor, and £. Bsdini, Baritone 
(/n Ilallm) *45033 ' " " 

Barmas* tapfroachiHff Enta): 

Enio Uiinii.ldo. 

Prince of SsnU Fior, ihou srt peiuive. 
Ehio laiidr): 

WhiC'maBK nupor sleali iwiy 

Thy birthplace » 

I. Enio Giordan. 

led. bv chsinles 
Tliou diilsl Invi.. 
n Genoa, but aht 















C X 



E ? 
















wotd3 aloud ,19 he wriles. and la heard by Qoconda, who is ov..rcome at ihis evidence of her 
lover's faithlessness; and. hea.ibroken. enters the church wlih her mother. Bomaha then 
sings the famous soliloquy lo th« DoK<:'a Palace. 


*49033 lO-inch. tl.OO 

Oh monumentol (Oh. Mighty Monument) 

By Titta Ru£Fo, Baritone (In llallan) 88396 1 2-inch. »3.00 

The act closet with a famoua dance, the Furlana. 
Fui-lana (Finale, Act I) 
By Italian Orcheatra 


SCENE — A Lagoon near Cenfcc — II h night, Enio't ihip It ahewn at anchor, 
ailh aallori gmaptd on decl(. rtillng 
Bamaha, diaguiaed aa a liaherman. appeara in hia boat, haila the aailoia, and iinga them 
a nieny ballad. Ah, pescalor I 

Ah, pescator affonda Tesca (Fisher Boy, Thy Bait Be Throvrinf I) 

By Titta Ruffo. Baritone (InllaUan) 88394 12-ineh. tXOO 

By Paaquale Anuta and Opera Chorus (In llallan) 87093 10-inch, 2.00 

By Ernesto Badini, Baritone, and Choruj (in llallan) *45010 10-inch, l.OO 

Thia ia one oF the moat popular number* in the opera, ita beautiful melody and rhythmical 

■wing being a welcome relief in the midal of ao much that ia gloomy. 

After taking careful note of the alrength of the crew, Bamaia sends his aide for the 
polica galleys and leaves in his boaL Emo now appears, and is greeted by hia men with 
enthuaiasm. He ia in a gay humor, thinking oE Laura'i expected viait, and bids the aailors 
go below while he keepa the watch. Left alone, he gives eapresaion to his joy in this great 
aria, one of the most beautiful in the whole range of opera. 

Cielo e mar (Heaven and Ocean) 

By Enrico Caruso, Tenor 

By Giovutoi Martinelli, Tenor 

By Florencio CoiutanCwo, Tenor 

By Paul Althouae. Tenor 

By Franco de Gregorio. Tenor 

(In llallan) B8Z46 12-incb. •3.00 

llnllaUan) 6440» 10-ineh. IJM 

(In llallan) 64070 10-inch. IJX) 

(Inlbdlm) *45076 lO-inch, IJM 

[In llallan) *49027 10-ineh. 1.00 

Eapecially noticeable ia this fine passage— 



ay anffcL, will she comi 
_ay angel, will (he conn 

The aoit zephyrs 'fiLl'd with love. "" 

Morlala oft, wfaen fondlj' sighins. 

Come'*lim.''dS!i^st bctt VrnKtMng'"""' 

Wildly pacing is my hesri. 
"--«, then, dtaresl! -^ -■ 

Oh c 


3 that 

c bliss 

Laura now appears, and after a rapturous embrace, the lovera 
plan to set sail when the wind rises. Enzo goes below to rouse the 
men. Laura, alone, exclaims: "My heart ia full of happy tears,*' 
then kneels at the foot of the altar and prays for forgiveneas. 

Stella del marinar (Star of the Mariner) 

By Margarete Obcr, Mezzo-Soprano 

(Inllallan) 64442 10-inch. %IJOO 


1 3 

g fro. 

■61", full of m 

n highl 

Giaconda, dibyuised, enleta and denounces Loara. TTioy lios a splendid dramatic duet 
in which each decla>» hrr love for Enzo and defies the other. 

Cioconda is about to slab her rival, when the sight of a rasary worn by her intended 
riclim causps Htr to repenl. and shp aids Loara lo escape just aa hei husband, summoned 
by Barnoha. is appioachinR. Hiijo appears and is greeted with reproaches by Glocondo. who 
lelU him ihat ihr war galleys, led by Bamaba. are coming to capture the ship. Enzo. slung 
by GiuciinJii '> scorn, and heailbrolii^n at ihe loss of Laura, Gies bis ship to prevent it falling 
inlo the hnnds <il H^w^t,, 


.SCENE-.-I llo-m ,n the Palace of Ahhe. Night 

Aki^c IS diKov,-r,rJ alone, in violrnl 
her atlemp(^-d with f-n^o He 

Si! morir ella de' ! (To Die is Her Doom !} 

By Amlcta Galli, Bas9 (/n ludlaa) *59019 12-inch, tl.50 

' \V".!"l«''!lH'''i-'l'i'i'r''j.'.'mii'''M, i,imi.-. i«f honor, Their mirtbfnMonra iSliTblind with groans. 

This nighl na 
Ity « 

A'd br ,,_ 

Yonder, ihe_noblei of [hi 



and i: 

ce«led in 

ced by him. He orders h.-r to take p. 
She is about to obey, \vhen Giiicandii, who has been t 

narcotic, which will produce a death.hke trance. Laura drinks 
(his and Giocanda exits just as Alcae appears. Seeing ihc empty 
phial on the table he believes Laura has obeyed his will. 

The second scene showx a magnificent hall in the pal.^cc. 
where Al^:i^c is givine o m.iaked ball. The famous D..,Frc of Ihe 
Hours is diven for the entertnmmcnl of the nuesls. 

Dance of the Hours 

By Victor Herbert's Orch. 55044 IZ-inL-h, 

By Victor Orchestra 'SSOtlZ I2-Hn.>h. 

By Wm. H. Rem (AVopAoncJ 'iri47 lO-inch, 

£n™ is present among the mnskers. and when B^j'-wh, 

pers in his ear that Laara is dead, he unmasks and dcnuun, ,s 

who causes his arrest. The great fmale begins with /.,j.-,.' 

Gia ti vedo (I Behold Thee) 

By Lotci. de Gregorio, Badini and Choru- 
l/n lliil'anf 'S5019 
The emotions of the various .hari^clc.s may 
by ihe quolaiions below. 

' Doatk.FaaJ Rt<^afJ—Sa gage IS4. 



I Reden 

It Iheri 

of hor 

To complete kia revenge. Alolte now drawi aside a curtain and ahowa ihe guesta the 
body of Laura, acknowledging that he look her life. I-Iorror and indignation are eipresaed 
by thoae present, and Enzo attempta to kill Aloiae. He (ails, is aeized by (he guards, and ia 
led away lo prison as the curtain falls. 


SCENE— ^ ruintd patact on an laland In tht Adriallc. Vadce oiiibU in the dislanct. 
To this desolate island Gioconda has managed to bting the unconscious Laura, in an 
endeavor to save her. As the curtain rises two men are carrying the insensible form into 

Left alone, ihe approaches the table, looks fixedly at a flask of poiaon. and begins her ter. 
rible song, one of the most dramatic of the numbers in Ponchielli's work. 

Suicidio (Suicide Only Remains) 

By Emmy Deition. Soprano (In Italian) 8B4T8 12-inch. *3J>0 

By EUU Cavalieri {D«J,k-FaaJ—S^ pap, 184) {In IlaUan) 55015 12-inch. 1.50 

For a moment the unhappy girl is tempted to complete Alaiit'i work by giving the poison 

to Lama, but banishes the (emptation and throwa herself down in a passion of weeping. 

Gioconda has aecured 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 ia only to visit the grave of Laura, and dur- 
vilh Gioconda, he hears the voice of Laura, who has revived and now 

calla feebly. Enzo ruahes forward in a transport of joy, while Gioconda makes further prep. 


aiMio-s lot .he., escape. The lovers expr«. their 
sratuiide ^nd depart, while CmconJa pteparu (or 
the end. She is ^bcul lo >wall<.w ihe poison when 
Batnata app^i^ta. i>nd m teriible accents demiindl 
■why stie liaa Ijrokpn her word to him. Gioconda pre- 
tends to yield to hini. 

Vo' farmi piii gaia (Thou'rt Mine 


By A. Riis.i Miirino and E. Bjdini 

i/n/lu/ru^j 55017 12-inch. »1 

Well, Oni, Ihoa stull hear this, 

(Pi«lia chc regei By Murino. Nunes and Badini i/WM/«r,i| . 

Wo' farmi pill gaia By Murino and B^idinir^"' ^ 12-inch. tl. 

(Gii livedo 'I Behold Thee) By F. Lotii. Soprano: I 

{ de Gregorio. Tenor: E.Bidini. Baritone (/n /(u/ia- 53019 12-[nch. 1. 

ISi"! morir ella de'l By Amleto Gall!. Bass (/n lloli^„ I 

fSuicidio! 'Suicide Only Remains' By Elda Cav, 

1 Mcfiilojdc -fallra nolle By LUu Ca, 

of [he Hours By H, ' ■ " ■ 

"u HiiheriS Vrrhtilrai '^ 

" ' 12-inch. 


i Kamcnnoi-Oslio 


Bv Hche, 

■j Orchtilm 


/Dance of the He 

By Victor 





fiji Ralla 

y and Li/on,-. 

rOpening Choru 

- F 



ala Chorus 


IBarcarola -" Pe 

r afTonda I'e 

By E. Badini 

(Enzo Gcimaldo 

By Con 

ti and Badini 


\Furlana (Finale 



By Italian 




de GrefioHo 




io [Italian 

(Dance of (he He 

\ Maurice Tans>^ 


^ bV Wm. H. Rciti 





td Don Ep> 



f Vessclla's I 

alian Band 


\ OUllo—Fanlas! 


latian Band 

iCielo e mar (He 

and Ocean 

By Paul AUhou 

se (//fl/ian. 


t iValkilt-Sicgn 



By Vaul AhhQUK 

{In Italian) 



^^K^ "^ 





■• •: - 







Wordl and muiic by Richard WsBDcr. Wognei begui compodtion of the miuio at 
LncariM in 1670 and completed it in 1S74. Fint produced at Bayreuth. AuguM 1 7, 1876. with 
Matema and Unger. FinI American production at New York, January 23, 1866, with Leh< 
mano, Seidl-Krauai, Traubmaii, Niemann and Fiacher. Many notable productiona have 
been made at the Metropolilan, and the work hai been presented evety year at thia houae, 
Iwanty-four performances having been given during the adminiatralion of Gatti " 


GUNTHER (Coon'^i Bbm 

HACEN (H«*'*B.) Bau 


GUTBUNE (CMwen'-fA) Soprano 

WOGUNDA. I ( Soprano 

WELLGUNDAjRhine-Nympha { Soprano 


SCENE— T"** (Tatture** R«\ 

The Daak e/ ihc Cwb. the laat part of the tetralogy, conaiata of thiee acta and a prelude. 
In the prelude we once more aee BrIlnnMdt on the rock, where ahe had lain during ber 
magic aleep, and where Siegfried had found her and taken her aa hia bride. The hero, after 
a brief period of doroeatic happinea* in a cave itear by, decides to leave his bride for awhile 
and go in aearch of adventurea. giving her the Nibelung's Ring as a pledge of faith. Thia 
ring ns had obtained when he ^ew Uie dragon Fafnet, and as the opera progresses it will 
be seen that be is doomed (o auSer the conaequences of the fatal curse, mvoked oa enreiy 
jnsiBsact of tha Ring by Allerteh, from whom it was fat«il>ly taken bj> fKetm, 










CODS ^1 

ich he CO 
,C. who 9 


A« ihe curtain riseaB 

and Siegfried come out of the c 
Siegfried m full armor and the 
fa/V< leading her home by the 
bridle. She lin^ a tender address 

>f far 

»ll. ■! 


SCENE-~C<u(/< of King Ganlhtr 
Siegfried joyousiy sets out on 

is journey and soon comes to the 
Court o( ATingCunlAer on the Rhine, 
wtieie dwelU also Gunlher'i sister 
Cirune, and their half - brother 
Hpse„. who Is a son of AHerieh. the 
dwQrf. Hagen knows the history of 
the Ring and is an.ious lo re.tore it 
to his father, so he artfully tries to 

in the help ol Gunlhtr. Knowing 

that the hei 
, he . 




iching the 

which is to give Siegfried a drinb 
which will make him forget 
BrUnnhllde and fall in love with 
Gulnme. after which Cunlher can 

■■ win the peerless Brunn/iiUcforhim- 

'" self. Gunlher is tempted, and when 

sents. Siegfried greets them as friends, and 
ind immediately loses all recollection of 
Lnds with lowered eyes, he exclaims ; 

Why full Ihii. 

, ^■.,;^ bcrure mint? 11 
,8 with emotion, leaves the Hail, 

and Siegfried, gazing after her, asks 

Gunlher if he has a v 

'ife. The King, prompted by Hoc 

would wed. but that 

she is surrounded by a mngic fir 

e whjrh he Tannot pass. Siegfried 

seems Irymg lo reme 

mber his past, but fails, looks confi 

I9cd, ihun suddenly says: 

In Older lh»> BriinnhilJe may think that it is Gunlher who has wnn h<-r. it is agreed that 
Siegfried shall, by means of the Tarnhelm. change h.mself into (,..n(/.er'= form. Thinking 
only of his reward. Siegfried eiigerly departs, 

Wajrn. left alone, outlines his triumph, whfn he .=h.,ll |>„.,c.^ the Rin;;. and 

SCENE W — The Walk^'c'^ Rocl( 
The s,enp ch.mR.-s ;o the Vnlkyric Rock again, whei.- Br,m„hilJ^ i.wnils Siegfried's 
elurn. She is ostonisKed and alarmed wl.en she sees d ^tianci-r approach in i;. not under- 
tanding how he h^ pem-Lraled the fiery harrier. It ia Siegfried ir. the form of Gunlher. He 
innounces that he is Cunlher come to win her (or his wile. Briinnhilde, in horror and de- 
pair, holds up the Ring, exclaiming: 


tag him ' 

the cBve the ci 

ACT n 
SCENE— 7^e Rhint near Cuntha'M Caltt 
Hagtn and Alttrlch dUcusm the 
progreai o! the plot to regam the 
RinB. Hagtn awean to accompliBh 
it, and Alberlch vaniihes. Siegfried, 
in hii own form, hut wearing the 
Tamhelm, ariivea, greeti him <iieer- 
ily and (aya he haa sained Gunlhtt 'a 
wife for him, but that they are re- 
turning home more atowly. Calrme 
cornea to meet Sitg/rled, and tht^ 
go to the Hall. Hagtn aounda hit 
horn to aummon the vaasaU and 
bida ihem prepare for a feaat, aa 
Canthtr haa taken a bride. 

Gantha now arrivea in hia boat, 
leading BrilnnMdt, who >a pale and 
downcaat. SitgfiicJ and Gufrunc 
come out to meet them and BHInn- 
MiiKt ^,y, ^^^ Siegfried in hia rightful 
fonn. She recoila in horror at aee- 

% another woman, and regarding her aa a 

•tranger. She then perceives the Ring on Slegfried't finger 
and demanda to know where he obtainecl it. He aeema 
confuted and regards the Ring with a puzzled air. BrOnn- 
hllde, beginning to comprehend what hat occurred, dc. 
nounce* him, and Ganther, doubting whether Siegfried 
had kept hit oath to respect Brtlnnhllde aa a brother'a bride, 
looks threateningly at him. 

Siegfried, eager to set h 

' The vattala make a ring round Siegfried 

I Hagtn holds out his spear; Siegfried lays twi 
light hand on itt point. 


lUfc Df war. hallowed weapon! 
Hold Ihou -ny oalh tram •lisboDorl 
On thin tpotleu .spcar-hcad 

WhVr'ir death can be doalt me 

Dfil it to me. 

If she is really wronged,— 

ol Siegfried 1 baseness, repeats hit oath and denounces 

Siegfried looks at her in pity, thinking her mad. and 
goes to the Hall with Gulmne. Briinnhilde, Hagen and 
Ganlher remain behind, the latter in deep depression. 
Hagen tells BrOnnhllde that he will avenge her wrongs. 
"Thou?" sayi BrOnnhllde, contemptuously, and lellt him 
that only in hia back it Siegfried vulnerable, and that no 
magic protection was placed there becaute the knew that 
never would he retreat. GunlAcr now routes himself and 
the three decide that Sieffrtei muM die for hia treachery. 

■M right, swears the oath of 





















ACT in 

SCENE \—A Wild ValUy nfar the Rhine 
The Rhine nymphs riae to (he surface of the waler and smg of the Rhinegold, They 
spy Siegfried and ask him lo give up the Rins. hut he rrfuse*. and they warn him thai he 
■Kail die that very day. ) le laughs at the prophecy, and as he watches them swim away, 
says lightly t 


'. with his own. Gunlhtt.Hog 

Hunting horns are hra.d and Siegf^i^d Rnyly answf 
the hunters descend from the hill and K"-rt him. Th-- 
Siegfried tells them of his advt-nnire wilh Mime and ih.- Dragon. 

Mime hiess ein murrischer Zwerg (Mimi, Know^ Thee Then 
"Was a Dwarf) 

By Carl Burrian, Tenor i/n German) 55073 i2-inth. *1.50 

Hogen gives him a magic drink, which hrlnRs back his m.-mory, and he goes on lo 1<^II ai the 
forest bird and his quest of the lovely BrUnnhilJf. 

Zu den "Wipfeln lauscht' ich (To the Branches Gazed I Aloft) 

By Carl Burrian. Tenor (/o Ccrm„n 55073 12-inch, »1.S0 

Cunlher begins lo listen attentively, hut when Sirg/fied reaches this part nf his narrative, 
Hagen plurgcs his spear in Sieg/ried'^ back and he falls, GtinWicr. in pily for the dying man. 
leans over him and Scigfiied faintly says ; 

1 Brij 

Look up; 0|ILT. 

What hath .uiik i 
Whu rlr..v,'u-, IhL'c 


SCENE ll-Hall i„ Cunlh. 

Siegfried's Funeral March 

VesselU's lulian Band 

'35369 12-m 


r the 

.( ihe sods, and fl far..well to'lhe str^n Ke" in ihe lag 

loHvc is solemnly tragic, and piclurrs the cold wing of 
1. Then the heroic molive of the Ko/jungj follows; and 
thm of ll,<. Funrral March. «ll Ihe motives, passionate, 
alieady hern devt-li.pci-l aiparately in ihe course of ihe 
Thus is heard the love motive, ivhile from ihc deep tone 
idually develop* 

The firsi 
dealh flying over ihe procesi 
from this moment, with the i 
dramalic or tragic, which hav 
tetralogy, are heard one by one 
of the double-basses the fun* 

and i;iiins in strength, preparing for the entrance of the h< 
Then comes the fatal motive of 5ieg/riei/'j prophecy. \n 
Siegfried's motive, an heroic paraphrase of the joyful -ho 

We next hear the complaint of the Rhine maideiis. the motive ot Orunn. 
andlhecurae.motive (RhinegoldK while infancy we picture the funeral pr. 
pearinif amonR the mountains into the silence of the ni^ht, only a pale heai 

Stff/nWj body is borne mournfully to the Hall, whr..- ihc we.pinK Cuir 
and clasps hf-r husband*s lifeless form. Hagen now d.-m.->nds <Ui- R.niz as 
Qanlher refuses to yield it and ihev draw their swords, C)„nll,cr 

Hagtn attempts to withdraw the Ring from Sitgfticd'i fincer, Ijut 
arm of the dead hcto is raised threateningly, and all recoil in terror, 

BtOnnhildc then approaches and Razes long and sadly at Sieg/ric 
funeral pyre creeled to burn the heio's body. The vassals obey and 
e bank of the Rhine, on which the body is laid. Bmnnhilde sumr 

■eol the sword fro%rfe). 
1 force until it ' 
hild ol the for 


ind beR 

.t W 



Flie^ heim (InunoUtion Scene) 

By Johaaiu Gidiki. Soprano (/n Gtrman) 8Bie5 12<iaeh. ISJH) 

She bida the raven* fly to LeItI, god of £re, thnl he may complete the downfall oF the 
goda by burning ValhaUa. 

Klh n 


i kindlVv'alfialli'i Ww'Vs I 
She kindlea the pile, which bums rapidly, «bd the two raven* disappear in the distance. 
BrtlnnklUr; hone i* brought in, and (be lake* off the bridle. 

Doih Imp 1 

What j( 

By flam 



■11 "ri^ 

3 there thy lord. 


o bollv doth hum 
J spirit enfolds. 

c flame 

lldaiaho! Gnnil Gr« 
SLegifHedl Siegfried! 

«tly « 

Sbe awings herself on the ateed and ride* straight into the burning pile, which flamM 
up mightily, half consuming the Hall itself. The [Uiine then rises and puts out the flames, 
and on the surface ate 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 la 
mine I" The nymphs seize him and drag him dovm in the flood. An increasing red 
glow is seen in the sky, and Valhalla appears in flames, with the gods and heroes calmly 
awaiting their doom. A* the flames envelop all, the curtain falls. 



eofried's Funeral March By Vessella's Italian Band)-. -.^ ii - i. its 

WoUtfirt-Rldt of tht Valkyrie, By yt»dla'i Italian BanJr"*'^ 12-incl., 1J9 

murriicher Zurerff 1 

By Carl Burriaa. Tenor (In Gam<in)\Si073 12-inch. 1^0 
Za Jen Wip/ein lauscht' (cA— fiji Cait Burrlan, Tenor (In Getman)} 



Toxt liv FernaLdo P<-nqu.:l^ music bv Enrico Gr.inndos, The work was accepted (or 
■ Prfris Ojii^ra. bul war prevented its production, s.j S.-fior Crai.ados brought It to Amet- 
. and personally supervised the production. The composer and his «i(r were lost on 
Mr return (rip ihrouBh the sinking of their ship hy a G.-rm,-in suhmarine. The fitst per- 
mance on any slaKe took place at the Metropolitan Oprta House. New York, January 28. 

Characters and Ori^'inal Ca^c 
ROSAKIO, a lady of rank Anna Fl(;iii (first ,ippr,iiari. i- ..1 ■ 

Fernando, her lover Gi 

Pep A. a notorious ■■maja" 

PAQLIRO. a toreador C 


Conductor Gaetano Baragnali 

Time --J Placi: Oul^k'"^ o/ Madrid. Spain; ohoul i 


Ceytteat it dw Gnt operB to be mnB in the United State* in the Sponiili knguage. 
The acenea, u well as the ideal for the four principa) chantclen, are taken from faroiNia 
paintinga by Goya, a 5p«ni«h artiiL The opera u Jivided into three acenes or " picture*," 
the firil of whicJi show* a festival in a village near Madrid. 


Pepe, one of the "majaa," or gay young women of the Tillage, ii there, ■■ is Paqaha, 
hei toreador lover. Paquira, howevei, prefers Rotarie, a lady of high rank, whom he had 
met at « hall in one o[ the low dance haUs of Madrid, where she had gone on ■ "aluniming" 
adventure. Rotaiio eomei lo the festival 
I and Paqaim attempts to renew the ac- 
quaintance, but the lady anubs him, and 
I appeals to her admirer Fernando, a mili. 
I tary officer of her own station in life, ask- 
I ing him to protect her. He leama that 
1 she has danced with Paqalra at the danca 
hall, and insists that as a lest of her love 
for him she must go there again and 
ce with him. Pepa, overhearing, 

iments that the young officer is lilc^^ 

to place himself in an awkward poMlioa 
by going to the dance hall. 

The aecand "picture" shows the ball 
room, ■ cheap, boisteroui place, lifted 
by gaudy lanterns. RataHii and Ft m c n de 
arrive, and are jeered at by the crowd 
that pr ESSES around them. Paqalia ttp- 

f roaches and mockingly congralulatea 
tmanJa on his choice of a sweetheart 
vrhich provokes a quarrel, and the two 
men agree to fight a duel at the I^rado, 
near Hotario'i home. 

SCENE 111 

The last scene shows ReiaHo walk- 
ing in her garden in the moonlit L 
' PemanJo arrives, and after a tender cvi- 
versation between the lovers, the striking 
of ten on (he village clock reminds the 
young officer of his duty. He takes his leave, and shortly afterward the figures of P^a and 
Ptupilm can be seen going in the same direction. Suddenly Aojorfo hears a cry of anguish 
from her lover and rushes in the direction of the sound. Soon after Pepa and the toreador 
return, and Ratatio then staggers in, supporting the wounded figure of her lover. After a 
tender farewell he dies in her arma 

The poetic and colorful Inltmetto is based on some of the most delightful themes of 
Granados' opera, themes to which the composer's distinction of touch and ingenuity of 
expression have lent changing inflections of rhythm and key. 


I Eitiue (.Eabuy) (ThonU) 




Poem l>7 Armond SylveMer and Eugene Morand. Muaic by MaweneL FiiM pn»- 
ducban, Opim Comique, Pari*, November 20, 1901, with Mme. Lucienne Breval. Produoad 
at Brunei*. Murch 18, 1902, and Milan, Novamber 25. 1902. Pint production in America at 
the Manhattan Opera Hauae, New York. January 19. I9ia 


GRISELIDIS, wife of tbe Marquis Soprano 

FlAMlNA. the Devil'a wife Soprano 


THE Marquis DE SALUCES Baritone 

ALAIN, a ahepherd Tenor 

The Devil Baritone 

The Prior 

SctiK anJ PaloJ : Piootoct, France; Oit ihlrteailh ctnluij/. 

CriiillJli !■ baled on a modem "myatery" which was produced by Armand S. 
and EuKcne Morand al the Comailt Francali in 1891. In ihia play the author gave a 
changed version of a legend, Palitnl Crlttt, which has had a place in European literature 
since the eleventh century. It is one of the stories that Boccaccio tells in his Decanieron, and 
the same tale has been used by Chaucer in bia Canttrhun/ Tata. 

The plot oE GrIUliJit is quite refreshinK, compared with most grand opera stories, it! 
principal theme being true love and faithfulness. The opera opens with a Protogut, occur- 
ring in the forest of Provence. Tbe Mar^it it Sa/uca, lord of the region, while walking 
along the forest edge, meets the young and beautiful Griiilldh. He falU deeply in love 
with her and asks her to be his wife, whereupon she modestly leplies that she is his slave 
aitd must obey his will. Together they depart for the chateau of the Marqali, leaving 
the poor shepherd. Alatn, who ia also in love with CrUdiili, bewailing the fate which haa 
cobbed him of bis aweetbaait. 



A year elapaea, and in Act I we ace the MarqiOt about to d«put (or the war againM the 
Saracena. The ecene ahowi the iadde of the Chateau ; in the background a triptych open, 
with an imase of St. Agnea holdins in her aima a white lamb, and at her Feel an iin>Ke of 
the Derf/. The Manjult eipreaaea hi* sreat love for hi* wife, and aaya that he would be 
willing to (wear in the preaence of the Dtell himaelf that ahe would alvraya be faithful and 
true. Suddenly the atone image of the Dalll cornea lo life, bounda on the atage and offera 
to wager the Marqidt that during hia abaence at the wara GritditUt will break her vow* of 
(aithfulneaa. At firat the Marqali apurna the wagei. but finally accepts and givea the Dcvtf 
hia wedding ring to ahow hia abaolute tiuat in Gritdldli. The latter ia left alone with her 
little aon, Loyi, aa her huaband depatta for the war. 

Act II ahowa the terrace of 
iheCaade. The DiOf/induGea 
hia wife, Flamina, to join him 
in hia wicked plana to tempt 
GrMilJlt, and they appear at 
the Caatle diaguiacd aa a 
Levantine merchant and a 
Mooriah alave. The merchant 
(Dteir) telle GrItdiJii that her 
huabaJid bought the alave 
Emm him in the Orient, being 
greatly attracted by her 
charms and tella her that her 
huaband cotnmanda that the 
alave be inatalled aa miatreaa 
of the Chateau. Aa proi>f of 
the truth of his itatement he 
ahowa Crii^lldli the Marqidt' 
Wedding ring, and she aufa. 
miadvely dedarea that ahe 
will ob^ her huaband's or- 

contrary to the Dtdl's ex- 
pectations; and in conatema- 
tion he now haa hia Eolt SpltOi 
bring Alain to the Caatle, 
hoping to tempt Ciiiiltib to 
fly with the ahepherd, who 
still lovea her; but little Loyi appears just in time to save hia mother when her resiatance 
ia weakening. As Alain ruahea away, in deapair, the Dtsll suddenly appears, seizes Lays 
and disappeara. and the act ends with a wild search for the child. 

The third act shows the interior of the Chateau with the triptych aa in Act I. The DeiK/ 
again appeara lo GWs^db, thia lime diaguiaed aa an old man. He tella her that Lout has 
been kidnapped by a pirate, who demands a kiss from Crli^lJli in return for surrendering 
her child. Molhei love forcea her to yield, and she atarts for the harbor. The Marqidt 
comes home from the wara and the Deoll tells him GiUilldii hat gone to keep a rendezvous 
with her lover, but the Marqali refuses to believe these accuaationa againsl hia wife. 
GriiiiidiM retuma and tella the Marquli of the kidnapping of little Loya, and they pray that 
help may be given them to fight the powers of evil. Whereupon the cross on the altar 
is tumed into a flaming oword, and when Crii^ldh praya lo St Agnea that her aon be 
reatored to her, there ia a Bash of lighming, a clap of thunder and ihe triptych opena, 
revealing the image of Si. Agnes holding in her arms; not the white lamb, bul the child 
Lay. A glad pealing of bella can be heard aa the Manpili and GrlaillJu, with their child 
between them, are happily reunited. 

The Victor otfera a record of the air Ouera-ooot mr man front, which occurs at the 
beginning of the open. It is the song of the shepherd Alain, telling of hia love for the 
maiden, Gtti^Ub. 

Ouvrea-vous sur mon front, portes du Paradise t (Open 
Now to My Eyea. Ponala of Paradise I) 

ByaariMlMnwnr«a.Tnor (/nAandb) 8BWZ la-inch, •S.OO 



Text by Antonio Scalvini; music by Antonio Carlos Gomez. First produced at Lft 
Scala. Milan, March 19, 1870, and shordy afterward at Genoa, Florence and Rome. Fint 
London production, Covent Garden, July 13, 1872. The work has never been given in Nofdi 


Don ANTONIO DE MARITZ, a Portuguese Knirftt Baas 

Cecilia, his daughter Soprano 

PEIRY, chief of the tribe of Guarany Tenor 

Don ALVARO, a Portuguese adventurer Tenor 

Gonzales i r Baritone 


IL CACICO. chief of the AimorA Tribe Bass 

Pedro, guard in the service of Antonio Bass 

RUY-BENTO > Spanish guests of Don Antonio, adventurers. 

Time and *Place: Brazil, in ihe neighborhood of Rio Janeiro: 1560 

Antonio Carlos Gomez was bom in Campiners» BraziL July 11, 1839, of Portugal 
parents. Early in his srouth he was sent to Milan at the expense of the Empire of Brazil, and 
studied at the Milan Conservatory, his principal teacher being Signor Rossi. His first opeia, 
written when he was only twenty-eight, was Drought out in Rio wneiro in 1861. Other earjy 
works were Seaa Minga (Milan, 1867), and Nella Luna (1868), Poaca (Milan, 1873), Saloalm 
Rosa (Genoa, 1874), Maria Tudor, text by Braga (Rome, 1877), 11 S<duio del Brazile, ode, per- 
formed at the Centennial Exposition in Philadelphia, 1876. His fame was made, however, 
with his powerful // Guarany, In 1895 Sefior Gomez was appointed director of the Paia 
(Brazil) Conservatory. 

The opem of Guarany contains some brilliant music and many picturesque ejects. The 
plot tells of an early Brazilian setder, Don Anionio, a Portuguese noble, who is constandy 
warring with the neighboring tribes of Aimoris, who are bitter foes to all Europeans. *Pery, 
chief of the tribe of Guarany, falls in love with the beautiful Cecilia, Don Antonio 's daughter. 
GonzaleM, a Spanish adventurer, also loves the maiden, and the rivalry between the two gives 
excuse for some of the most stirring incidents of the opera. Especially elective is the great 
scene in the last act, when Don Antonio s castle is besieged by the Aimoris, and after sending 
Pery and Cecilia to a place of safety, the old Don fires the magazine of the castle, destroying 
himself and his enemies. The curtain falls on a scene of desolation, while Pery and Cecilia 
from a neighboring height sadly gaze at the result of the father's sacrifice. 

The most famous of the numbers is a beautiful duet for Pery and Cecilia, in Act I, 
which Destinn and Caruso have made for the Victor. The overture is characteristic and the 
melodies of the Indians of the Amazon, which Gomez introduced to give it local color, are 
piquant and efFective. 


Sento una forza indomita (An Indomitable Force) (In Italian) 

By Emmy Destinn, Soprano, and Enrico Caruso, Tenor 89078 12-inch, $4.00 

ril Guarany Overture By Arthur Pry or's Band) «--.«-. if :^^u i i* 

i Aida— Celeste Aida (Trombone Solo) S» Arthur 'Pryorr^^^^ 12-inch, 1.25 

/ 11 Guarany Selection (Accordion) ^X P^«^o\^<^aa tt i^^u i i< 

-?3««V»^ Owf «« (Accordion) By THdror^^^^ 12.mch, 1J5 




Book by Baibiei uid Cbit^ baaed (m Shakeapeare'a play- Muaic by Ambcoiae Thomaa. 
pint pifxluction Much 9, 1 666. at the Paria AcaJ^rde. with Oirutine NilaKin and Faure. Fint 
Laodon production June 19, IB69, in Italian. Produced at the Academy of Muaic, N«w 
York, April 20. 1S72, with Nilaaon, Can, Brignoli, Barre and lamet: in 1682. with Center 
and Gappiiii: and in 1892. with La SallB and Marie Van Zandt Revived recently bjr tha 
Chicago Opera Company (oi Ruffe. 


HAMLET Baritone 

Claudius, King tJ Denmark Ban 

Laertes, Poloniui um Tenor 

Ghott oE the dead King Baa* 

POLONIUS, Chancellor Baa* 

Gertrude. Hamlel'a mother. Queen of Denmark Mezzo-Sopiano 

OPHELIA, daughter of PiJoniu. Soprano 

Lorda, Ladiea, Officera, Pagea. Peaaanta, etc 

Scene : ElMaore, In Daunark. 

The aloiy of Handel, F^nce of Denmark, >* ao well known that it would leem hardly 
neccMaiy to deacriha the plot at any length. However, for operatic purpoaes the libieltiMa 
were obliged to modify and reconatruct certain portions of the tragedy, and the leviaed vei' 
aion will be briefly aketched here. 

The pieaeni King of Denmaik. QauJitu, baa aeized the throne, after having murdered 
the late King, Handtt'i father. At the opening of the opera Hamlet know* nothing of the 
murder, but ia highly incenaed at hia mother for having married ClaudiuM before she had 
bees two month* a widow. 

ACT 1 
SCENE I — A Roam of Stale In the Palace 
The new Queen ia being pieaented to the Court at a public reception. She i* annoyed 
beeauae HanJtt ahowa hia diapleaiure by abaenling hlmaelf from the ceremony. After the 
pieaentatioD ia over, Hamlet entera alowly. in a melancholy mood. 
Hamlii: Ah! vain indeed ia Brief! 

Affection, loo. doth Kem shon Inti indeed. 

My much-lDTed father but two montiu dud; 

Aad ret, unto another wedlock, aj motber hath conaentedi 

-rnOtj, thy nanw to woman." 



1 — 

His hitti-r uiualn^ k Intirriuptcd by (h^entiance of Ophelia, hii belrolhtd. She hu hurd 
that Hamlcl mli-ncl^ lo \cBV<r thr kmedom and a>ki If he hu ccued to love her. in the beauIiEul 
love dut^t hr .t:fl«u.« h,T, and irlls 1,... why the pflUce ha« beco 

Nega se puoi la lu 

Bv Maria Cilvmy. Soprano, ind Tit» 

Ru»o. Buitone (/n Aaann) 92500 12-iach. *4.0I> I 

(Love Duet) 

SCENE II— ap/anoA 0/ iht Palatt. ll U Night 
i/r'n and MarctUus are diacoveieJ excitedly diacunlni 

_ diBCumns thvV 

.( the murdered King. They greet Hamlti'\ 

\ tPli him of the Rhnslly visilni. which appeared jusl al mid- 
;hl. H^mlcl is much .-.Reded, and siigBests ihal as it is nearly 

The clock slfikes. and the figure of the murdered King appear.. 

I llicc ti.rll. : 
The Khosl motions ! 
orcc//m to withdraw. ..nd 
r Bonc hr tells HamUl of ih.; 
d bids him become the aven 
ks hun to Uve his mothet 
imenl to Cod. IhmUl ii 
eclcd and exclaims : 

The ghost, before tlis^ippeaiing. 
pauses al the back of the stnue. and 
■lands with one hand extended toward 
HamUl: at ibis moment Ho'ali« .inti 



SCENE— Can/en of the Pidaix 

Ophelia entera and i* much di>turbe<l becaiue HamUl ■cemi to BToid her. The Queen 
Enili her weeping aniJ after queKioDJnE her My* ihal Hcmltl has alao acted atiuigelr 
toward his mother and (can hi* reaaon is affected. 

Handel, aeeking to entrap the King in aome mannei iDlo betiaying himself, has engaged 
a troupe of player* to present a play which shall enact a similar crime. The King and 
Queen are delighted thai he seems to seek amusement, and gladly accept his invitation to 

When the layiA pair have departed, the plajfcra come on and are instnicted hy HaaJtt 
in the plot he has coocMved. The Prince (hen colls for wine and bids the players be many, 
offering to M)8 them a drinking song. 

O vin. diacaccia la triatezza (Brindisi) CWine, This Gloom Dispel) 

By TitM Ruffo, Baritone, and La Sola Choru* {Italian) 92037 IZ-inch, ISJX) 
By Francesco Cigsda, Baritoae, and La Seals Chorus *16973 lo-ineh, ,75 

That o'er my heart now 
Come Krant mc thine int 
The careleu liugb— the 

: all;— grim IhoughU ■ 
X folly reign. 


SCENE n— TAc Palace Hall. On ent aie a slagt hat been trecttd 
[t assembles and the play begins, Hamltl placing himself when 


the King closelj)'. Aa the action proceeds the guilty man shows unmistakable evidence of 

agitation, and juially in a rage he oideia the players away. Hamlet rushes forward and 

denounces the murderer, but the Court believes his accusation to be the ravings of a mad> 

man, and oil leave the room ■* he faints in HoraUa't arms. 


SCENE— TAs Qaeai's Apartmtnlt 

HamUi entera and sings his farewell soUIoquy. 

Monoloffo (SoUloauy) 

By Titta RuSb, Bsritont 

{lallallan) 92042 12-inGh. tSJK) 


The Qu 

cen aiR 


//o rn 

nd plead wi(h HamUl to 

banUh bis V 

iia im. 

Ophfh„ K, rr 


rcvisea tiii malher of being 

«. accompli.^ 

e. The 


■.ars. vi«bU only to HamUt. 

-■ his n 




y disappeol*. The Prince 

conducs ,},. 


O Ihf 



ng hEi lo pray and lepent. 


™/ 3C(n 



'iilows line the ,l«re 



e by 


IrlS duertion of her. hu 

wandi^red to ihe 1 


She p 

wilh a garland of flowrt.. 


hhIIv known aa (he Mad Sant. 

on., of Lh. n, 

csl a, IT, 


all Ho 



Ballata d'Ofelia (Mad Scene) 

By Nellie Mtlba In Frenchi 8B251 12-iDcIi. »3.0O 

ByGmseppinjHuHUCI /lu/>un)*351SO 12-illch. 1.2» 

An rxqiiisile inlroduciion by the orchealra ■> heard a« 

Ofihelia enlers -a st>anE;<^. wdd hgu.r, with Hawing hair and ..,„ 

' 9 la the wondeiing pcaaanti and 

Ic which she heard at dawn. M- 

^ine with a hHlliant display of bird-lik( 

Ophelia ihen liirns lo ihr shrphi 

tells them childishly ol the 

IBallaca d'Ofclia ■ Mad Scene) By Hugutc. Soprino [lloha., 1 
\ Dinorah Jii. curinu ciiprellma By Ciuseppina Huguvl. Soprana\- " 

IBrindisi By Francesco Cigada and Chorus l/n ItaUanA 

I E-ani~Ft^la da hallo Bm La Scala Charas tin /lalia„i. 

ICome il romito fior By Enrico Pignataro (In Italian I 

\ Pallide Mammole—Romanza By Lovin de Casas {In llalian)l 

16572 10-inch, .73 
■63424 10-inch. .73 



Tot by Adelbeid W«ne. Music by Engelbert Humperdbick. Firat produced Decern- 

ber 23> 16^, Bt Weimar, under tbn direction of EUchaid Strauu. The work wa> aoon given 

in every opera house in Germany, and ita popularity BpTead throuKhout Europe. Fitwt 

American productiaci at Daly'* Theatre. New York. October 0, 1895, under the direction of 

Auguitui Hmnii; RrM petfonrunce at the Metropolitan Opera 

SHouae, 1905, with hloroer, Alten. Abarbanell and Coritz; and the 
(^Mia haa remained a atrons favorite ever since. 
Peter, b>ker Baritone 
GERTRUDE, hi* wife Mezzo-Soprano 
SSl*-^^""'- &^i^- 
THE WlTOi who eata children Mezzo-Soprano 
SANDMAN, the Sleep Fairy Soprano 
DEWMAN, the Dawn Fairy Soprano 
Children. Angels, Peasants. 
Hlnsel and Gretel has been called the Peter Pan of grand 
■■Muiaiitti opera; the audiences who witness it being invariably deli^htetivrith 
uuMrasiBcs the cbiUiak joyousnaas and fairy cbann of Humpardiock ■ work. 

ne is laid i 

■ "he iwo em 

'B - fi't'wt muki..^ ".uunu 

i'inB a Mocking. Greltlbc. 

^ewa? with ii, n„_„n, 


',' '^°^- Hanid. ihint- 

"s stomach than of the 

"'.npntheyare likely to 

Jlhing which 

^= °f tb= Chadr„ „ J=l.8hr.d, „d ,„.h„ 

»Suse (Little Susie!) 


Pelti now retumt to hia cottage and finila the cKildren gone after ■trawberries. 
In tkia air Ke (rightens hi* wife by telling of the witch who live* in ■ honey-cake houae, 
and who after enticing little children into it. bake* them into gingerbread in her oven. 

Eine Hex' ateinalt (The Old ^^itch) 

By Otto Goriti. Baritone (/n German) 64164 10-inch. tLOO 

ACT 11 
Thia acene ahow* the 
depth* of the forest, into which 
the children have wandeied. 
HUnid pick* berrie* while 
Qrclcl weaves gailands of (low- 
era. Darkneaasooncomcand 
the children are frightened and 
cling together. A little gray 
man, the Sandman, or Steep 
Fairy, itrewa sand in their eye* 

Der kleioe Sand- 
mann bin ich (I 
Am the Sleep 

By GIucIc and Homer 
(/n German) 

88419 12-ia.. tS.OO 

The children alumber.and 

■a the curtain fall* angela are 

leen keeping guard over 


The curtain rise*, showing HUtael and Grettl still aaleep in the wood. The Daan Fairy 
shakes dewdrop* on the children and wake* them just as the mist clears away, revealing the 
houae of the IVltch. 

The children approach cautiously and begin to nibble at the gingerbread fence, when 
the Wllch cornea out and casta a spell over them. 

Hexenritt und Knusperwalrer (Witch's Dance) 

By Alma Gluck and Louise Homer {In German) B7131 lO-inch, *2.00 

She makes a good fire in the stove for the purpose of roasting the babes, and in her 
joy she rides wildly around the roam on a broomstick, singing thia unique Hexenrilt. 

The duet begins with the soliloquy of the Witch as she sees Crete/ peeping into the 
oven, and prepares lo push her in to be baked into magic gingerbread. 

The second part of the duet ia the portion called the "Witch's Waltz." and is sung and 
danced by Hansel and Gitlel after the wicked Witch ha* been puihed into the oven. They 
dance around the room, wild with joy, and then prepare to eat their fill of the good things 
stored in the Witch's houae. 

After the death of the WUch the gingerbread children come to life and thank the chil- 
dren for releasing them from the spell. The father and mother of Hdmel and Grele/ now 
arrive end embrace the children aa the curtain fall*. 

Word, by P«ul Milli . 
H<mdio,. Mu^ic by Jule. Muicnet. 
de la Monnaic. Bcuuel.. Produced in 
Jean and Eduard de Resike, Maurel. . 
CoIW in 1903. with Calv* and Renaud. 
Sucker. KrauM and Winki 



id Henri Gtimont. bated on Cuatave Flauberl'i 

with Calv«. Kickby Lunn, Dal 

at production December 19. ISS1, at the ThiHtn 
ria at the Th^lre [lallen. February 1. 1884, with 
^melli and Devri«B. Revived at the Th€^ln de la 
First German production in Hamburg, 1863. with 
London production 1904. under the title Salon 

cale changed to Ethiopia 

■a and Renaud, and with the 
by the British censor's orders, 
at the New Orlean* Opera in 1 B92. ProduceJ by Oscar 
Hammerslein at the Manhattan Opera House, New York. 
November 8. 1909. with Cavalieri, Gcrville-R*ache, 
Ducb«ne. Dalmores and Renaud. Revived February, 
1914, by the Philadelphia-Chicaeo Opera Company. 

JOHN THE Prophet Tenor 

Herod, King of Galilee Baritone 

PHANUEL. a young Jew Bbm 

VITELUU5. a Roman proconsul Baritone 

The High Priest Baritone 

A Voice jn the Temple Bm* 

Salome Soprano 

HERODIAS Contralto 

A Young Babylonian Woman 

Merchants, Soldiers. Priest*. Levites, Seamen, Scribes, 

Phariseea. GaUlean*. Samaritans. Ethiopians, 

Nubians. Arabs. Romans. 

TIk adlon taJta plact In Jtnaalan—Timt, aboal 30 A. D. 


The lint Paiii production of thia opera wb« e*- 
pecially inlereating because o( the fint uppearance of 
' ian de Reuke at a lenoi (he was foimecty a baritone), 
wai not until 1904. however, that the opera was 
brought out in London (under the title of Salome) with 
Mme. Calvt Dalmore. and Renaud in the leading rtl«. 
Ml. Hammeratein's production of this work during a 

bered hy opera goers aa a moat brilliant one. 

The opera contains much of the best music 
Massenet has written: and the plot, while based on 
the well-known Scriptural story, does not follow the 
Bible or tradition very closely. diffeiioE quite largely 
from Salome. 


XENE— Court of Htrod't Palace <.( /« 
Salomt enters and is greeted by Phanuel. 

jew. who is astonished that she should be in the Palace. 
and wonder* if she can be ignorant of the fact that 
HtroJia, is her mother. Sclomc tells him she is seeking 
John tht Prophtl, and in this air she describes how 
he had saved her from the desert when a child, and 
hovr good and kind he is. 

II est doux. il eat bon (He is Kind, He is 

Good) By Emnu Calvj (FnncA) 88130 12-ui.. *3.00 
Salami goes out just aa HtmJ enters searching for her. 
Htmdias ru^ea in and demands John's head, aaying that he 
had insulted her. John appears, denounces them both and 
drives them out. terrified. Salomt enters and tells /oAn of her 
love for him. but he bids her turn to God. 

SCENE— Henx/'. Chancer 
Herod lies on his luxurious couch, while attendants sing to 
him. He can think of no one but Salome, and bids the slaves 
dance to distract his mind. A love potion is given him by a 
slave, who says it will make him see the face of the one he loves. 
He then sings the famous KMon fiiglUoe, considered the 
most beautiful of the airs in the opera. 

Vision fugitive (Fleeting Vision) 

By EmiUo dc Gogoria. Baritone 

Un French) 68193 12-inch, »3.00 

Hrrtvi describes the vision 
of Salome which haunts him 
night and day, and declares that 
to possess her he would gladly 
surrender his soul. He drinks 
the love potion, and Falls on the 
couch in a delirious sleep. 

SCENE l\—Pabltc Square at 


The scene shows Herod re. 

ceiving messages from the allies, 

and denouncing Rome. HeroJias 






•^ »!.W,j.^B 

Rom>.<. ViUl!i„^. U approaching. The peopl<r aic Ierhi\<^d. but f ife//'U] dcclBres that 
Rome d«ii» (he favor ol th? Jews And will Kive back ihe Temple oF Israel. 

John and io/pme enler and Vilelliui U surprised at the honor paid to the Prophtl. 
Herod gazes with eyes nf love al Sn/ome. while H.-rndkn watches her jealously. John 
denounces Kt(rWu.. as the curtain (nils. 


SCENE \-Phanucr,lh.n>i 
Phanvfi Ih disclo9ca gazinj; at the eily. wl„th ii.s silent un.t./r a starry sky. and 
prophcsj'im: the fate which ^^ lo overwhelm it. 

Air de Phanuel lOh, Shining Stars 

By Marocl Joutnet. Bass /r, F'cuch 74152 I Z-inch. »l.50 

He calls up.>n the stars to tell him what nianT..-, of ni..ri is this ]..!,„. who speaka 

with such iiUlhonty. -Is he a man or a Rod?" he cries- llf<,dia, .-nler^. much aKlWIed. 

Fhamil mqiJites what has broushl the queer, to his houst-. rtnd she cries. "Vengeance 

on the wt.m.,n who has stolen lUiod's lovel" He rei.ds h.r fate by the stars, and sees 

nothing but blood in the horoscope. She asks him about h.-r ^hlld. lo«t so long awo. and he 

takes her lo the window and show, her Salome, who is just .-i.t-rmfi the Temple. Horrified. 

//ero./,-ajc.its, "My daughf^r? Never! That is my rival I " 

SCENE Il-/nnci- Comt of Ihc T,-mpk- 
The second scrne shows the entrance of the Temple. 5..fomc c.,t,-r, h,,lf lamtlnR. hav. 

ing heard that Jnhn has been east in prison, and (alls exhausted al the prison entrance. 

Hcmd enters, and seeing Salome, hr-^aks out into a mad declaration of his love, but she re. 

pulses him with horror, and tells him she loves another. He declares h,- will find this lover 

and kill him, and goes out as the people enter the lemple. 

John is brought in and denounced by ihe priests, but prays for them .is ihey demand 



hiideaA. Sahmr tuiu to/oAnand falliBt kwfee^WNluiigtodiewtth him. Herod, (eeiiis 
il M /oAn whom Salome lovea. orden them both put to deadl. aaA dkey are seized aod 
borne out by guard* as the curtain (alls. 
SCENE 1— /V™ Cdl In the Tanplt 
John and Salemt ore here aeen in priaoo. 
John admit* that he love* the young girL and 
urge* her to fly and aave her life, hut she re> 
fu*e*, declaring ihe will die with him. Prieirt* 
nd order John to death, and command 
X} he taken to the Palace by Htmd't 
command*. She resist* desperately, hut U 
dragged away. 

SCENE W—Qrtal Hall In Ihe Ttmplt 
The great feilival in honor of the Ebman 
Empire ii in progtea*. Salomt i* brought inand 
again entreat* to he allovred to die with John, 
She appeal* to the Queen, aaying, "If thou wert 
ever a mother, pity me." Htradiat trembles at 
the word, and gazing on her daughter, aeein* 
about to yield, when the eiwcutioner appear* 
at ihe back with a dripping aword and ciie*. 
"The /^npAef i* dead." Salome give* a terrible 
ciy and trie* to kill the Queen, who (cream*; 
"Mercyl I am thy motherl" Salome recoila in 
horror, ctirsea her mother and ttab* heraeU. 



iLai/i Yocfn'-nohl 


{Gilt Oa-woh-nof-llli} 




Libretto by Scribe and Dnchampa. Score by Me) 
Acad^mlt in Paria. Febniaiv 29. I8}6. First given in W< 
December 26. IS4I. under the iLtle ol Gil Angllcanl. Firal 
I&4Z; inlt«1iiin,July20. 1848. Fim NewOrleans pertormwi. 
Some notable New York production* were in 1856. with 
;,nd Forme.: in 1872. with Parepa-Ro«, W.chtel and Sanl 
Campanini and del Puentei in 1892, with MontarioL de Rei 
>n 1901. with Melba, Nordice. de Reuke and Planconi 
Walker, Plan^on. Scotti and joumet: in 1907. with Nord 
S^Kurola; at the Manhattan in 1908, with Pinker* ° 
M,.iropolitan in 1913. with Cwuk. r*- ■ 


Thii opera it coniidered the composer's maiterpiece. and i* indeed a wonderfully 
imponng work, with iti *plendid scene*. beautiEuI arias and concerted number*, and ill 
thrillins dramatic situationB. The romance aa well as the fanaliciam oF the period are 
faitkhilly pictured, and the whole preaenled on a magnificenl acale. The opera ii undeni- 
ably too long (or a Bingle evenins's performance, requiring almost five hours when given 
entire. The Victor, however, has been merciful, and hu selected only the gems of the worL 

The story relates to one oE the most dramatic periods in French history, and tells of the 
(naasacre of HuEUenots in 1572, and of the efiorts of Margaret of Valoli, the betrothed of 
Htnrg IV, to reconcile the disputes between the Protestants and the Catholics. 
SCENE \—Hou,c of the Count of Nccai 

The overture is a short one and consists mainly of the Lutheran chorale, which occurs 
several times in various portions of the opera. The curtain rises, disclosing a magnificent 
salon in the house of NtBtn, where a gay party of Catholic noblemen are feasting. The 
Count explains that he expects another guest, a Huguenot, whom he hopes they will treat 
with courtesy. Raoal arrives and makes a favorable impression on the guests. Nteat 
loasU the ladies, proposing that each relate an adventure with some fair one; Raoal, 
being the latest arrival, is called upon first, and describes his rescue of an unknown beauty 
(who proves afterward to be Valentine, St. Brii' daughter^ from some drunken revelers. . 
In this air he tells of her beauty and the deep impression she made upon him. 

Piu bianca — Romanza (Fairer Than the Lily) 

By Eorico Caruso. Tenor {In Italian) B8210 12-ineh. *3jOO 

By M. Gsulier. Tenor (In French) *4900? lO-tnch, l,OI> 

Caruso always sings the rnusie allotted to Raoul charmingly, especially this delicate 



Thsn sprms n 
sad Light. 

^'iKli dtnitl 

d "as' b'foK 'h™"?o™ '. 

The applause which greets this recital is inter- 
rupted by the entrance of Marcd. who makes no secret 
of his displeasure at seeing his master dining with 
Romanists. Raoal apologizes, begging indulgence for 
■n 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 wile* of woman. 



I ii .1 K.irbrllt. (or lhe« 'iwu lung, "mid iht din of 
I. I >i:ifi a full iccoinpaiurnnti — piS. paR. piH. pilT,~ 

Piff! Paff! (Marcel's Ain 

By Mirv-fl Journct. Bjss 

UnFrtnch) 74196 12-inch. *t.50 

Old Home and her nitWia, 
H« pride >nd tad luit. boyi. 
The monki and tbcir devilnEi. 
Wf'II grind them ID diut. bnrtl 
Deliver to lire and iixird 
Then icmnlc; of Hell, 
Till at Ihe black demoni 
None live to tell! 
War 10 all delilert fairl 
I ne'er heed I heir thcieking— 
Woe to the Datilali. fair. 
Who men's souli arc Kcldnit 
»e!i»r. lo fire and iword 

PilT. pa», nilT; slay Iheni all. 

Piff, paff, piff, ev'rr loul! 

Pin. ,iaff, nitT^ v'ff: piff: piK, paff, piff. paff 1 

All vsmtv i,.r ,iid or for nierc|r they call; 

A seTv^nl of /Vei™ annoiince. h veiled lady lo see him and he retires (o an adjoining 
room. RmuI c.Mch<^9 s.g^t of the lady through the wiiidow as she liFts her veil, and la 
astonished and gticvcd lo frcoKniie ihe beauty he had saved from the ruffiana. 

A youn^ pnpe now enters, and in a lovely air, familiarly called the Puge Song. 
announces that she has a message lor one of the cavaliers present. 

Nobil Signori salute ! (Noble Sirs. I Salute You) 

By Luiiisc Homer, Contralto yln llatiarx 85107 12-inch. »3,00 

This v.^y ,nnd brilliant cavalina is consideri^d one of [hu mosi dimcull of contralto num- 
bers. It begins with a long and very ornamenlal cadenza, followed by this graceful melody: 

worked up with mueh spirit and reintroduced after a slrikini; series of vocal figures sung 
on ihe word "no." Meyerbeer intended ihia part for sopiano, but it is transposed 
and sung by a contralto. 


Tlie note provea to be (or Raout, and bid* bim cooaent to come blindfolded in • 
CMTiBge, without question, to wherever bii guide will lake him. The young msn it puxxled 
but docidea to obey, and ahow* the note to (he othera. They recognize the aeal of Marganl 
»i ValoU, and caat looka of envy at him aa be follows the page. 


SCENE— Caitie and CarJaa of Chatanaaax 
Tbe Queen ia aeated on a kind of thrcme aurrounded by her roaida, who, with Vihmta, 

•re ataiiting in her toilet. She riaea and lingi her . . 

great air in praiae of fair Touraine. 

O. vatfo suol della Turenna (Fair 
land of Touraine) 

By Frieda Hempel. Soprano 

(/n Fnnch) 8S3B2 12-inch, 13.00 
By Giuaeppina Huguet, Soprano 

Un Italian) *35123 12-uich, 1.25 

Oh. totdy llnd of fair Touraine! 
Tby Tiae-clad faitli. Itay sparklmr rountainl. 
Thv Breen banlu and thy murm'ring lephyra, 
Alffill mr Mul wilb p<a» and love! 

Care wt will banish; 
Quick, let it vaniah, far 
la t^c land wbcre r reii 
Pron the moant to the i 

Coro di Soldati (Soldiers' Chorus, 

By Mctropoliiin Opera Chorus (hllatian) *45051 lO-inch, 1 

A wcHdins procession passes on its way to (Kc church ; il is (or Valentin,. «i,o has 
persuaded to wed N^,-cn. VoUiUnii asks ihat she be permuted to spend the day i 
•Douhk-h'aad Rcco,d-SK Msf 215. 


du^el in pnjet. While there ahe 
overhean a piot U> nwnMJnntf Raeal, 
■nd at once goe* in aearch of Mated to 
inform him of the plan. She meets 
him in the square and telU him of the 

Nella notte io sol qui 
vetflio (Here By Night 
Alone I ^^ander) 

By Maris Grisi, Soprsno. 
and Percllo De Se^urola, 
Bass (/n iMIan) 

*6S404 lO-inch. *0.7S 
Marcel thanks her for the waming 
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 Raoal that 
rons, having merely gone to Nevcn' 
se her. Raoul is overcome with re- 
somem too late, as Valaillnc is already 

Kofenttne ia innocent of wrt 
house to ask him to releasi 
morse, hut the knowledge cc 
tks wife of Ntotn. 

A ricUy decorated boat 

:upied by the nuptial 

faknUns. alonew broods over her sorrows; confessinB to herself that althou^ weddod 
to another, dbe still love* RoMif. She is astounded to see her lover appear, he having 
bmvad death and enttred the castle to see her anin. Valaaint hears her father's voice, 
and hastily conceals Raout behind the tapestry. Tlie Catholic nobles enter to discus* the 
plot outlined by St. Brit. They finally agree to his fiendish proposal, and swear to slaughter 
&• Huguenots; Neotn is horrified at the bloody scheme to eilerminate all Protestants, and, 
fefunng to become an osaoasin. he breaks his sword and is led away by the guards. 

The conference closes with the famous Benediction of Iht Smordi, one of the greatest 
aixl most thrilling of all operatic scenes. 

Benediction of the Sworda 

By Marcd Joumet, Bass, and Metropolitan Oners Chorus 

[In Italian) 7427» 12-inch, tl.M 
The number begins with the strain sung by .SI. Brii in his recital of the plan. 


The- niimlier closea with the famou> passage for the besaes which finishes on a low E 

The nobles having ^oni^. kaoul comes out. horriRed at what hr haa heard, and wishes 
am his (riends. when VaUnlint. thinking to save his life, urges h>m to remain, telling h 
at she loves him. In a transport of delight he begins the great duet. 


The sreat bell of St. Germain, the signat to prepare for the slaughter, is heard tolling, 
and Raoul makes ■ fresh effort to go to the aid of his people. Valentint clings to him, 
but he rushes to the window, and show* her that the massacre hea already begun; then 
tears himself from her arms and leaps from the window, while she (alls fainling. 

In American productions, because of the great length of Meyerbeer's work, the 
opera usually ends with the shooting of Raoul by the mob as he leaps from the window : 
but in the original version a fifth act occurs, in which Neoen is killed, and Valentine, re- 
nouncing her Faith, is united by Marat to Raoul. Si. BrU and his parly enter the street, 
and not recognizing yaltnlinc, fire upon the three and kill them. The curtain falls as 
S). Brii diacovera that he has murdered his own daughter. 

to v*go auol delli Turenna (Fair Land of Touraine) Huguet|_,,,, ,. . . ., ,- 
IDHloanoor By Giacomelli and Martinei-Pattil"**'^^ IZ-incti. »1.25 

rPluabUoche (Fairer Than the Lily) M. Gautier {In Frcnch)\ 
\ CalUaame Ttil—JIilU H^rcdhairc-M. Caati^r. Tenor [l, 
ICoTO di Soldati By Metropolitan Opera Chorus (In llot'on))..-. 
I Magtc Rale—O hi. By Mtlropolllan Opera Cham, (In Cefmon)) **"* 
(Nella notte io lol By Grisi and Segurola {In llali 

\ Lac rata Borgia— Vicnl la mla Mndtlla - " . - 

* DauihJ'mmi PacarJ—Sm oImh IU. 

'45007 lO-inch, 1.00 

Scjurola Un llalian)\,.... ,„ . 
^ Ciullo Roul, Ba^r^*°* '"-' 









■wVK ^^^^ 











Text by Luigi lllica: mu>ic hy Pioiro Masciiuni. 
Rome. Nov™bet 22. 1898. Revised by ihe ci,t.,posrr 
January, I6'?9. FitBl American production. Philadolphi 
of Masca^ni's own company. Two davs later New S'oi 
the opera, but ihe ptoduclion by the Meiropollt.ii, Opr,. 
with a casi including Caruso, Eames. 5tolll and Jour net. 
Scotti and BotU. 

ard the 

L.pattv ,li,l not occur until 1901 

.IV.-! April 3. I9H, with Bor 


UELCO. the bhnd n 
IKI:^. his daughter . 


Kyoto, alakioma 

by lap 


a hasnam^d his Japanes 

rally "Rainbow") was the Gnd.lcs^ of ihc Rainbow, and 
Prace lo all the inhabitants of lb,- ,..,tth, 
heroine after this Gr^ek goddess, and the story is enacted 
. shadow of Fujiyama, the Wisteria Mountain, to which 
lomewbal symbolical in character, and ihroutjh the ralhei 
panese philosophy. 


*^i £ 



SCENE— r^ f/omc of IHm near ihe C^ 
/rfi i* a young anil innocent country 
girl who livei with her blind father, 
Qeco, on the outBlurta of the (own. 
and ipenda her day* worihipping the 
Sun and plasiing with her dolli. Otai[a, 
B rich and diaaolute nobleman, ace* 
the lovely girl in her garden and con- 
trives with Kyolo. « laltlomall or dive 
keeper, to obbun poaaeaaion o( her. It 
ia not eaay to lead Iiii away from her 
old blind father,^ to whom ahe ia de. 
voted, but by roeana of a doll show 
they arouae her curioaity. and ea ^kc 
approachea nearer and nearer to the 
: Ceiaha dancer* aurround 

I quietly cany I 

Oialta leave* money to pay tne old 

"*" ""' man for her, thereby making the abduc 

»ii iH uKi CAiDSK (Hkic Kii) ^^^ legal. Oeco return* and ia led to 

believe that hia daughter ha* gone Ui 

du> YiMhiwara (a queitionable atreet) of her own accord, and in a rage goea in aearch of 

her, •ecuiing two peddler* to help him. 

SCENE^/nterfor of a heuM In Iht Yoikheara 
In the •econd act the bewildered lib wake* up in a luxurious manaion in the Yoahiwam. 
Omka appears and woo* her, but the sroung girl only answer* hia entreatie* by appealing to 
be aent back to her litde cottage, her father and her garden. Otaica is angry at her unre- 
^Monveness and calls Kyoto to take her away, whereupon the lokhmatl resolves to maka 
mocwy by exhibiting her with hia puppet show. While thus on exhibition, Otaka, repenta 
hi* hitty decision, and decide* to bu^ her back from Kfolo. _ lilt auddenly hears her faUier'a 


n the crowd, but the old man ha* only coma to bitterly curae her, ■ 
with ahamc. she fumps from the window to the sewer below and is lost. 
SCENE— j4 iMife tpact oubide tiie Ofv 

In the third act some ragpickeia, who arsaearching the river for debris from the sewersi 
discover Irtt, who is still alive but onhr partly cotucioua. Tlie men Bee as she is reviving, 
and ahe reflect* dreamily on the world and hte. The rising Sun soothe* her. and believing 
that she ia entering into a new life, she die* contentedly. The Sun *heds its warm ray* 
upon her, and flower* finally cover the body. 

The Bome^vhat sordid story ^va* made interesting at the recent revival by the artuAic 
work of Mme. Bori, whose impersonation of Iris was a real delight. Thii singer has given the 
Victor two of the moat effective arias in Maacagni's work — the In pure illlle, the joyous song 
of Irit ia Act L in which she sings to the flowers in her little garden, while the Mauami form 
picturesque groups hy the riveraidc with their rush baskets piled high with snowy 
garmenia; and the Undl al temple from the scene in the palace in Act II, in which iHt relate* 
to 0»<J(a a vision of pleasure and death she had one day in the Temple when she 

Mr. Martinelli has given the serenade sung a* part of the puppet show, to lure Iris from 
the safe-keeping of her fallier. 

In pure «tdle (Life is Gaily Passing) 

By Lnccesia Bori. Sopr 

{Inllahan) 07219 10-ineh. *2.00 

Un di al tempio (One Day at the Temple) 

By Lncrwla Bori. Soprano (In Italian) B8924 12-inch. I3.00 

Apri la tua finettra (Open Thy Lattice Window) 

By OiovBul MartincUi. Taaor (InllaUm) MMS lO-iaeh. f 1.00 

squalid, t 

minKled % 



(o by C Zanearini and E. Goliacian; ; muaic by Ermanno Wolf . Ferrari, First per- 
Dcr Schmuck -1" Madonna al the Kuriiicrsteii Oper. Berlin, December 23. 1911. 
■rican produclion al the Auditorium. Chicago, January 16. 1912. First New York 
ice March 5. 1912. Uler included in the repertoite of the Cemury Opera Company. 

GF.NNARO, in love wiih 

■ Maliella Tenor 

MALIF.L1.A, in love with 

■r Rafaele Soprano 

,!| Rvr-AtLF, lea ' 


SFKFSA Soprano 

^^^^^^^ CM\7\\ Dancer 

IBX ^^^^""HHM^^Hr^^ V'L'i,d.^r». Monks. People of [he 

Time anJ Race : The iccnc ij laiJ in Napt,>. al the prestnl lime. 

Ferrari', vivid melodrama of Neapolitan life is based on actual happt-ninRS in the 
Liperstilious life of the people of Naples, feverish with its reckless Bayety, and 
ilh sadness and gloom. The wild doings of the Cammoriala. the preparations for 


The plot may be ■ummed up at follow! ; Mallella. ■ waywarii NeapoUtan beauty, is 
loved by hec foMec brothec, Qennam, a limplei, honest lad. but the girl is infatualed with 
the daahins Rafaelc. leader of the Cammonetii. RafaeU proudly boaiila that he would Mop 
at nothing to prove hit love foi MalttUa, declaring he would even steal ior her the iewel* 
which deck the iina(e of the Virgin. TViC young git!, annoyed by Qtnaaro* anentions. taunt* 
him with Dot daring to do for her what Ra/acU had offered. Almost in the hope of win- 
nbg her favor the pooi fellow steals to the church at night, aecures the jeweja. and lays 

them at Affl/fcWa') feel. At first 

■he ii fascinated by the bril- 
liancy of the gems, but as she 

realizes the awful sacrilege 

Cwnorohas commltted.he flies 

to Rafadt. whom she i^nds 

in the inn of the Cammorlsts. ] 


< frei 

r. decUrii 

she has 

sold herself for the jewels. 
The unhappy girl drowna 
hecself. and Gcnnam. in an 
abandon of remorse and de- 

As the people, bent i 

The beautiful Serenade 
oi Mallella; house. It is e' 
Neapolitan folk ballad, sung by 
tinkling of mandolins and 

3 the room. 

the body of the un' 
tortunale youth lying before 
the Madonna. 

The two Inltrmtxil are de- 
lightful eiample. of the ex- i 
quisile music which Wolf- 
l-errari has written for this 
work. One is the beauliful ' 

second and third acts, and the 

other, an effective number „„,., 

mainly for harp, flute and iiaulik as gensabo 

strings, is played before Act II. 

curs in the second act of the opera. The scene is the garden 

ling, and from the distance are heard the strains of an old 
. chorus afloat on the bay. This is succeeded by the 
behind the wall of Maliella; garden. Rafaett and his 
is Serenade, which begins: '•Ap'iU btlU la ftnalrttia. ' ' 


10-inch, 12.00 

(IntermeEio (Second Entr'acte) Victor Orchestral 

MtrrsmoaqflVlndtOTOwrtuic (Nicola!) 35270 12- 

Nea^ Symphony Orchatra of London) 

V3538I 12-inch. 1.25 



Text by Mfluricc Lrna. (mm a 


1 miracle 

play. Eltii de NacK. by Analole Ktan 

e. Mus 

c by Jules 

Massenet. Kirst production at Mo 

te Carlo 


18. 1902. with Renaud, h.rsl Paris 

on at the 

Op^ra Comiquc. May. 1904. and 


all ihe prmcpal eil;c8 of Europ 

r First 


production. Manhattan Oprra 1 

onse. N 

w Yo.k 

November 27. 1906. with Mary G 

rden. R^ 

naud and 


Iran, n JuHEler 


Boniface, cook of the Abbey. . . 

flan tone 

FmoR OK THK, Monastery 

. . . Bas^ 

Musician Monk 




Poet Monk 

Painter Monk 

. RarUo^ne 

AnK^k Virgin. Monks. Cava 

«s. Cili 


Time and Place: Ctuny, mar Parh 

; sijieinlh cenlury 

The story oi Le Jonskur de No 


a adapted 

from a -miraclp tale" by Analo 

e France 

and the 

events occur in CKmy in (he Middle 

Agea. The legend 

tells of a poor juggler who tried to 

show hi 


(o the Holy Virgin, and though his 



grotesque and even sacrilegious lo 

he priest 

.the Vir- 


gin accepted hi* homage and glorified his death. Maurice Lena amplified France'* story 
and made an admiiable play of it. and for ihia beautiful legend Masaenet ha* provided «ome 
highly effective and reverential muBic. 

ACT 1 
At ihe beginning ol the opera, /con, a poor juggler, haggard and worn, join* the merry- 
making crowd of villagers in the aquare in front of the monastery. It is May Day. and the 
people want to be amuied, but when poor Jean tries to cam a few sous by his womout 
Iricka. they laugh and jeer at him. Suddenly the Afor o( the Abbey appears and drives 
away the crowd, threatening Jean with the torments of the after-life if he does not mend hi* 
ways. 1-le charges the boy to forsake his juggler's life and enter the monastery, and the 
poor, hungry lad, after one look at a cart of provisions which ai 
•enta and goea into the monaatery with the Prioi. 



The s 

ond a 

e the monks . 

_ ._ _,. — in the monastery s ,. — - -- „ _ 

themselves over the relative importance of the arts they represent. The Prior orders them 
off to the chapel, while Jtan laments lo Bomface, the cook, his inability (o do anything that 
can please the Virgin. The kindly Bonifact relates to the despondent tad a fable. "The 
Legend of the Sagebrush," which shows that the humblest offering is acceptable to the 
Virgin if tendered in a sincere and reverent spirit. 

Letfende de la Sauge 
(Lei;end of the 


By Marcel Jouroet, 

Bus {In French) 
74123 12-iiich. *1.90 

rueecnEt. L'OFfeHft ConiiQi>i;>gc' 

The tale n 
impression on 
resolves to ser 

.kes a strong 
han. and he 

, the Church 


bl Act 111. the youthful 
ink enters the chapel, lays 

ink's dres 

hia old juggler's clothes 
his pUce in front of the 
singing his old street 
and performing the old 
The Aforand 

and I 



what the} . . 

/eon' and throw'' hlJl out^b" 
Bonijace protects him. and, as 
he holds the monks back, the 
face of the Virgin in the pic- 
ture above the altar becomes 
illuminated. She extends her 
hands in benediction over the 
now crouching Jean, as the 
monks draw back in awe. and 
the lad, radiant, fall* dying in 
the arms of the wondering 
Prior, while a choir of angels is 
heard chanting "Gloiy to Jean." 






>k by ErnM Rotmer (Elu BemMein). Music by Engelbert Hi 
ion m any counliy Decembei 28, 19ia at the Metropolilui O 
'itb Farrai. Hornet, laaiowker anti Coiilz in the cari. and ui 
I of ihe compiMer, who ihen made his hnt vieit to America. Tl 
en in London and throughout Europe — in Milan in 1912 aa "Fi^ 


The goose Girl 

The Kinc"s Son 

THE Witch 

The Fiddler 

The WooDcmTER 

The Broommaker 


innkeeper's daughter 

Tailor, Stable-moid, Gale.kee 



Berlin and Leipsic before the play wu produced. Introduction lo Act II ws« played B( ihe 
MonUuk Theatre. Brooklyn, November 22, 1B%, at a concert of the Bnsoklyn Saengerbund. 
•nd in Decembet both inlroduclionii were given in Boalon by [he Boaton Symphony OrcheBtra. 

The opera is allegorical in character, illuatrating the atupidity □( mankind in failing to 
recognize true loyalty when it appears to them in diaguiie. It is a human little story, full of 
pathoB. humor and tendemeta^ and no one could have given it the gentle, sympalhetle touch 
belter than Humperdinck. 

The story tells of ■ Gooat I 
Girl who lives with an old 
iVilch in the hilla above the 
town of Hellabrunn. A 
poorly- dressed youth comes 
out of ihe woods and lells ihe | 
Come Girl of his wanderings. 
He is in reality [he Kii^'i Sen. 
but the girl doc 


The boy falls 

with the beautiful maiden, 
and asks her to go maying 
with him through the summer 
land. The girl ionga to run 
off with him, but finds her 
feet glued [o [he ground. The 
King's Son, believing her afraid 
lo go, tells her she is unwor[hy | 
to be a king's mate, and leaves 
her. vowing she shall never 
see him again till a star has 
(alien into a lily which ia 
blooming nearby. 

The IVllch returns and 
scolds the Cooit Gri for wast- 


■- Kin^ 

P'ay* ihal his I 

'"IB star Mis inlo 

_wt«d, will. C^s2: 

■;.-.y. k«pS;',,te'° :"~ "■"p.ojs ," ■■■"'; ■ 

1, -Son. still 


who declared the had deceived 
them in her promise of a new ruler. 
A iroop of children come to beg 
lhef/rf<//«to lead them inaaeaich 
for the loal King'i Son and his 
Bweelhcart, and he gladly con- 
■ents. The Woodcatlcr and the 

h™T™ hardly^ha". the »und of 
the searching party died away 
than the King 'i Son and Goose Girl 
appear. They are half famished 
and beg of the WoodculUr aome- 
thing to eat. and he finally gives 
them some poisoned pastry which 
he finds in the hut. The outcasts 
eatitand die. and when the fJiJ-Z/ei- 
and the children return from their 
useless search they can only 
moumEully bear away to the hills 
for burial the bodiei of the poor 
Kingly Children. 


Lieber Spielmann (Dearest Fiddler) 

G«r»ldine Farrar, Soprano 8840S 12-inch, *3.00 

The song of the Broommaker'i child, who is spokesman for the throng of children 
who come to the hut in Act 111 Ui beg the FlJdltr to lead them in a search for (he outcasta. 

Bin ein luBtiger Jagermann (Fm a Hunter "Who Loves to Roam) 

By Lola Artot de Padilla. Soprano 1 Karl Jom, Tenor 59071 12-iiich, *1.50 
Thia duet occurs in Act I. The King's Son comes out of the wooda and meets the Goote 
Qii tending her floclc. She questions him, and in the duet he tells her oi his wanderings. 

Willst du mcin Maienbuhle sein CWilt Thou Go TAiying, Love?) 

By Lola Artotde Padilla, Soprano: Karl Jorn, Tenor 55071 12-inch. *1.50 
A continuation of the above duet. The boy hnds himself falling in love with the GooseOrl. 


Book hf GondiaM and Cille; taken from tke Mory, Lt Mariagt Jt Loll. Miuic by L£o 
DalJbM (DiJUlif ). FiMt production Puii, April 14, I&63. Pint London productian u 
thoCaie^ Theatre, Juno b, ISSS. RiM American performance in 16S3,bv the Emma Abbot 
Open Company, a vernon that can hardly be taken aerioualy. Firat adequate production 
Marcb 1, I8661 at tbe Academy of Munc,by the American Open Company, under Theodore 
Thomaa, with Pauline L'Allemand in the title rOle. Produced at the Metropolitan Opera 
Houae. April 2. 1890. with Patti; and again on April 22. 1692. with Mane van Zandt and 
de Renke. Reeved in 1906 for Sembrich; in 1910 by the Chicago Open Company, (or 
Tettaaini, and in 1916 at the Metropolitan, with Barrientoa, Maitinelli and de Luca. 

GERALD, t- ,.n--L -ij- I Tenor 

FREDEWC.^-*""***'^'"'^'™'""''^'' iBaritone 

NiLAKANTHA, a Brahman prieit Baaa 

Hadji, a Hindoo slave Tenor 

LAKME, dau^ter of Nilakanlha Soprano 

Eli -EN. dau^ter of the Governor Soprano 

Rose, her friend Soprano 

MR5. BENSON, sovemeM of the young ladie* Mezzo.Soprano 

MALLIKA, alave of Lakm< Mezzo-Soprano 

HindiXM, Men and Women, English OAcer* and Ladies, Sailors, 
Bayaderes, Chinamen, Musician^ Brahmans. elc. 

Sctnt and Ptriod: India, al the praatl Hme. 

Tbe muaie of DeGbea* opera is wholly beautiful, and the principal numbers are ezqui< 
aite camHMilnna — lovely in idea and execution. The Mory resembles in some pointa Mh 
Aida and Africwna; all three ara more or leas Oriental ; Lalemi, like AlJa. love* her country's 
aoamy: r'ffdsirta nnd Nduih possess nmilar trails; wlule L^nti and StUka both powm 

Ihatnaah-I illy. 



5t.ENE-^ QarJen in India 
Nilakanlha. Lak<ni'i (ather, hales the Englisli invaders and resiatB their prcKnce in India. 
Ctrald and FreJtric, English oSicFrii, while isuntering with *ome English ladiei. venlure on 
mcred ground nt^ar Nilaltanlha 'a temple, and when rebuked ihey all depart but GaatJ. who 
TemainB lo akwrh !K,me Oriental jewels which Lakmi had left in iht garden. He lake, 
up Ihe trmkets and omi^a li.» eharmm^ dr, Me Fanc-e^. 

Fantaisie aux divins mensonges (Idle Fancies) 

ByM.Ro,:cii.Tunur [InFnnchi MfeSrS lO-inch. »0.75 

Hearing some one approaching, GtrralJ hide, hi 
in the shrubbety. Lolimd enters and lays (lower, 
(est of an idol. She is about to go when she p( 
■nd iries to analyze a slran^e lerling which has i 

Pourquoi dans les grands bois [Why Love I Thus to Stray?) 

By Alice Verlet. Soprano i/ri / fenc/i *450Oi> lO-inch. HX)0 

She suddenly sees GfrolJ amonn <h^ trees and utters 
in, but some intuition tells her not to reveal GemlJS pre 
Going to his hidmg place she denounce, him for trespas 
him begone. He begs her for a (fw moments' conversati, 
■he has made on his heart. 

• DMiit.fflctrf R«o-J— .'ir pajfi J 10. 

cry of fear. Her attendants run 

inr'on"sacred*^ou nd,'^d'"btl'« 
n. and lelU her of the impresiion 


Giuu>: Ah! linger, go not yet. 

Let bluihing charmi ttu 

Ofrmintle ihy cheek. 

lU liljr pallor hiding! , 

Latn^look* on the hondtome youth with interert, but tella 

him ihe (ear* the reluiti of her father, who would lurcly aeek 

Tcngeance foi the Engliihman's desecration of holy ground. 

GaalJ departs juat u Nllakanlha, aumRioned by Lalmi't 

Mtendanla, enters, and seeing traces of a trespasser, declares 

(hat he must die. They go in pursuit of Gerald, leaving Lakmi 

motionleM vrith fear. 

SCENE— ^ Siral In an Indian Oly 
Act II shows a public square, lined with Chinese and In- 
dian shops and bazaars. English visitors arc stiolling about, 
viewing the scenes with interest. NUakfintha, disguised as a 
beggar, is seeicing traces oF the intrudeTi ^vhom he has sworn to 
kill. Lal(mi'\a with him, wearing the dress of a dancing girl. 
He orders his daughter to sing, hoping that the Englishmata 
will recognize her voice and betray himself. She sings the 
famous Bdl Song. 

By Bessie Abott. Soprano 
By Amelita Galli-Curci. Soprai 
By Mabel Garrison, Sopfano 
By Ellen Beach Yavr. Soprano 

Oi^ va la jeune Hindoue (Bell Song) 
By Laisa Tetrassloi, Soprano 

(/n haUan) 86297 IZ-inch. •3,00 
(/nFrencA) 68084 12-ioch. iJOO 
1 (la Italian) T4S 10 1 2-iiich, 1 JO 

ilnFrmch) Z**9l 12-inch, 1,90 
ilnFrmch) Z4090 IZ-inch, 1,50 
Delihes has ingeniously used bells to gire 
character to this number, which is a most intricate 
one, especially in the refrain, where voice, wood- 
wind and bells blend with many charming touches. 

wla^lmv^Ier'B that, alone, aiCray? 

Around him Bame bright eyes, dark depths 

Bui on be' journeys, as by chance, on Ihe wayl 
The wolves in their wild joy sre howling. 

Lhe holds tithtly. 
L sharply, ij^htly, 
htly, thai charmers 

The legend back to him, bHnrang 

As NOiJiaiAi had planned. GmU re 

las to collect his Hindoos, intending _ _ . 

■rnahimof dtaplo^and tells bim of • hut in the forest i^era ha majr be free from puimit 



-r JMlDu-'- ■ ■■■ 

u foil on 

liide. decUcinK i( unworthy of > Britiih officer. 

iDfntBi but B» he sttempta to follow her he is atabbed 

Lai(mi runi to GtraU, anA overjoyed to find hia 

with the help of her failhhil attendant Hadji, to b 

CeralJ at fiisl t.i,,,.., i 
Lakmi pleads wilh liin. ..iici 
by Klakanlho. who ihon . 
wound U not serious, she pi 
him to the Forest -elreiit. 

SCENE— /Jn InJlan Fore 

Act 111 shows the hut in the [topical (oreal. Gerald ia lying on a bed of leave* while \ 
La^m^ waichirs ovrr him, sin^iinB aooihing melodiej. He opens hi* eye* and greel* her 
wUh rapture, sinking his beautiful In Foreil Depth,. 

Vieni al contento profondo (In Forest Deptha) 

By John McCormack. I'tnor {la Italian) 64171 IO-i«ch. 11.00 

My soul ufion your look wis allractcd and 
'Kestb four bruth lift bwoIk aiid recnv- 

A* the day* pnss and CeralJ re 

-rs his tlrength. he seems to forgi 
:lse but his love for the Brahma 
den. but one day. while she is 
. his frie„a Fi 


i his duty, 
dered ot( a 


sees by his face 
,<ir= of the deadly 


I Pourquoi dans Ics grands bois i Why Love I Thus to Stray ?j I 

By Alice Verlet. Soprano tin French UsOOb 10-inch. 
I Migrwn Polcaiie B<i MIU. Korsoff. Soprauo ^InF-inch] 

IFantaisie aus divins mensonges ildic Fanciesi | 

1 By M. Rocoa. Tenor (/n frsncAl 16573 10-inch. 

\ ^RigoUUo-CorUgiam. vil ra!ia dannala-Renio Mimlfi tllalianU 

NOTE— QucMstinni .re from the DilKin libietlo, hy permLiilon— Copy^l 1990. Oliv.i Di[«n Co. 



Text by Oxenf ord and Boucicault, founded on the latter*8 romantic drama, '* The Colleen 
Bawn.** Music by Sir Julius Benedict. First production at Covent Garden, London, Febru- 
ary a 1862. 


EILY O'CONNOR, the Colleen Bawn Soprano 

ANNE Chute, an heiress Soprano 

Mrs. CREGAN, a widow Contralto 

HARDRESS CREGAN, her son Tenor 



Father Tom Bass 

Danny Mann. Cregan's boatman Baritone 

Time and Place: Killamey, Ireland; nineteenth century. 

Sir Julius Benedict, one of the most accomplished musicians of his time, and an intimate 
friend or the great Webster, is now chiefly remembered by his Uly of Killamey, popular thirty 
years ago, but now almost forgotten. 

The rise of the curtain reveals a party of Hardreu Cregan's friends enjcwing the hospitality 
of the hall at Tore Cregan. The Cregan estates are heavi^ encumbered ; Corrigan, a "middle- 
man,** holding the mortgage. Corrigan calls upon Afis. Cregan while her son and his friends 
are absent, and suggesti^ with an ejre to the setdement of his o¥m account, that the family 
fortunes might be improved by marrying young Cregan to the heiress^ Anne Chute, As an 
alternative, he hints that he would be willing to accept Mn, Cregan'9 hand, but his proposal is 
scornfully refused bv the still attiactive widow. Corrigan then informs Mn. Cregan that her 
son has an atfair wim Eiiy, the CoUeen Bawn, The widow is much distressed to hear that her 
son is associating with a peasant girl, and promises to turn his affections toward the heiress. 

The next scene shows the cottage of Eily O'Connor, who lives there under the protection 
of the good old priest. Father Tom. Hardreu, who has been convinced by his mother that it 
would be to his advantage to marry Arme, enters and tries to persuade Eily to surrender her 
marriage certificate — for the couple are already married — but the girl refuses, having 
promised Father Tom never to part with her ** marriage lines.** Hardresa leaves in a fury, 
swearing never to see her again. 

In Act 11 Cregan, though filled with remorse because of his cruel desertion of the Colleen 
Bawn, is nevertheless pasring suit to Arme. Corrigan is meanwhile pressing his unwelcome 
attentions upon Mr*. Creg<m, Danny Marm, devoted to Hardress, and hoping to help him in 
his troubles, persuades Afrs. Cregan to give him one of her son's gloves. Dann^ gives the glove 
to Eily And tells her that Hardreu has sent it as a sign that he needs her. Darm}f then takes 
her to a water cave and demands the certificate of her marriage. When she refuses to give 
it up, he throws her into the water. Mylea, however, happens to be in the cave, and, 
mistaking Danny for an otter in the twilight, shoots him, then perceiving the Colleen Bawn in 
the water, dives in and rescues her. 

In the last act Hardreu is about to marry the heiress, when Corrigan, angry because of 
the slights he has received from Cregan and his mother, causes the young man's arrest on a 
charge of murdering Eily. Mylet, however, appears with the living Eily, and a deathbed 
confession from Danny that he had attempted the murder. When Hardress sees Eily he 
realizes that he loves his wife, and the young couple are reconciled, while the heiress good- 
naturedlv steps aside and even bestows a fortune on the happy pair I At least so the libretto 
says, and who should doubt it > 

The best known number is the famous duet, **The Moon Has Raised Her Lamp Above,** 
sung by Dann^f and Hardress in Act 1 as they are about to cross the lake to the Colleen Bawn. 

The Moon Haf Raised Her Lamp Above 

By JohaMfiCormack and Rcinald Werromth (EngUsh) 64440 lO-inch, $1.00 




Words by Rossi; music by Dunizettj. Pirtt production in Vienna, May 19, 1 
Paris, Nov™ber 17. IW2; in London. June, 1843; in New York, at Palroo'. Theatr 
aty 4, 1847. with Clotilda Barili. Given at the Academy of Music. March 9. 1« 
Clara Louise Kellogs. Revived April B. 16%. at the Metropolitan, with Patti. 
Bauermeisler. Maiescalchi and Catboni. A gala performance was given recently ii 
before the King and Queen and a distinguished audience, including Adelina Pal 
de Luca was specii>lly engaged lor the rOk oE Boiafleury. 

Marquis of BOISFLEURY Baritone 

CHAKLLS DK SiKVAU his son Tenoi 

The I'AKLSH Pr||-5T Ban 

An lONIO LOUSTOLOT. a farmer Bbm 

MaDEUNE. his wife Mdzo-Soprano 

Linda, their daughter Soprano 

Time and Place : Chamoonii anJ Pari,. 1760. during Ihc rdgn of LoaU XV. 

The siory tells of an aged couple. Loailolol and MaJtIlnt. and their only daughter Uada, 
who dwell in the valley of the Chamounii (in the French Alps). Undo loves a youns 
painter, Charles, who has come to the valley lo paint the mountains. The Matqah de Siroal, 
who holds a mortgage on LousloloVi farm, visits the old couple at.d assures them that he 

of U°da^'™ ^ """ ^"^"^ ' "" "' ' ' ^''"" '"" " '" """^ *' '"' ""^ 

Unda enters and speaks of her love foi Charlts. She then sings the ^em of the first 
act. always a favorite with colo.ature sopranos. 

O luce di quest' anima (Guiding Star of Love !) 

By Luisa Tecrazzini. Soprano (In Ilalian) e6A06 12-inch. I3.0O 

By GiuseppinaHuguet. Soprano (DouhU-Face) \lnUalian) 6209O 10-inch. .75 

Linra: Od' -Mr lluv ,^,.1.1.-1 Tiiy ttn-L-nl It...'. 


i. hapi'V "-if'' si'iall he! 

r. while primarily intended 

nd so genial in melody. 


enters, and the lovers sing t 

A consolarmi affrettati (Oh, That the Blessed Day "Were Come) 

By Emma Trentini. Soprano, and Alberto Caffo. Tenor b2090 lO-inch. 10.75 
The worthy parish priest having warned Linda's parents of the dishonorable intention 
of the Matquh. they decide to remove Unda from the dnnn<-r. and send her lo Pari.. 
The Marquis pursues her to the ciiy and renews his atKntions. whrle Cha,U> (who is in 
reality the son of the Ma,qi.i,i is compelled by his fatherlo transfer his attentions toanother. 
Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to he 

The last act again' shows the little farm at Chamounli. The demented Linda has made 
her way back to her parents, and is found by ChorUs. who has escaped the unwelcome 
marriage and now brings (he release of the farm from debt. The sight of he. lover eausea 
Unda to fall in a deaih-like swoon, but when she recovers her reason has returned, and the 

(Ocmun) (Enfluh) 


Text by Otto Julius Bierbaum 1 rouaic by Ludwig ThuMle. First production at Mann- 
beim, Cennruiy, 1898. Fir»l produciion in America November 18, 191 1, with Gadaki. 
Jadlowkei, Witherepoon and Murphy. 



THE Princess Mezzo-Soprano 

The King Elan 

The forester. | 

^^^ The Hangman.! Speaking Paria 

^ \ ^^M The Judge. I 

Girl*, mumciana, priaonera, two heraldi, the people. 

TVnie and Place : Ccrmony In the Middle Ages. 

The story of Lobtlanz resemblea an old fairy tale in ita 
■implicity. the Prince Charming in (his instance being a wander- 
ing musician, and the ending "■ in all good {airy stories, beinf 
of the " lived -happy-cTcr-aftcr " variety. 

The curtain rises on a roae file, which young girls are pre- 
paiinsin anticipation of the arrival of the Klag and hii daugh- 
ter. The PHixeit is ilL and the King has appointed a day 
of feativity in tha hope that it will revive her. Loidanc, a 
strolla into the Klag't roae garden, where 
beillg mado, and stay* to watch the royal 



ind .1 

the Princai. but all their 
eHorlsfailtopleueher. Sud- 
denly a violin ifl heard from 
an aibor in ihe rear of the 
gara^r.. The P^nctsi is i 
mediately faacinated with the 
ind Loiclom con 

ird. his 

PnCc«j fall'J't'r 
The Ihiid 

hJB shoulder. The pathoa 
his playing so affects I 
Pilnccu that she swoona. a 
Lohelanl barely eacapei (ri 
the wrath of the people. 

In the aecond act I 
strolling minstrel meeU 1 
PrinceM in a wood and lella 
her of his love for her. The 
lovers are interrupted by the 
arrival of the King and the 

led by the pikemen and dragged away 


late lover in prison, charged with witchcraft, and aen. 

ions are being made to place the noose about his neck, 
the funeral procession of the Pn'nceu approaches. Loiilanz hega to be allowed to play upon 
his violin once more. deciarinR he can revive her. The King promises him his daughter*! 
hand if he can bring hi^r baEk to life again. As Loheloni plays, the flush o! life appears upon 
the cheeks of the young girl, and she slowly revives and is clasped in her lover's arms. 
The act closes with a merry dance, in which every one joins, and we are left to suppose 
that the lovers "live happy ever after." 

The air which Mme. Cadski has sung for the Victor occurs in Act 1. in the scene rep- 
resenting the rose garden of the King, where the rose festival ia tc. hr celebrated. The 
P,ince>s. at the bidding of the King, offers a greeliny to Spring and the roses. 

An alien Zweigen (Lovely Blossoms of Spring) 

By Johanna Gadski. Soprano (In Ge-man] 88362 1 2-Inch, »3.00 



Wordi and muaic by Richard Wagner. First produced at WeimBr, Germany, August 
28. 1650, under the direction of Uszt. Produced at Weisbaden. )633; Munich and Vienna. 
1636: Berlin. 1839. First London production. 1675. and also, in Italian, at Covent Garden 
the tame year. First proauclion in EngUah at Her Majesty's, in 1860. Si. Petersburg, 1873; 
Pari*. IS67. First American production at Stadt Theatre, in New York, April 3. 1871 ; in 
New York, in Italian. March 23, 1874. with Niluon, Gary, Gampanini and Del Puente; in 
German, in 1883. with Brandt, Krauss. Fischer and Stritt— this being Anton Seidl's Ameri- 
can d^but as a conductor. First New Orleans production, in Italian. December 3. 1877; in 
French. March 4. 1869. 

Lohengrin is the second of all operas in popularity in Germany (Carmen taking the lead), 
and during the decade, I90I-)9I0, had 3.456 performances. 

HENRI THE FOWLER. King of Germany Bbm 

Lohengrin Tenor 

ELSA of Brabant Soprano 

Duke Godfrey, her brother Mute Personage 

Frederick of TELRAMUND. Count of Brabant Baritone 

ORTRUD, his wife Mezzo-Soprano 


Saxon, Thunngian and Brabantian CounU and 
Nobles, Udies of Honor, Pages, Attendants. 

I «Df'S|KaItI. I 

e » M n g f i N.{ 

Scene and Period ; Anlulerp. firal half of ' *« («"'* cen/urj. 


unij is vanquished i 

9 bride. One condition he 
exacts from her — that she shall never oak who he ii or 
whence he came. By the influence of Ortrad, how- 
ever, the rashly questio.u him. and In fulfillment of his 
vow, but in deep grief, he leavea het and departs in 
his boat drawn by a dove. The ethereal Grail har- 
monica, the lovely SiDan Motive, the noble Prayer of the 
King and the Bridal Choru) make (his one of the most 
melodious of all the master's opeias. 


By U Seala Orchestra 31779 12-inch, *1.00 

The prelude, one of the moat beautiful of all 

Wagner's compoailions. aymbolizes the descent from 

Heaven'of a group of angels bearing the Holy Graii. 

The number begiru with soft A major chords in the 

t« o"hr^o- 
lin. The mo- 
live of the 

Moat of us are familiar with the story of the Knight 
Lohengrin, who comes in his boat, drawn by a swan, to 
defend Etia from the charge (preferred by Telramund and 
Otimd. who covet 
Eisa's estates) of hav- 

young brother. Cod- 

ced by Lahen 


I dupeiucfl bj the holy 



I thuE 

dered oul hy the full 

the mystic light of the Gtail ia 

•eeo in all its glory. 

The myiteiioui Grail motive 
then fadca away, being played at 
the end by muted ■triDn; and 
the num^r end* with the same 
A major chorda filarduinio. 

SCENE— Saniti oflhc SdieUl. 

King Henry of Germany ar- 
rive* at Antwerp and Gnda Bra- 
bant in almort a state of anarchy. 
He aummona the counts and 
noble* of Saxony and Brahaot lo 

All in 
On thci 


'thte for 

1. f.on, xour chief! 
■ knEght u brsve aa 

' E& 

c Ihrf . 1. 

.. ™. kn»- .hi. tr™. 

gina his lumlive, boldly scciuiDC 
S.. ol ll» muider of h« b,«l,.,. 

) King. Ihst thou lo 

cil th«. filwhood I 
19 Closing round our 

'Tw»i n 

It hi cht 

.« I'. gua.di>n of hi. <h 

c maidci 

1. and GotrfriH her 

Prctcndlaa ahe bad been frsm bin 

Famous European Smgcrg in the Role of Elsa 


Fruitless was every search we made 

to find him; 
And when I questioned her with 

words severe, 
Her pallor and her falt*ring tongue 

betray'd her» 
Her crime in its guilty blackness 

stood confess*d! 
A horror fell upon me of the maid; 
The claim upon her hand her father 

had conferr'd 

With willing heart. I straight re- 

And chose a wife full pleasant to my 

Ortrud, daughter of Radbod, true in 

I here arraign her. Princess Elsa of 

Of fratricide be she charged! 

The King is muck diaturbed, and aaka that Elsa be sent for. When ahe enters timidly, 
with downcaat eyea, he aaya kindly : " Speak, Elsa, in thy King thou may'at confide I** 

The young girl aeema bewildered and dreamily aings the lovely Traum, telling of her 
viaion of a aplendid Knight who came to be her defender. 

Elsa* 8 Traum (Elsa* 8 Dream) 

By Johanna Gadski, Soprano 

By Emma Juch, Soprano (Piano ace.) 

Elsa: Oft when the hours were lonely, 
1 unto Ileav'n have pray'd, 
One boon I ask*d for only, 
To send the orphans aid; 
Away my words were wafted, 
I dreamt not help was nigh, 
Hut One on high vouchsaf'd it, 
While I in sleep did lie. 
(with growing enthusiasm) 

(In German) 88038 12-inch, $3.00 
(Ih German) 74014 12-inch, 1.50 

A knight of glorious mien. 
On me his eyes inclining. 
With tranquil gaze serene. 
A horn of gold beside him. 
He leant upon his sword, 
His words so low and tender. 
Brought life renewed to me. 
iivith rapture) 
My guardian, my defender, 
I saw in splendor shining. Thou shalt my champion be. 

The King ia much moved, and calla for a judgment of God after the faahion of the time. 
The trumpetera blow the aummona to the four points of the compaaa, and the Herald calla: 

Who will do battle here for Elsa of Brabant! Let him appear! 

At (irat there comea no responae, and Elsa ia in despair, but after a aecond call a knight 
in shining armor ia aeen approaching in a boat drawn by a awan. 

Nun sei bedankt, mein lieber Sch-wan ! (Thanks, My Trusty 


By Fernando de Lucia, Tenor (In Italian) 76002 

By Leo Slezak, Tenor (In Germart) 61203 

Lohengrin steps out, then turning and careaaing the swan, sings : 

Lohengrin: (to tfie King) 

I give thee thanks, my faithful swan ! Hail, gracious sovVeign ! 

Turn thee again and breast the tide, Victory and honor be 

Return unto that land of dawn meed! 

Where joyous we did long abide, Thy glorious name shall from the 

Well thv aopointed task is done! jana 

Farewell! farewell! my trusty swan! That chose thee ruler, ne'er depart 

The knight now announces that he haa come to defend the maiden, who ia unjustly 

accused by her enemy. 

Lohengrin: Thy talc was falsehood, Count Tel- 

Yc knights, nobles and freemen of raniund. ^ 

this land, Hy Hcav'n's assistance all thou shalt 

(luiltless and true is Elsa of Brabant! recant! 

The King bida the nobles prepare to fight, and in this noble Gehet calls upon Heaven 
to judge between the combatants. 

Mein Hcrr und Gott— Kocnitf'8 Gebet (King's Prayer) 

By Marcel Joumet^Bass 

Kino Hbitxy: 

12-inch, $2.00 
10-inch, 1.00 

thy valor's 

O King of kings, on Thee I 

Look down on us in this dread 

Let him in this ordeal fall 
Whom Thou know'st guilty. 

Lord of pow'rl 

(In German) 64013 10-inch, $1.00 

To stainless knight give 

strength and might. 
With craven heart the false 

one smite; 
Do Thou, O Lord, to hear us 

For all our wisdom is but 



Frtdtrick >■ aoon stricken ID the 
earth by Lohtngrin, who ia pro- 
claimfd a hero. £/]ii it pronounced 
inncKcnt, pliBhti her troth to her 
brave defender, and the curtain 


SCENE— Our/ of the Palac, 


< the 

of the 

ia night. Frederick and OrtmJ. (1»- 
graced and drenned in sombre gar- 
menla, ace aeeled on the church 
Blepa. They upbraid each other, 
Frederick accusing Ortrud of invent, 
ing the story of Elaa'i crime. A 
long duet follows, ending in a ter- 
rible plot (or vengeance. 

Etaa appears on the balcony of 
the palace, all unconscioua of the 
wretched and disgraced Ttlramtmd 
and Orlmd. who are hidden in the 
shadow. In a blissful reverie:, the 

of tha knightly Lohtngrirt, to whom shi 

o the 

loft bre 


r thy p 

My chttli Ihal bums a^.l 
Wilb'lovt, oh cool and Iii.l. ' 
Sta, who ha* finiabed 
her rapturous s(^loquy to the 
wandering breeze, still lingers 
on the balcony, enjoying the 
balmy night and dreaming of 
her betrothaj 

Orimd, pUTCuins the plot 
agreed upon vritk Frtdaidt. ap 

appeara and calla to Eha, who hearing her ni 



tttk 1^ IL^^H 


"^J V ^V^k^y ^^'tv flB^ll 

\Vf... ./.IN? Hdw itrangely 
\]y iL.Liiii rcaoimdeth thro' Ihe oisht! 
Orlrud icigns repentance, and E/in, in her new-found happinCM, forgive! her, ■lying: 

her husUnd too bimdiy, hmting of the 
myatEiy in hia life, and thus plants a 
s»d of suspicion in ihe young girl*s 
heart. The duet then (ollnws: 

For Uod is lovi^ 

FMa enters ttie palace and Trlra- 

Day breaks, and the Herald ap- 
pears and announces t}.e banishment of 
TcUamunJ. t7.K.,otienacdbyH( 

1 the 

r but 

is suddenly confronted by Orlrud. who 
has arrayed herself a^ain in splendid 
garments. She taunts Eha with the fact 
that her knighl has no name. 



And n 

t my reply all doubiB assure— 
pure and noble is bia nature, 

i."«[ir l^re^Kve w vi'f^ a^cltaluVe 
to aaperu all honor'i crown? 

larbor'ci her Ihi< night 

SCENE \—Tltt Bridal ChaoAer In the Palace 
The act opeiu with iha WtdJing March, played by the orcheMra. 

Prelude to Act III— The ^^cdding March 

By Herbert'i OrcheMri '95048 12>Jnob. *U0 

By Lb 9eaU Orehotra '62693 lO-ioch. .75 

Thu ia followed by the baeutiful Bridal Chanit, one of the lorelieat numben in the opda. 
A* the curtain rieee, ahowiiiB the bridal chamber, the Mraini of the march continue, but in 
a aoftei mood. The neat doon at the back open, and the bridal party entera, — the ladiea 
leadinB CZw and the Kins and nobles conducting Lohengrin,— ^hey come to the front and 
the chorus begni: 

Faithful and ti 
Where Love, t 

Maid bright and gloHoui, ig ihou befo 
Uirth'a noisy revel ye've fbrulicn. 
Tender deligW for you noir awaken; 
Fragrant abode enKhrine ye in bliss; 

the ittaina of &o nuptial air die away in the dii 

Bridal Chorus 

By Victor Opera Chorua 

(InEngllth) *394»4 12-incb, *1.25 
By Victor Opera Choru* 

(/n En^hh) 3ia46 12-inch, 1.00 
By Ar^iw Pryor'f Band 31227 12-inch. l.OO 

By La Scala Chorua 

(Intlallan) *16»37 lO-inch, .75 

Cesaaro t canti alfin (The Sonf Has Died Away) 


Athmest du nicht mit mir die 

Diifie ? I Dost Thou Breathe the 
Incense Sweet?) 

By Charlea Dalraares. Tenor 

{In Cermanl 87088 lO-inch. *2.00 

and origin. Hi! rcmonsliates wilh her, at firal gently 
and then wilh aulhority, reminding her that »he h»a 

Thty arc inlernipted hy the entrance of Frederick '- -- 

and (ouraiiaodales.who Weak in with drawniwords. 

B>a shrieks and hands Lohtngrin his sword, with „,„uj 
which he s<rik<^s Fredi^rick dead. The nobles sur. » 

render, and EUa lalls a>^nseless in Lohengrin' i arms. After a h 
body Into the Judgmenl Hall, and give. EUc in charge of her 


■ilence, Lchtngrfn orden tho I 


u. Act I 

A quick change 
The King and hl» . 
batlle. They are , 

,s ae^in the banks of the Scheldt al Antwerp, as in Act I. 
lie coming of Lohengrin, who is to aicompany (hem to 
, cntranre oF the nobles bearing the body of Tehamund. 
ihe King wilh warmth: 

e oi Lohengrin, one of 1 he 

• Doatlr.Farril Rtcaid- 

Lohentfrin's Nurative — In femem land (In Distant Lands) 

By Heraun Jidlowker. Tanor (la Caman) Z6026 12-mch. tlXM 

By EvM ^tTilluuna. Tenor [InEngUih) 74130 la-inch. UO 

More precious there is nought on 
And thron'd in iighl it hold* ■ 






ew for 
e po«'r 

faithful kn 

'gli'ls w 

o guard 


red p 




, the'^ 

Grail t 

be its 



high in- 





r before 


m lo 


darkness where 


I. tak 





(he awful chirm 




Hid be ailed lo 

Ian da. 




f virtue 


le be 

E.pe1l he 




the boir Grail 




iu llchi 



i'on k 

ight fro 

m doubt- 


And dee. 

,t yon lady's name; 

, 1. gloriously reignelh. 

'■ knight am 1, and Xohengiin my nuoel 
After tlii* aniBiing narrative, wKicK cause* a great «tir amonK the people, the r 
appear* to conduct Lehengrin away. 
Ladiis AMD Meh: Lohenciih: 

The holy leara adown my cheek »re »t '* " — ' " ■■--■ ■■■ 


■Tis dark >rODnd m 
Oh. help, help: oh, 

Laoth ahd Mm <>• 




at joys Ihy doubt 

(nn^ in trinnnih, nc 
d tranrforaad tv n 

Laltutfda kneeli in prayer, and •• the dove of the Crail ia 


OFFTi drscendiriR. the iiwBii linlu, nnd Coll/ritJ, the young DuLe. 

atiars, resloird to human (oim. Lohtngrin's boat is drawn away by 
thi- dovp as F.hii faint* in her brother's arm*. 

ridal Chorus By Viclor Opera I 

Chorus itn B^lUh) . . 

!-l„i„B DoUh^^n— Spinning Choru, *'*** 

iiy I'iclor Homcn-i Chorus (In Engllih) ) 
itroduoliiin CO Act lit (Bridal Mirch) | 

By Herberl'a Orch I -.^^11 
Wedding March (McnJtIuohn) **"*" 

By Heiherl 'j Orcliatro | 
relude.Act HI (Bridal March J 

By La Seal* Orehcftra 
li'alkiire Cacakata 

By La Scala Orchatra 
I Cora delle nozze (Bridal Chorn*) 
j By La ScaU Chorua 


62693 lO-inch. .75 


16537 lO-iaeh. 


3S39ff 12-liich. U5 

Bu Pn/or'i I 

ILohcrierin Fantaiie 
By RoMTio B 
Soucenir [DrJla) 
By Maxbidtim Plhnr, VbMiM J 

■nliti) ,U„gt) By Ri»a<io Bourdon.-Ctlllilf^"^* ll-inch. 
By Pryor's Band I 

-E!«-.A.i. FmalcAcil 35147 12-inch. 

dRall<.y. Violiniill 



Words by Solera. Music by Verdi. First produced at La Scala, Milan, February 11, 

1843, a year after the production of Verdi's Nabucco. Produced in Berlin, September, 

1843; London, at Her Majesty's Theatre, March 3, 1646; Paris, Thidtre Italien, January 

\(K 1863. First New York production March 3, 1847, by an Italian Opera G>mpany, under 

the management of Signor Sanguinico Patti (father of Adelina Patti), and Signor Pogliani. 

In the spring of 1914 Lombardi was given in Florence by the Scolopian Fathers of San 

Giovannino. Each year it is their custom to celebrate the last three evenings of the carnival 

season with a musical performance in their little church in Via Martelli, and that year, as a 

tribute to Verdi, his story of the Lombards in the Crusades was chosen. 


PAGANO, a bandit, brother to Arvino Bass 

ARVINO, a nobleman of Lombardy Tenor 

f^RRO, an accomplice of Pagano Bass 

ACCIANUS^ King of Antioch Tenor 

ORONTES, son of Accianus Tenor 

VlCUNDA, wife of Arvino Soprano 

GiSELDA her daughter Soprano 

Sophia, mother of Orontes Contralto 

Tbne and Place: Lombard and Anihch, in the Holy Land, in the eleventh century. 

Much of the music of Lombardi was afterward used by Verdi in his Jerusalem, brought 
out at the AcadAnie, Paris, November 26b 1847, this being the last appearance of the famous 
toner Duprez. 

The action of the opera takes place at the time of the first crusade against the Saracens. 
Previous to the events of Act I, ragano and Aroino, sons of Folco the Lombard, Prince of 
Rhodes, both fall in love with Viclinda, who prefers Arvino and marries him. Pagano, filled 
with jealousy, tries to take his brother's life, but is unsuccessful and flees his country, 
becoming a brigand. 

The opera opens in the square in front of the Cathedral Church of St. Ambrose at 
Antioch. Pagano has returned, repentant and forgiven, but when he aeee the happiness of 
hia brother and the woman he stUl loves, the old feeling of revenge returns. With the 
assisCance of Plrro, armor-bearer to Arvino, he again makes an attempt upon his brother s 
life, but by mistake stabs his father, Folco, In despair at his crime he flies to the deserts of 
Palestine and, becoming a hermit, repents and lives a holy life. 

The scenes of the second act are laid in and about Antioch. Giselda, daughter of 
Arvino, grown to womanhood, has been taken prisoner by the Saracens, and during her 
captivity falls in love with Orontes, a Saracen prince, in whose harem she is a prisoner, and 
whose mother, Sophia, befriends her. Arvino, meanwhile, at the call of Ptier the hermit — 
who is, unknown to him, his brother Pagano — has crossed the water with knights and war- 
riors to the first crusade; he seeks the hermit to inquire about his daughter, who promises 
that he shall soon meet her. Pirro, his old accomplice, having also repented of his crime, 
has promised to open the gates of Antioch to the Christian soldiers. 

The next scene is in the harem of Orontes in Antioch, where Giselda is prisoner. On the 
entrance of her father and Peter the hermit, she, believing them to have slain her lover, 
gives them but a cold welcome, which greatly incenses her father. Oronies, meanwhile, 
having escaped, dressed as a Lombard, persuacies Giselda to fly with him, but being pursued, 
he is mortally vrounded and dies in the hermitage of Peter, having first become a convert to 

The last act opens with Giselda having a vision of her lover in heaven. Pagano, or Peter 
the hermit, leads iikt Crusaders to the siege of Jemsalem, and, in protecting his brother, is' 
mortally woimdUdL He then reveab kit idenlitgr and dies ambracing Anino, 



Qual volutta (.With Sacred Joy) 

Hy Frances Alda. Sopranu: Enrico Criuo. Tenor and 

Marcel Journet. Biss {In llalianj 

ThU g[(^at trio, one of thr moM Umaat of all the numbers h 

i in Acl 111 ■ 

12-iacti IS.OO 
the older lulian opens, 

1 oj all tne numoer» trom the older lUIia 
.. ..^..,„ the Valley of Jeliosapha,. near JerUMlcr 
'ho ha< been held a prisonei in Aniioch. falls in love with 

Glsclda. a Christian maiden, who ha< been held a prisoner in Aniioch. falls in love with 
Saracen enemy. 0™n(«, and wht^n Anticxih ia captured by ihe Christians, the lover. «1 
forced to flee ihe wtaih of Giselda 's father, who is in command of the conquering army. 

In the pursuit Omnia is wounded, but the lovers are protected by a hermit, who talci 

-' - ■ ■^' ■■. begins at the moment when P '" " 

::iHWo 's sake. 

ith hia sympathetic melody— 

In the pursuit Omnia is wounded, but the . .- ^.^ »..„.^^, 

tnem to hi, c^ivern. The trio begins at the moment when Omnia 
and beron..^^ a Chriall^n for Ghtldc 

Oron. ■ ■ 


and Ihi, is followed hy da< 
tenornndaoprano. The lei 
voices, which combine in di 

loges between Glielda and the priest, and later between the 
l^rnws more intense and movin); as it proceeds, and the three 
c fdahion, conclude the trio with a splendid ttiumplianl note. 



Word* and muaic hy Gi»tKv« Charpeotiet. Fint preacnled at the Op^ Comlqm, 
Pam Fchiiiarj 2, 1900. Pint American production at the Manhattan Opara, 1906. 


LOUISE Soprano 

HER MOTHER Contralto 

Her Father Baniona 

JUUEN. an artiat Tenor 

Gitla at the DreaaniBking EMabliahment, Street Peddlen^ People, etc. 

.Scene and PtrioJ : Paris ; Ihe pmtttl timt. 

Charpenlier'i fint opera, Lmilte, it a romance of bohemian Pati*. The atory tella of 
Ltaht, a beautiful young girl ensBKed in a dreamaking eatablishmenl. Julltn, a romantic 
aitiat, hlla in love vrith the maiden, and soon find* hii love returned. The mother and 
father of LouHt disapprove of the gay young aitiM, but Jalltn will not give up hit aweetheart. 
and imptorea her <o leave her hacd work and go with him to a little home. Loulie al fiiM 
iteadily cefuset, knowing how her paients would grieve, but Jullen penista, tetnpta her vrith 
viaiona of a bright future with him, and at laat unable to resiat, the young girl conaenta. 

Here flhe falls in ^vith a merry company of true Parinan bohemiana. who crovm her aa 
the Queen of Reveli. In the midst of a gay party her mother appears, begging the young 
girl to return to her father, who ii ill. Laulie is filled with remorse and returns to her home, 
tiding all the while to forget the gay, happy life she has left at Montmartre, Her father 
ropioaches her for her conduct, and Louise, remembering only the kindness and tendemea* 
ttjallen, rushes out into the night and hastens bock to the protection of her lover. 

The Victor presents three records of the lovely Dtfuh le Jour, aung by Loolte in ike 
Brden at Montmartre in Act III. The young girl tella Julien how happy she has been aince 
nwj came to the cottage, comparing her life vridi him to the dreary one she had left. 

D^uis le jour (Ever Since the Day) 

By Nellie Melba. Soprano (/n French) 8S47r la-ineh. »3J0O 

By Aim* Gluok. Soprano {In Fmtch) HaSa 12-iBoh. l.SO 

By FloNCM Hlokla, Sopfuo (/nAmcA) r0085 la-ineh, ia» 




Texl by Salvaloi Cammerano, derived from Seed's novel, "The Bride of Lamrnermoor." 
Mu«c by Gaelaiio Donizetti. First production at Naples, September 26, 1835. Performed 
in London, at Her Majesty's. April 5. 1838: Pari., 1839: New Orleans. December 26. 1641; 
New York. mEntillsh,.-" ibe Park Theatre, November 17. 1645 land in I.niian. November 14, 
1849. Notable revivals occurred April 7. 18%, at the Metropolitan, with Patti: April 26, 1894, 
at the Metropolitan, with Melba: November 20, 1900. 
nerican Theatre, with Vvoime de Tteville. 


Henry ASHTON, of Lammermoor. ... 

LUCY. hi. .ister Smtai 

SIR EDGAR, of Ravenswood Ten 

Lord Arthur Bucklaw Tenor 

I^JlYMOND. chaplain to Lord Ashton Btu* 

AUCE. eompanion to Lucy . . Meao-Soprano 

NORMAN, Captain of the Guard at Ravenswood . Tenor 

Ladies and Knight, related to the Ashton.; Page., 

Soldie.y. flnd Domestics in the Ashton family. 

icia, and 

tnlk > 




ITP t>t 


as and pa 



aira v 



le. given j 



'«/oJ; Thta 

dial, taki 

,, pi^^g ,„ 

, SfollanJ. clou 

of Ih, > 




rolific Doniz. 

.-Hi (1797-1848} v 

..ote no fewer 


ihr^r opera 

s. the r 

.ular of these 


ng. of c 

di Lam 

. It has long 


^n the 1 

:ustom with 

1 class of 


wn the 

old Italian s 

chool of 

opera r 

epresented by 

■ of the mu 

sic. thinness 

o( the 1 


.ion. etc. But 

le e 


they love the 


aWthal thr"'"""' 


the whc 

,le work there 


, exprea 

sed in slmpl, 

,■ melod; 

11 ever appeal 

mple ai.H 3 


it;hty ye. 

The plot of Lucia is founded on Sir Waller Scott's novel. "The Bride of Lammc 
Lord H^nni Aihion. Luc's brother. knowinR nothing ol her attachment to his cnem- 
0/ Raiftn^wpod. has arranged a marriage between Z,u<-« and the wealthy /.W A-lhur. ' 
to retrieve his fallen fortunes. Learnlny that Lucv is in love with Edear. he mterce 
lover's letters and executes a forged paper, which convinces Lucy that EJg.jf is false 
G>nvinced of her lover's perfidy, and urged by the necessities o( her brother, she utl^ 
consents to wed 5ir Arlhur. 

The guests are assembled for the ceremony, and Lucy, has just signed the < 
when Edgiir appears and denounce, Lucy for her fickleness. Edgar is dnven from th 
and the shock being too much for the gentle mind of Lucy, she becomes insane, I 
husband and dies. Edgar, overcome by these tragic happenings, visits the church 
Ravenswood and stabs himself among the tombs of his ancestors. 



SCENE 1 — A ForttI near Lammtrmoer 

The curtain rue*, dwcloaing Norman, and followers o( 

Sir Henry, Norman lelU the retainers to watch carefully aiuJ 

ascertain who is siKietly meeting Lucy. In the opening 

chorus they promise to watch with diligence. 

Opening CboruB, Act I 

L> Seals Chorus (As/fan) *b2lOb 10-iach. tO.Zi 

Sir Hairs enters and talks with Norman of his suspicion 

that LucD has formed an attachroent for some unknown 

knight. Norman luggeits that it may he Edgar. Htnry is 

furious and declares he will have a deadly vengeance. 

SCENE II— <4 Park "«>' "m Catth 

Prelude for Harp 

By Prancis Lspitino, Harpist 

'17929 lO-iach. *0.7S 
Lucu enters, accompanied by her faithful atlendanti 
Alice. She has come from the castle to meet her \ovci,Edgar; 
and while waiting for him, tell* Allct of the legend of the 
fountain, which relates how a Ravenawood lover once slew 
a maiden on this spot. 

Re^ava nel silenzio (Silence O'er All) 

By Luisa Tetrsxiini. Soprano {/n H^lan) S8303 Il-ioeh. *SJ>0 

By Giuseppina Huguet, Soprano (/n llaUarx) *16A3» 10-inch, 

ucia; WttpandiHlty.) 

Silcncr o'er all wai reigninj V* *. '•?'■"?.'> 

Dark was thf night snd low'fins, ' ought to banish 

And o-er yon foualain her palia rs; But I cannot; it ii 

Yon pale moan was pouring. And CDinforl to m 
Painllr a <harp but stifled sigb 

Fell on my startled Mr, _ _ _ 
And straightway upon the founi 
The apectre did i 

_jt Xw on high its skeUlon hand, 
ThrfsI'nlnR it did uprear. 
St<»d for I moment imuiovabU, 

Quando rapita in estasi (Swift as 

By Grazielli Pare to. Soprano 

(Inllallan) 76009 12-incb. »3J)0 

By Giuieppina Huguet. Soprano 

{inllalian) *63172 10-inch, .79 

Edgar appears and tells Lucy that he has heen 
■ummoned to France, and proposes that he seek out 
Htmu and endeavor to end the mortal feud which 
ousts between the families. Lju^, knowing her 
brother only too well, entreats him to keep their love 
•ecret or they will he forever parted. Edgar, roused 
M fury by this evidence of Hcnry'i mortal hate, re. 
iMnrsnis vowof vengeance, beginning a dramatic juel. >, 





:. 'f^ 


Sulla tomba che tinserra (By yJiy Father's Tomb) 
By Emma Trentini. Soprano, aoil Gino Martinec-Patti, Tenor 

(/n Heltmi) * 1 65 74 1 0<iaeh, > 

Br the lone lamb, a'er ihe cold mvc 
Whetc my father's bones lie moulding, 
With thv kindred eternal warfare 
To the a«»ih I swore lo wage! 

It he must go, and ii 



ou have me dii 

T. purer pSMiq 

uughl thy rage 

Let that Ih. 

tender duet, which closes 

Verranno a te sull' aura (Borne on the Siffhing Breeze) 

By Alice Nielien, Soprano, and Florencio Conitaatino, Tenor 

{Inhalian) r4064 IZ-mch. I 

By Pcfeira and Salvati (Jn Italian) '68454 U-inch. 

By Emma Trentini. Soprano, and Martinet- Patti. Tenor 

(In lialian) '62106 10-inch. 

My .iahs ^h»ll „n ,h 

■nu bllhrr wsft> Ihc 

Ah! think of me when far away, 

Each mi.rn,'rmK wav< 

■ shall echo maLe. 

With nou)rhl my heart lo cheer; 

How I thy absence d 

o mnurn, love! 

I shall bedew each thought of thee 

Ahl think oi me wh,.' 

n far away. 

Wilh many a bitter tear! 

With naunht my hei: 

n to cheer: 

I shall bedew each If 

loughl of Ihee 

Many a"lonely hour^wifl ch«r:""' 

With many a bitter t 




Peat not! Have no f«r. thou shall 

The balmy breere th< 

II bean thy sigh. 


Will waft one back f 

rom me, low; 


Tlw murm'ring waTei 

I re-echoing (till 


jm hvi Aims and departs, leaving ihe half-fainting Luijf to be con. 

SCENE l-An Antc-rocm in ihe Coille 
Sh Heniy rtiid hn tclaincr Norman are discuuing the approaching marriage of Luca to 

Arthur. The evenU which hav 
'.>^ Ill l.i].y >lil 

:e Act 1 are indicated by thia 

Lucy entera, pale and listless, and to her brother'* greeting: h 

mswers with a 

-al to him to . 

e her from this haled marriage. 

II pallor funesto (If My Cheek is Pale) 

By Linda Brambilla and Francesco Cigada (/" Italian) *16574 10-inch. »0.7S 

Se tradirmi, tu potrai ll'm Thy Guardian! 

By Huguct, Soprano : Cicada. Baritone \ln tlaliai 

■02O89 10-inch. tO.7 

o prepare for the ceremon 


SCENE II— 7%i Gttal Hall of iAc CaMe 

The knighla nnd lailiea •ins ■ chonu of congratulation to the bride and brideBTOom, 
i^ile 5/r //eniy greeu the gueata and aakt thorn to pBrdon /jkv'i agitated bearing, ai the i* 
rtill mourning for her mother. 

Lacfi enten and is eacorted to the table where the notary ia preparing the maTriage 
paper*. Believing her lover EnUe, ahe csrea little what becomci of her. and pauively ligtu 
the contract Pale aa death and almoat fainting, she ii being lupported by her faithful maid 
and hei family adviier, Kaymoni, when auddenly a terrible ailence enauei. ■■ Edgar, the 
lover of Lacj; and the deadly enemy of her brother, nppean at the back of the room dressed 
in a aombre suit of black. The wedding gueata are dumb with amazement at the daring of 
the young noble in thui 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 begina. 

Unlike many operatic enaembles. this sextette is not merely a moat remarkable bit of 
conceited writing, but is so well fitted to the scene in which it occur* that even the enemies 
of Donizetti, who call Lucia merely a string of melodies, are compelled to admit its extreme 
beauty and powerful dramatic qualitiea. 

Sextette—Chi mi frena (^K^hat Restrains Me) 

By Marcella Sembrich. Enrico Carufo. Antonio Scotti. Marcel Journet, 

Mme. Severina and Francesco Daddi (In Italian) 96200 12-inch. tr.OO 
By Tetmiini, Cafuao. Amato, Journet. Jacoby and Bida 

(In Italian) 96201 12-inch. 7.00 
By Galli-Curci. Egeoer. Caruio. de Luca, Journet 

and Bads (/n Italian) 99212 12-inch. 9.00 

By Victor Opera Sextette (/n Italian) '59066 12-inch, 1.90 

By Victor Opera Sextette {in Italian) 70036 12-inch. 1.25 

By Vessella*! lulian Band *39396 12-inch. 1.29 

By Pryot'a Band 31*60 12-inch, 1.00 

By Hurtido Bros. Marimba Band '39999 12-inch. 1.29 

TfanscfiptioD by Ferdinand HiounclrciGh (Plam^ariti) '39229 IZ-ineh, 1.39 

•DtmlhJ'aaJ Rm^i-Sm M«s 3S9. 


Edgar remains standing, with his eyeii steadily fixed on the unhappy iMcy. who i> 
unable to meet his glance. This dramatic alienee is broken by the commenci 
■exlette. as Edgar and Sir Htnty, with suppressed emotion, sing iheii short duet 

Ami rciiior^e ray breast dolh fill: 
[ ha<1 hup'd that d.ath had imn 

Ah: 1 


c. Ihn„ „.i,.r. hrn.. b....k. ,h. 

One by one the charade i 

8 in the scene lake up their f 

Quartetto -T'allontana. sciagurato iGet Thee Gone !» 

By Percira, Maggi. Bettoni. de Gtegotio {In ltalion\ -b8454 12-inch. »1.25 

Henry and Edgar, who have drawn ihelr swords, are aepar^trd by Raymond, who com. 
mands them in Heavens name to shealh iheir weapons. Wenri/ask? Edgar^hv he has come, 
and e.hibils the sif^ned contract, but Edgar refuses to hclicvr the evident.: of his eyes 
and asks Lucv if she had signed it. With her eyes liiied on him she tremblincly nods her 
head in assent. Edgar, in a furious rage, tears the contract in pieces, flings it at the fainting 
maiden, and rushes from the castle as the curtain falls. 

• poukk-FaaJ flttorj— 5« Bagr 259. 



SCENE I— Tim ToutrrfRmtnueeod Catde 

Edgar ia brooding on hia miafoituiiea when & honeman lide* up, diamounta and entsn 

the tower. It prove* to be Sit Htory, who baa come to challenge Edgar to a duel to tko 

death. They agree Id fight the following moming, and in tbia duet aak ibe ni^t to hMlnn 

away, that theii vengeance may be conaummated. 

O sole piu raptdo (Haste, Crimson Moming) 

By Giuseppe Acerbi and Renzo Minolfi (In Ilallen) '62644 lO-ioch. tO.TS 

SCENE n—Hall In Lanmamoor ComIU 
e peaaanta and domeatica of the caatle are making meny at their feaat in honor of 
rriage when Reyinomi enters, greatly agitated, bearing ibe [earful newi that Lucy haa 

lied her husband. 


O qual funesto awenimento (Oh I Dire Misfortune) 

By Ariatodemo Sillieh. Baaa. and Chorua (/n Italian) *fa2644 lO-incb, *0.75 
Rat/mond'j tiding* have scarcely been spoken when Lucy enleis. pale and lovely, and all 
unconscious of the horrified servanta, begins her famous so-called Mad Scene. 

Mad Scene (WithFtuteObbli«sto) 

By Luisa Tetraiiiai, Soprano 
By Marcella Sembrich. Soprano 
By Nellie Melba, Soprano 
By Maria Galvaay, Soprano 
By GraiieUa Pareto, Soprano 
By Ameliu GalU-Curci. Soprano 
By Olive Kline, Soprano 
By Edith Heleiu. Soprano 
By Matie Mlchailowa. Soprano 
• Ds^fc-FaaJWsetid -Smpf359. 

{In Italian) 88299 12-iach, t3jOO 

(In Italian) 88021 12-inch. 3.00 

(/fi Italian) 880ri 12-inch. 3.00 

(In Italian) 88221 12-inch. 3.00 

(In Italian) 760O6 12-incb. 2.00 

(In Italian) 74509 12-inch. 1.90 

(In Italian) 'SS047 12-inch, I.50 

(InEngUih) '33214 13-inch. U5 

(/n AoM/on) 61129 lO-inch. 1.00 


come belwiTL-n thfT 

This famous number musl be iudged aoldy as a brilliant pitce of vocalism ; il can hardly 
be considered drnmalically. beirauae when ihe piimo donna lanes her reaBon in lh» ityle ol 
op»H. it only mi^ans that the scales become mote rapid and the roulades more dilficultl 
The unfortunate t.ucy in her agony seemi inclined and able lo sing the most difficult and 
florid miisii: tionceivable. and venture without hesitation on paaaagea at vrhich a aane poTBOD 
would stand aghast I In shoTt, Donizetti forgot his drBmatic miaaion teinporatil)' in hi* effoita 
to wr,le a show piece of musical execution. 


I hear the breathing of hii lender voice. 

That voice beloved soundi in mv hesrl forever. 

My KdHir, why were we parted? 

See, for thy uke. I've at] (orHlcen! 

Standing I 
See yon p 
(Her moo. 

Aht Til the hymn for ov 

For b9 tbcy are sinvtnH! 
The attar for u* » de^'d 

py I.uc^. ^ftcr having In this scene a 
rible events of the previous day. (alls in 
ied lo her room by Alice and Raymond. 

throw himself on his enemy's swore 

Htnn,. filled wtth remorse at the consr 

Edgar sings the first of the two h 

Fra poco a me ricovero i Farewell to Earth) 

By John McCormack, Tenor <ln Italian! 74223 12-inch. S1.50 

By Giovanni Mjrtinelli. Tenor [In !laHan< 7 4483 IZ-inch. 1.50 

I-Iis attention is now atlracled by a train oi mourners comm^' from the caslle. accom- 
panied by Rai/monJ. who rrve.ils to the unhappv man that Luci/ is dvinR. and even while 
they converse the castle bcU is heard lollinK. a signal that the unhapp^ maiden is no more. 
The grief-slricken lover then depicts his emotion in the s,-cond air. a sad but lovely 

Tu chc a Dio spie^asti I'ali (Thou Hast Spread Thy W^ingfs to 
Heaven) (O bell" alma innamorata) 

By John MeCormack. Tenor {In lialiani 74224 12.inch. »1.50 

By Florencio Constantino. Tenor i/n Ilalian) 7406b 12-inch. l.SO 

By Gino Martinez-Patti \ DoubU-Faced- lee e. 259] [Italian) b2089 10-inch. .75 




The dramatic interest deepens as the air proceeds, until the finale, when Edgar, in an 
excess of penitence, prays that not even the spirit of the wronged Lucy may approach so 
accursed a tomb as that of Ravenswood. 

Edgak : 
Tho' from earth thou*st flown before me. 
My ador'd. my only treasure; 
Tho' from these fond arms they tore thee. 
Soon, soon, I'll follow thee, 
I'll follow thee above. 
Tho* the world frown'd on our union, 
Tho' in this life they did part us. 
Yet on high, in fond communion, 
Shall our hearts be turned to love! 

Breaking from Raymond, who endeavors to prevent the fatal act, Edgar stabs himself, 
and supported in the good man*s arms, he repeats in broken phrases the lovely O bell' alma 
innamorata, and lifting his hands to Heaven, as if to greet the spirit of Luqf, he expires. 


/Mad Scene By Olive Kline, Soprano {In ItaliariU^g^^M^ i/» :«^u *« e/^ 

\ Dinorak-Shadow Song B^ Olive Kline, Soprano {In Italian) r^^^^ I2.mch, 11.50 

{Sextette By the Victor Opera Sextette (In Italian)\^g^^g^g. i/» •-. u % ^^ 

Rigoletto Quartet B^ the Victor Opera Qvartet {In Italian)r^^^^ 12.mcli, 1.50 

{Mad Scene By Edith Helena, Soprano (In Engllsh)\^g^^.j. ,., • u , ^^ 

Trovatore— Peaceful Was the Night ft Edith Helena (In English)r^^^^ 12.inch, 1.25 

{Sextette (Transcription) Pianoforte By Hinimelreichl«,.^^« ,^ .__« . ^^ 

Caprice Espaflol (Moszkpwsl^) Pianoforte B^ Charles G, Spmur^^^^ 12-inc|^ 1.25 

/Sextette Vessella's Italian Band\«««e£. i^ :. u i ^^^ 

\ JeufeU of the Madonna-Intermezn VesseUa's ItaUan Bandr^^^^ 12.incli, 1.25 

/Sextette By Hurtado Bros. Marimba Bandl^^^^^ .^ . « , ^^ 

\ Aida Selection (Verdi) By Hurtados Bros. Afarimba Bandr^^^^ 12-inch, 1.25 

{Verrano a te suiraura By Pereira and Salvati (In Italian)] 

Quartetto — T'allontana, sciagurato '68454 12-inch, 1.25 
Bv Pereira, Maggi, Bettonl and de Gregorio (In Italian) 

/Regnava nel silenzio Giuseppina Huguet, Soprano (Jl<^llon)\. ,^^^ .^ . , .^ 

\ Norma— Casta Diva By Giuseppina Huguet, Soprano {In Italian) f^^^^^ lu-mcn, .id 

[1 pallor funesto (If My Cheek is Pale) ] 

By Linda BrambiUa and Francesco Cigada {In Italian) l,^<-j i^. « -^ 

iSulla tomba che rinserra (By My Father's Tomb) ^165 74 lO-mch, .75 
By Emma Trentini and Martinez-Patti {In Italian) | 

Se tradirmi tu potrai (Pm Thy Guardian) 1 

By Giuseppina Huguet, and Francesco Cigada, {In Italian) [g^^^^^ i/i • u m^ 

Tu che a Dio spiegasti Tali (Thou Hast Spread Thy Wings) [^2089 lO-mch, .75 

(O bell* alma innamorata) By Martinez-Patti {In Italian)] 

{O qual funesto avvenimento Sillich and Chorus (In Italian)], ^g^.. . . , ^ 

O sole piti rapido By Accrbi and Minolfi {In Italian) r^^^^ lO-mch, .75 

Opening Chorus By La Scala Chorus (In Italian) | 

' Verranno a te suUVaura (Borne on Sighing Breeze) [62106 10-inch, .75 

By Trentini and Martinez-Patti (In Italian)] 

fQuando rapita in estasi (Swift as Thought) | 

By Giuseppina Huguet, Soorano (In Italian) bSl 72 10-inch, .75 
Lucrexia Borgia — Rischiarata i la finestra — L o (Italian) 





•M by Felice Komani. from Viclor Hugo's novel. Music by Garlano Doni-^. 

led to iKr public Hi U Scala. Milan, in 1634; Riven at tbe ThfStrf llatien. Paria. 

■r 27. IS40. Firsl London producl.on. June 6, 1fl39: in English. December 30. 1943. 

;ed in New Orle.-ins, April 27. 1844. Produced in New York al ihe Aalor Place 
r» Hpuae. I&47. and September 5. 1834. ^v1lh Maria Crisi; given in 1833 a) the Boston 
lire, with Grisi and MaHo. this being ihe fitsl Italian Opera Company to smg al the 
-nt Boston Theatre; in May. 183S. Slctfanone, Bri(;ooli and Vestvali appeared in the 
a al the Boaion Theatre; and later a long list of popular sinners appeared in Boston a* 
^/a. amonK them La Grangr. Parodi. Cortesi. Comle-Borchard. Medori. CaroMi-Zucchi, 
pa Rosa. Lavielli. Tietjiens and Happenheim; niven In New 1'ork in 1876. with Tieljien. 
Brisioli. and not aanin vintil Colonial Mapleson gave a production al the Academy of 
,c. October 30. 1882. In February. 1892. it was announced at the Metropolitan with 
nann. Kalisch and de Iteszke. but abandoned owin^ to iho illn<;ss of Mme. Uhmann. 
next production did not occur until I9(H. with Caruso. Je Macthi. and bcotti. 


LUCHPZIA Borgia ... Soprano 

MAFFIO 0RS\N\\ Maf -fK-ol, <>,.i^'.ncr] . Contralto 

GENNARO, (An-F-aA'-ro*) . IVnor 

IL DLCA ALFONSO ... Baritone 
, VlTELLOZZO, PETRUCCI. GAZELLA. Young noblemen in the 
service of ihe Venetian Republic 

5cene and Period: llaly: Ihe beginning of the siileenlh etnlurji. 


The plot of Donizetti** opera cannot be called a cheerful one — it ia. in fact, crowded with 
horrota. However, it waa a great favorite with American audience* for many yean, beiag 
one of the Hock operaa of Emma Abott during nearly her whole career. The opera waa 
revived in 1904 for Caruao, but failed to acore, and it ia quite likely that tho*e who admire 
it* few fine aira must depend on their Victtolaa if they wiah to hear them. 

Lucrttia, the heroine, wot ■ conipicuoui member of the 

notoriou* patrician family— ^e Borglat — celebrated for their 

diabolical auccesa a* poiaonera. 

Lacrada Borgia married a* her aecond huaband Don Aifettm, 
Duke ofFtrrara. By her former marriage ahe had a aon named 
Gennani, of whoae exiatence the Dukt ia ignorant. Thi* aon had. 
at birth, been placed in the care of a fiaherman who brou^ 
' 'm up a* hi* own child. 


At the opening of the atoty Lucfexla, who in ipite of her 
I criminal practice* haa atill the mothei'* yearning toward* her 
m child, goes in disguiae to Venice to viait him. 

She finda her aon in the company of aome gay Venetian 

llanta. She watchea them, and preaently Gtnnaio, wearied 

the mirth of hi* companion*, drawa apart and fall* aaleep 

a aeaL Lucredo draws near, and gazing on his youthful 

beauty, she forgeta everything except that ahe i* hi* mother. 

She gently pre Me* a kin on hi* brow and prepares to depart, 

when he awakea and aak* her who ahe ia. She evadea the 

queation, and leada him to talk about hie mother, whom h* 

any* he haa never aeen. Feeling dmwn toward the beautiful 

•tfanger. he tella hia atory, in the fine Dl petoaUut, 

Di pescatore iffnobile (In a Fisher's Lo'wly Cot) 

By Franceaco Marconi. Tenor {/n llatian) 76004 ll-mch. 12.00 

She bida him farewell, and ia about to take her leave when Onlnl appear*, recognize* 
her, and after brutally reciting her crime* one by one, tell* the horraT-*tricken Gcnnam that 
it ia the Boifia. All turn from her in horror, and Lacnzla falla fainting. 
ACT 11 
GumiuD afterwarda ahow* his hatred and contempt for the Boijla* by tearing down 
Lucrezfo'i coat of arm* from her palace gatea. and ia imprisoned by the Diil(e'i order*. 
Lacmie, ignorant of the identity of the individual who haa insulted her, complains to the 
Dalfe, who promises that the perpetrator shall be immediately punished. He give* vent to 
hi* feelinga in hi* air, yiad la mla otndtlla. 

Vieni, la mia vendetta (Haste Thee, for Vengeance) 

By Giulio Rossi, Bau (In Italian) *63404 10-inch. tO.Ib 

Gtnnam is sent for and Lacn^a at once tecognizea him. Full of horror, she turns to the 
Dakf and begs him to overlook the offense. The Dut(t i* relentleu and compels Lucraia 
heraelf to hand a poisoned cup to her ion. She obey*, but afterward contrives to give the 
youth an antidote. He suapecta hei of treachery, but she pleads so tearfully with him that 
he truata her and drink* the remedy. 

Thi* act open* with achoruaof bravoB, who have been aetta watch the dwelling of Cmnaro, 

Rischiarata e la finestra (Yonder Li^ht is the Guiding Beacon) 

By La Seal* Chorus (In Ilatlan) •b3it2 lO-inch. t0.7S 

Gennaro, whoae life has been saved by the antidote Lucraia had given him. inatead of 

eacaping from the city o* she had adviaed him. occompaniea Onlnl to a banquet which haa 

been secretly arranged by Laenxla, and to which have been invited the young men who 

hod recognizad and denounced her in Venice. 

In thia aceoe occura the famou* firlndU, et drinking oon^ 

Brindisi (It is Better to Laugh) 

By Ernestine Schumann-Heink.Cootr»U» <ta German) 8S1S8 12-inch. 13.00 
By 5[iph[e Brasku, Contralto (/n llatian) 64468 lO-inch. 1.00 

Thi^ atr u, a very wdl^known one, and hai been f.cqnently snng. but Mme. Schumann- 
Heinle puis 5Uth brilliant spirit into il. and sings it with such wealth of gayety, such aatonish- 

lover of the present generation has ?vei heard it sung so brilliantly. The high notes are 
laken with the ease of a soprano, and altogether this familial drinking song has never been 
ao well ddiv»i^d. 

The rnl.^ of Afo^o Or»>iJ was always one of Mme. Schumann-Heink's favorites, and she 

makes a gallant fii;iire as the gay Roman youth. This gay and faicinating air is also brilliantly 

Bung by Miss Braslau, the high notes being taken with ease, beauty of lone and fine execution. 

The wmd>< are well suited to the gayety of the music, and have been translated as follows ; 


It - |. .' '!.,'. I., -I, in. In the world we some being), dJEcaver, 

They are weed* tl 
laugfa than be nghin^i 
.vbo resolve to be gay; 
Dw life's mornenta are Bying, 

t cliolK up Uk fair flow'nl 

she sees Cm™™ .-..noni! the guests. He. loo, has dtunk of the fatal 
Kain offers him an antidote, which he refuses, because the amount is insufficient 
ivss of hia friends. Lutrwro confesses the relationship between them, but 
ns her and dies. The D„li' now appears, intenciing to share in Luereifo'j 
nph. but finds his wife surrounded by her victims— some dead, others dying, 
tneas to the horrible result of her crime, suffers the- keenest remorse, drinkl 
>wn poison and herself expires. 


IVicni, la mia venJetta By Giulio Rossi, Bass iln Italian 1 

Qli Ugonoitt Duello yalentini- Morcelh 63404 10 

I By Maria Qrisi. Soprano. anJ Pcrtlla Jt Seguwla. Ba,, I 

IRisehisrata i la finestra (Yonder Light is the Guiding I 

Beacon. By La Scala Chorus 'lr,halian L,,,, ,(, 

Lucia di Lammcr^oor - Quando rapila in «laM | "' ' " '" 

By Qiu>tppir,a Huguel. Scprano] 




Text by Piave and Andna Maffei, after Shakeapeaie ] music by Veidi. FirM produced 
at the PcibdIb, Florence, Maick 17, 1647. ThU venion waa given in New York in 1846. 
The opera waa revwed by the compoaer, tramlated into French by Nuiltei and Beaumont, 
and pven at (he T/iOlre Lgiiqae, Paria, April 21, IS63. with Umael ai Madtlh. 

Other opera campoaen who took Shakespeare's work aa a lubject were Chilatd, Paiia 
At^diaat. June 29, 1^7 (text by Rouget de Lille, writer of " MarKillaise") : and Tauber^ 
1657, Beethoven alto planned for an opera of Machdh, but made only preliminary iketcbei 
which are now in the KonlgKche BAlMhtk at Berlin. In die annali of muaic are lo be found 
»>Mati^hyAndTi (Bedin. 1780): and another by fteichart (Munich. 1793). Music for 
William Davenant'a semi-operatic veraion of the tragedy was composed by Matthew Locke. 
Thia was produced by Davenant'a widow and aon at Drury Lane, London, 1672. Efforts 
have been made to establish both Purcell and Eccles as the composers, though Locke's 
authorship is now generally admitted. In 16% a setting by Eccles was performed at Dtuiy 
Lone, with second act music composed by Etichard Lcveridge. 

The opera, which received scant praise in Italy, and still less in other countries, follows 
closely the familiar Shakespeare tragedy. 

Mr. Caruso has chosen to revive one of the most inlereating airs from Verdi's opera, the 
Paltma mono. This, however, is one of the numbers written for the Paris version, as the 
original work had no part (or the tenor. The text is from Schirmer's "Operatic Anthology." 

Ah, la patema mano (My Paternal Hand) 

a Catufo, Tent 

{In Italian) 8B958 12-inch. ta.OO 


Siinorc, t s-ei ni sfuggr. 
Pdiss b cohJ le bncat 
Del too perdoDo aprirt 





A Japanese lync tragedy, founded on the book o( John Lulher Long and ihs di 
David Belasco. wilh llalian libretto by lllica and Giacosa. M.iaic by Giacomo Puccin 
produced at La Scala, Milan, in 1904. it proved a Failure. Revived the following 
■tightly changed form with much success. First American presentation I in English) 
in October. 1906. in Washington. D. C. by Savage Opera Company. Produced in 
Bt the New Orleans Opera. January 9, 1907, and in French January 6. 1912. First rf 
lation in Italian at Metropolitan Opera House. February II. 1907. wilh Farrar. 

that limp. 


MADAMK BunERf-LY 'Cho-Cho-San > . Sopran 

SUZUkl. 'Sou.;u'-Iki/> Cho-Cho-San's servant Meizo-Sopran 

U. F. FlNKLRTON. Lieutenant in the United States Navy Tenc 

KATI; PlNKRRTON. his American wife Mezzo-Sopiai) 

SHARPLFAS. United StatesConsul at Nagasaki ... Bariton 

GORO. a niarriase broker ... ... Tenc 

PRlNri: YAM-AJXJRI. suitor for Cho-Cho-San Barlion 

The; Bonze. Cho-Cho-San's unck- . .... Bag 

CHO-CHO-SAN'S Mother Meizo-Sopran 

The aunt . . Me»o-Soptan 

The Cousin Sopran 

Trouble. Cho-Cho-San"s child 

Cho-Cho-San's relations and friends-Servants, 

Al Nagasaki. Japan— Time. Iht prei 


The Story 
Puccini'a open, which from the fint acou^ed the 
keeoeat totereit among opeu-goera. hu become ui endui. 
ins Wicceu. The onBinsl Metropolitan production in 
Italian waa under the personal direction □( Puccini him- 
•eU, who refined and beautified it according to hia own 
idea* into one of the moat finiahed operatic productiona 

The atotr of the drama ia familiar to all through John 
Luther Lona'a narrative and the Belaaco dramatic veraion. 
The tale ii Uie old one of the paaaing fancy of a man far a 
woman, and her failhfulneaa even unto death, which comes 
by her own hand when ahe finda heraelf abandoned. 

Puccini haa completely identified hU music with the 
aentimenia and aorrowa of the charactera in John Luther 
Long'a drama, and haa accompanied the pictorial beauty I 
of the various acenes with a aetting of incomparahle love. 
lineaa. fWely has pictureaque action been more com- 
pletely wedded to beautiful music 

ACT 1 ;;■; :;;;„ „„„ .:.k..t„.-*ct ■■ 

SCENE— ExUrior nf f^nkeitoni houu al Nagaukl (qualdihe faua.) 

At the riae of ihe curtain Gem, the marriage broker who haa aecured P/nkfton hia bride, 
ia ahowing the Lieutenant over the house he haa chosen for his honeymoon. SAorp/eu, the 
American Consul and friend of PltJfoUm, now arrives, having been bidden to ihe marriage. 
Then occura the fine duet, one of the most effective numbers in Act 1. 

Amore o grillo (Love or Fancy ?) 

By Enrico Camao. Tenor : Antonio Seotti, Baritone 

(In Italian) 8904S 12.ineh. H.00 

Pinlfaton, joyoua in the eroapect of hia marriage widi 
the dainty Japaneae girl, and quite careless of the conse- 
quences which may result from such a union, describes hia 
bride to the Consul, who gives the youns lieutenant some 
good advice, bidding him be careful, that he may not break 
the trusting heart of the Btitlttfijf who loves him too wdl. 

The number doses with « splendid climax, as PliJpaton 
reckleaaly pledgea the " real American wife " whom he 
hopea to meet some day: while the Consul gazes at hia 
young friend with some aadness.aaif already in the shadow 
of the tragedy which is to come. 

Now is heard in the diatance the voice of Bullaflu, who 
is coming up the hill with her girl (rienda; and she sings a 
lovely song, full of the freahnesa of youth and the dawning 

Entrance of Cio-Cio San 

By Geraldine Farrir. Soprano 

{In Italian) 87004 lO-inch, *2.O0 
By Frances Aids, Soprano 

(In Italian) 64334 10-inch. l.OO 
By Edith Helena. Soprano 

(InEngtlih) '17346 lO-inch, .Tfl 

The friends and family having been duly introduced to 

nn^trlBn, th» go to the refreshment table, while Buliafy 

timidly confides to f^nJcertim, in this touching number, that 
she haa for hia aake renounced her religion, and will in 
futtire bow before the God of her huabandT 




lita H 

ear Me 

' By 


aldme Fa 

r. Soprano 

Unllalion) 87031 10- 





and iht eu.:sts 


Eraingwhen Bullerflu'suncie 


in and 


B hi- 

Qv«^d iha. »h 


■ be 

n IQ the MiBion. .enounced 

he. r 




ha( of h^ 





nly, whoHee 


icene in hoccor. Buller/lyal Is 

p.. but 








nothing for her fBinily. bul loves he 


O quanti occhi fisi (Oh Kindly Heavens) 

Uy Ueraldine Farrar and Enrico Ciruto ilnlfallan) 89017 12-in.. *4.00 

By OKv.! Klino and Paul Alehouse (In llatiam *590»8 12-tii.. l.SO 

ACT 11 

SCE,\E-lntt,:„r of Bull^,fiy-s Hamf—al llx tack » Garden will- Chttria In Bloom 
Th.F'' v.:.^r9 have now elapied. and Balterfly. with he. child and faithful maid, Saaikl. 
are awailmu the' r<-lum oF Pinktrlon. SuM-' begin* lo lose cou.tge. bul SuffcrA rebuke, he. 
r faith to be unshakirn. 



di vedremo-Sur la raer calmee — ^(Some Day He 11 Come) 

uy Gurjldiiii; Farrar. Suprano fin ilaliani 88113 12-inch. 13,00 

By Emmy Dcsiinn. Soprano (/n Ilaliani 88468 12-inch. 3.00 

By Frames Alda. Soprano (In Italian) T433S ll-inch. 1.90 

By Atrnes Kimball. Soprano (In Engllih) 10094 I2-ineh. 1.25 

By Mile. Heilbronner, Soprano (In French} '39409 12-inch, 1.29 

This highly dramatic number is xung after Balleifiy Kat reproached Suzuki lor her 

doubts, and in it she proudly dctlarea confidence in hei husband. In ihe EnRiish version 

this 1= tailed Ll,r ■■V^ai-n Snn«." ,« il describes he. vision gi (h^ arrival of Pmk^,lon'> =hip. 

•DaMhk-Faa6 R, 

Ora a noi I (Letter Duet) 

By Ceraldine Furar and AntooioScont (lallallan) S9014 12-iiich, t4.00 
BuUafiu ia viaited by Sharplen, who haa tc- 
ived B letter from Plidfotan, and hu accepled 
the unpleaauit laslc of informing Bulltifiy that the 
'lieutenant haa deaeited her. He findi his task 
L difficult one, for ivhen he attempta to read 
Pinlttiitm'i letter to her. ahe miiundentanda its 
purport and continually intemipts the Consul with 
little buriti of joyful aniicipstion, thinking that 
PlnifeHon will soon come to her. "When do the 
robina neat in America} " she aaka, aaying that he 
will aurely come then. Finally realinng some- 
thing of his menage, she runs to bring her child 
to prove to Sharplen the certainty of her huaband'a 
home 'Coming. 

I Sai coa' ebbe cuore (Do You 
Kno'w, My Sweet One) 
By Geraldine Farrar. Soprano 

{In kalian) 87053 10-ia.. tZJOO 
In this pitiful sir ahe aslca little "Trouble" 
lOt to listen to the bad man (Sharplail, who i« 
I aasring that PliJtt/lon has deserted them. 

' Shocked at the sight of the child, which he 
luiew nothing about. Sharpitu gives up in deapair 
I the idea of further undeceiving her. knowing that 
ahe will soon leain the Inith, and leaves BulU^, 
I who refuses to doubt F^nlcerlon, in an exalted stale 
I of rapture over the idea of her husband's leturn. 
Throughout the duet may be heard the 
mournfully sweet "waiting motive" played aoftly 
by the horns, and accompanied by airings fibxicell. 
The aound of a cannon is heard, and with 
aid of a glass the two women see PliJccto"'* ship, the 
Airaham Lincoln, entering the harbor. 

Duet of the Flowers 

By Geraldine Farrar. Soprano, 
and Louise Homer. Contralto , 

r/n Italian) 89008 la-in., *4.00 

Greatly excited, Ballerfty bida ihe maid strew 
the room with flowers, and they scatter ihe cherry 
btosaoms everywhere, singing all the while weird 
harmonies which are hauntingly beautiful. 

Night is falling, and not expecting PbJvaien 
until morning. Butlafiy, Suxukf and the child take 
their places at the window to watch for hia com- 
ing. As ihe vigil begins, in the orcheatra can be 
heard the " Waiting Motive," with its accompani- 
ment by distant voices of the sailors in the har- 
bor, producing an effect which ia indescribably 

beautiful. ,A..~.-«"^ „^_.. .n ..V. ,, 

SCENE Il—Samt at the Pnctding 

The curtain riaea on the aome acene. It is darbreak. Suzuj^. exhausted, is sleeping, but 
Butttrfiy still WBtchee the path leading up th« hill. Sazakf awakes and insists on BaUafta 
taking some rest, prominng to call ber when ihe LjeutenanI airivea. 

Sharpitu and Pb^trion now eater, and quMtkm Suaik'. ike Lieutenant being deeply 

' ' o find tliBt B^ttflu haa b«en faithful to him, and thai a child has been bom. 


Suzuk'. sarins a lady h the t 
is ihr wifr of Pinkertar,, h^ hav 
■ nioTi bv PuccT 

r Has >>.^e 

lany consideHns 
nole in the apei 
■he part ol Kc 


been eJimmated Irom the casl. 

The faithful niaid U ho..ified. and dieads the 
oEthii news on hrr mistreaa. UVtpint; bltletly, ehi 
into B>,lh7jly-i chaiiiHer. while the tt.enda are lefl lo 
Tcfleclions. rsprr^ard by Puccini in n powerful duel. 


Ve \o dissi ? 
By Enritu 

Pm*,,/„„ ,.-al 

had i,'.ven h 
BuHtrfiy'ar. brdkf 
With the r. 
Pinh'lon. Sharpie 

Lo so chc allc sue pei 
Console Her' 

(Did I Not Tell You?) 

:iru50 and Antonio Scotli 
^In Italian' (I904T 12-inch. »4.00 

nitida htm of ihe w. 

lo bewaT 
ice nf 5azut/ 

Naught Ci 

■503 lO-idcb, tS-OO 

By Geraldin 
By Emmy r 
By Edith H. 

iButterfly's Death Scene) 

Farrar. Soprano {In I 

;siinn. Soprano 

etic death sceite at the close o 
:ed her. blindfolds her child thi 
ith which her father committf 

InEnglhh) 17346 10-incl 

the opera. Balterfiy, c 



■ari. and after leading the 
Tiplion on the handle, "To 

with honor when one can 

longer live with honor," 

stabs herself. 

In her death Struggle ihe 


i be heard ai the 



Madame Butterfly Selection By Victor Orcfaettra 31631 IB^ineh. tl-OO 

lotnxlDCtian—niikEnon'i Sonr Act I— Duel, Finds ol Act I— Duel. BuoecS^ ud 
Siauki. from Act U— Finale of Ad U. 

This aelectioii be^iu with the entrance music of Plnlftrlon, accoa|EMliiied by the 
AmericaD theme (or which Puceini hai utilized the "Sini' Spangled Bann«f ; 

Then in succeaaion are heard the gay air oF the thoughtleaa Lieulefthnt (as a comet 
aolo) in which he describea the ckancteriiticB of hit countrymen ; the principal strain of the 
love duet with which the act closea; the exquisitely poelical "Duet of the Flowers," pait 
of which is given on the orchestra bells ; and the beginning of the supremely beautiful scene 
where Batlafiu. her maid and little son watch for the husband's coming. 

Then from the last scene we hear the return of PirJ^rton announced just as BuHeifis/ haa 
taken her life; the American molf/' strangely contrasting with the tragic music of the death 
acene; and a few measures of the final curtain music, with its ancient Japanese melody. 

Madame Butterfly Faotasie— By Victor Herbert's Orch 70O5A 12-inch, »U5 
Openins of the Opera— "Woiliiis Music." Act U— Duet, Ad I— "Entrsncs of Butter- 
fly"— Xove Duet""— Finale, Aet 1. 
radame Butterfly Selection. No. I 
Bartered Bride Ooertun (Smtlana) 
(Madame Bunerfly Selection, No. 2 By Pryor's Bandl...., ,_ - .. , -. 
ro«„Ao«erS«f«Hon (Wagner) Bj, Ptyar'j flanrf/*"'* 12-mch, 1J5 

(Sur hi mer calm^ (Some Day Hell Come) 1 

By Mile. Hcilbronner, Soprano (In French) [3S409 12-inGh. U5 
Daaghler o/ Ihe Reg't—Sahil i la France HeilbnnneA 

Madame Butterfly Fantasie By Victor Sorlin 'Ctllo 31696 12-iach. 1,00 
"Bimeifl/sSonaof Fsiih'"— "WskiBaMotiTB"'- "" '" " " 

— ~ "'antasie By ~ 


fO quand occhi Fiji (Oh t Kindly Heavens) By Olive 1 
Kline. SopfOFKi— Paul Althouse, TsiBr (/n A<iffan)|S50SB 12-iach. IJO 
AlJa—Fagglani gll arJort (VtrJI) Luq/ MaiM 

, What a Sky, "What a Sea (Entrance of Butterfly, Actl)1 

^Beloved Idol (Butterfly't Death Scene. Aet II) [l7346 10>!nch. .75 

By Edith Helena, Soprano (InEnah,h)) 




j'^e' i;" 

Mt (' ^ "i ^ ^.^ ^^^^^1 



Tcxl by Giiini Suwait, baat'cl upon a ahort French pUty, Jt dine cfiet ma Mire, by Decour. 
cell» and Thibaut, long a slandatd work on iKe French •tage. Music bjr Victor HerberL 
First prrformance at the MetTopolllan Opera Hou>r. New Yoik, January 24. 1914. 

Character:! and Origjaal Cut 

MADELF.1NE FLEUR-l', prima donna Frances Alda 

NiCHEITR. her maid Leonora Sp8rke« 

CHEVAUER DL MAUI'HAT Antonio Pini-Corsi 

Francois, Due d'Ealerre Paul Ahhouse 

DIDIKR, a painlel Andrea de Segurola 

Time and Place : S^ht, ^f MaJehine, houie in Pam ,■ New Year; Doy. 1770- 

Continuing the policy, begun in 1900. of making en annual production of an opera by an 
American eompoBei, thp management of the Metropolitan Opera Houae brought out on 
January 24. 1914. this new one-act opera by Victor Herbert. Mr. Stewart's English text ia 
familiar in Mrs. Burton Harrison's playlet, frequently given by amateurs. 

The story tells oi a popular sinRe. of the Op^ra. MaMeine. who invitee various of her 
frienrla to dine with h^r on New Year's day. but each in turn declines on (he ground that he 
always dines at home with his mother on this festal day. The first friend to appear is the 
Cheealier de an old beau, and when Madeleine asks h,m to dine with het he deciinea. 
saying thai it is his invariable cvi^tnm to spend New Year's day with his mother. Next the 
polished Francois, who Is devoted to the sinper. appears, hut alas, he too must visit his 
Family on this day. Madeline dismisses him and resolvrs lo invite his rival. This 
gentleman sends her a polite note of thanks but announces th^t his mother expects him I It 

dinnorcompanion! Urdiscov^s that ^vt^Nilhelu always eats with her'^moth^on "hja 
evening. In a temper, the prima donna dismisses the maid, and goes into hysterics. Didiei, 
a painter and childhood friend of the singer, appears with a completed portrait of her dead 
mother. He lt,e» to soothe her, but is compelled to refuse her invitation lo dine, as he also 
is dining with his parents. Madeleine refuses his invitation to accompany him. and as he 
departs she places the portrait before her on the table, and as a ray of sunlight falls on the 
loved face, remark,: ■'Then I, loo, shall dine with my mother! '" 

The noted American composer has given some of his beautiful melodies to this opera. 
notably Madeleine', air. "A Perfect Day," 

A Perfect Day 

By Frances Aldj. Soprano {In Engliih) 74385 12-inch. »1.50 

(PtBHh) <Bb|11iU 

LA fl6te enchant^ the magic fujte 

CCwmu) „ amiu) 

DIE zauberflSte il flauto magico 


Libretto by Schiclcaneder. adapted from a tale by Wieland, "Lulu, or the Magic Flute." 
Mualc by WolFgans Amadeus Mozart. Fini produced in Vienna. September 30, 1791, Mozait 
directing. Pint Paria production ai "La Myilim J'lilt." Aiigatt 20. ISOI. Fir*t Londcm 
production, in Italian, in laih in Gennan, 1833i in Engliih. 1638. First New York pro- 
duction Apnl 17, 1633, at the Park Theatre, in Engliah, and not again until November 2\, 
1859, when it was given at the German Theatre !n Italian. Later production! included 
that of 1676. with Carlotta Patti; at the Grand Opera House, with di Murska. Lucca and 
Ronconi; and at the Academy with Geriter. 

The latest revival was at the Metropolitan in 1912, with Destinn, Hempet, Parkin 
Homer. Cotitz, Slezak and Lambert Muiphy, and nineteen performances have been given 
unce that time. 

-^ !k .' 

Cliaracters ' j 1 

SARASmo, {Sahr^ui'-trBh} High Priest of bis , .Bas^' 

TAMINO. ( Tali-m^'-noli) an Egyptian Prince Tenor 

PAPAGENa {Pap^h-ta'-mli) a bird-catcher Baritone 

The Queen of NICHT Soprano 

PAMINA, (Pmnt'-Kali) bei daughter Soprano 

M0N0STAT03. (MaA^wA^taf'-oa) a Moor, chief slave of the Temple Baiitone 

PAPACENA. (n»*l*wjM*) Soprano 

Three Lady Attendants of the Queen of Nigbt ; Three Boys belonging to 

the Temple; Priests and Prieatesoea of the Temple of Isia; 

Slaves; Warriors of the Temple. Attendants, etc 


not At Ttmpl* ^IOm at MamphU, about At IhM ^Ranuet I. 


"A UntaaUc Uh\e -was ihe f-roundwork; 
jupeinatuial appaniions and a good doae of 

But whal did Mo^nrl build on this prepoi- 
teroua foundaUon? What godlike magic 
brcB>h..s Ihroughoul thix woik. (torn the 
moal popular ballad lo the noblesl hymnl 
What many-sidedne». what marvelou. VB- 
Tletyl The qumlesaenre of every nobleat 
bloom of ait B^ems here <u blend in one un- 
equaled flower."— R,c/jor</ H'ogntr- 

Slrictly speaking, the Magic Flutp Is not 

companied by some of the most deiiKhtful 
music im^Einable. To luily app.^iate 
Moiarl'e work it should be heard in some 
European town on n Sunday evening, where 
middle-..'lasa families and sweeihe.-^rl.H used to 
find much enjoyment in the minlun: of myj. 
tery, sentiment, comedy and di-lighlful music 
which make up the opera. The libretto is, 
of cour&e, utterly absurd, deirribing as it 
does the magic of the pipes of Tammo which 
had the power lo control men, animals, birds, 
Bute is continually pl.iying thmughout the 


Papafeno. a bird c 

By Lb Scab Orcheitn *6B207 ll-incb, *1.25 

The overture is not only one of the grealeat of its kind, 
but one of the mo?t generally appreciated. Its wonderful 
fugue, -in ivhich Mozart sports with fugal counterpoint as 
though it were mere .ihllcis play." is played by the orchestra 
in a striking manner. This fugue is announced first by the 
clarinets, end a few bars later the cornels take up the theme 


The scene shows a rocky landscape with the Temple 
of Ihc Queen of Ih, Nighl visible in the background. Tamino. 

pent, and Knally faintsTmm IrTg'hl'and fatigue, ^^Three veiled 
lidies, attendants on ihe Qu«n, cume from the Temple to 
hia rescue and stoh the snakr with ihe.r javelins. While 
iln-v TO to tell the Qr,«n of th.- occurrence, 7,,™™. revives. 
y.,-'-* the dead serpent and hides as he hears a flute. 

Ein Vogelfanger bin ich ja (A Bird 
Catcher Am I) 

By Otio Goritz ((icrmum e41t)3 10-inch. fl.OO 

In his 

md all-a 

und r 

iribes hi. ocr 

■|hp f.mUr 

:le-Faad Rrto,J 5a k 


Tamino now como fonvaid and give* Papagctia creilit tar 
KavinB killed the leTpent. bd honor which he promptly Bc- 
cepU. The thiee ladiea now return, rebuke Papagtno and 
■how Tamino a photograph of the Queen of Nlghl'i dauehter, 
the lovely Pamina, who h«» been taken from her mothei by 
Saratlro, the Priai of IsIm, to aave her from evil influences. 
Tttmino falls in love with (he picture and offera to reKUe the 
maiden. He is given an all-powerful magic Rule, and accom- 
panied by Papagtno sets out for Sarailro't palace. 

The acene change* (o a room in the palace of the High 
Priest, where Pamina i* discovered in charge of Monatlolot, 

raying his (rust by peneculing PamlTIa 
hen Popagtno enter* and frighten* him 
her then tells Pamina of Tamlne'i love 
mytteriou* lover. 


The Moor is 
with hii atlenlion 
away. The bird 
for her, and ofier 

La dove prende— Bei Mannem — 


Smiles and Tears 

By Emma Eamc*. Soprano, and 
Emilio de Gogoria. Baritone 

(htlallan) 89003 12.ineh. M.OO 
By Johanna Gadaki, Soprano, and 
Otto Goritz. Baritone 

(In Qaman) 88369 12-inch. 3.00 
This charming duet, with ita grace and inimitable gaiety, 
old German tong,' Bd M^lnnem 

The amile. that on the lip ii ^living. 
The°teir, Ihal'down'thc cheek i"^rByin'|. 

.Mike'up Uie"siira* oT'Life's^brief Sy! 

One word shall change it to a ic 
nd one soft sigh'i impaiajon'd brr 
Shsll bid the tear-drop disappear 
'hen each (like misleads In mm. 

Oh, who the heart's deep li 

After many adventurea Tamino and PonWna 
meet, and by means of the magic flute they aie 
about to escape, but are interrupted by Saratin, 
who agrees to unite the lovers iF they will remain 
and be purified by the sacred rite* ; and as the 
priest separate* them and covers their heads with 
veils, the curtain falls. 


The Crat scene shows a noble forest and (he 
Tmple of Wlidom. The priests assemble, and 
Sanalro orders the lovers brought beCore him. He 
then sings this superb InvoCHtion, one of the moat 
impressive numbers in the opern. 

Invocation (Great Isis) 

By Pol Plan^on. Ba*i {Piano ace.) 

{In Italian) 85042 12-inch. I3,00 
UnFnach) 64235 10-ineb. IJOO 
(/nGninan) *45051 lO-ineh. IJOO 


the goili UiaandOiii 
and Popageno mlrength 
now at hand. 

The love™ »re sdmitted te 
T«mp[e and begin their probntioi 


^mple and be 
In the ne> 

B bow. 

The Quwn suddenly r 
earth and gives Pamina a dagger, tell. 
ing her to kill Samslro, or Tamlno can 
never be he™. Pamina hesitate*, and 
her mother, in a terrifying and dra- 
matic song, threateni vengeance on alt 

Aria della Regina 
(The Queen^s Air) 

By Bcisie Aboic. Soprano 
ill.iliat!) B8051 12-in.. »3.00 

By Maria Galv»ny, Soprano 
illalian] 87059 10-in.. »2.00 

The Queen of Nighl. Aslrijlammonle. is one of the 
>st striking chaiactera in Mozart's opera, and the iew 
mbers allotted to her .-.ri- difficult and florid ones. Th>^ 
rat aria is one which the most experienced of soptanoa 

mand^s^'onThe vocal powers- ' 

Sarastro enters and soothes Pamina. saym^i iKal h<^ will 
lake a ritchteous revenge on the Qvctn by oblainiiiR the 
happiness of he. daughter. He then sIoks the noble 
Cavalina, considered one of the greatest of bass arias. 

Qui sdegno non s'accende (^Vithin 
These Sacred W^alls) 

By Pol Pljn?on. Bass {Piano ace.) 

'h Italian 85077 12-inch. »3.00 

By MircelJoL 

t. BXS3 

{In Ftench) 74266 I 2-inch, *1.S0 


: Within thii hallowed dwcUioi 
"Xbl'S d"uht"di8pelliog. 

This hillow'd fane 

and tea 

s (h« 

To him Iby woes 

The probalionBi7 trials of the lovera continue 
through mBDy atraDKe scene*, in One of which 
Pamlna meets Tantino, and not knowing that be 
has been forbidden to speak to any woman, cries 
out that he no longer loves her. She then sings 
this pathetic little air. 

Ach ich fuhl's, es ist 
versch'wunden (My 
Happiness Has Flow^n) 

By Emmy Destino, Soprano 

(/n German) S8510 12-in.. *3MO 
Pamtha: Wr 

Naught i 
' Candcmn'd 

Oh. Tamin 

Pamlne, thinking 
die, and tries to stab herself with the dagger her mother 
has given her, but is prevented by the three boys, or gtidt 
(under instructions from Sarailm), who assure her that Tomlno 
is still true and promise to conduct her to him. 

Papaftno finally becomes discouraged and tries to hang 
himself, but the three gaiH enter and suggest that he try the 
magic bells. This proves effective and Papagaia makes her 
appearance. They then sing their jo3rou* and amusing ducL 

Papa^ena. Papa^eno I 

By Johanna Gadski. Soprano, sod Otto Goriti. 

Baritone {In German) 67510 lO-iseh. 0.00 
The trials being finally completed, the lovers are united in 
the SBcied Temple. The Queen and her accomplices attempt 
to prevent the ceremony, but the scene suddenly changes to 
the Temple of the Sun, where Sarailro is seen on his throne 
with Tamino and Pamlna beside him, while the baffled Queen 
and her train sink into the earth. 


(Magic Fluu Overture I 

La Seala Orchestral 
MeMtninger Prdade ( Wagner) I 
La Scaitt OrcAedra) 

IO III* und Isiri* (Great Isis] ] 

4f AMqNlUsn Op« Ckns Ch[<«Itm\^ 

68207 12-inGh, *1.25 


Words by Meilkac and Gille. aftci (he novel of Ahhi Piivott. Muiic byjule* MuMneL 
pint produclion at the Opira-Cemlipie, Pari*. Januacy 19, 1664; at BniMcU. hWch 15, 1884. 
Pint London production May. 7, 1883; in English by the Carl Roaa Company, at Liverpool, 
January 1 7, 1685. [n Prench at Covent Garden. May 19, 1891 ; in Italy at Milan, October 19. 
1693.' Pint American production at New York, December 23. 1865. at the Academy o( 
Music vHth Minnie Hauk, Giannini and Del Puente. Pirst New Orleans production Januaiy 
4. 1894. Some notable revivals were; in 1895 with Sybil Sanderson and Jean de Reukei 
in 1896. with Melba and de Reaike; in 1699 with Savilte, Van Dyk, Dufriche and Planton; 
in 1909, at the Metropolitan, with Caruso, Parrar, Scotti and Note: and in 1 9 1 2. with Caiuso, 
Farrar, Cilly and Eleiss. 


CHEVAUER DES GRIEUX (SU^l-ta/ rf'* Cf«Vl .Tenor 

COUNT DES CRIEUX his father Bass 

LESCAUT, {LaJnl/) Manon's cousin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN, a rou«. Minister of Prance , Bass 

De BRETIGNY, fSFa^*.^™.') a nobleman Baritone 

MANON, a school gitl Soprano 

People, Actresses and Students 

TbneanJ^act: 1721; Amitm, Parh, Havre. 

s from the famous novel 

The story of Manon is, of course, taken by Maaaenet'i . _ . 

of the Abb6 FVAvoat. but for operatic purposes several changes have been made, notably ir 
the events of the fourth act, which talces place in France instead of America. 

Manon is a country girl, gay, pretty and thonghdess, who meets a handsome young 
cavalier, da CHvu, wmle on her w^ to a convsnt to complole her education. He falls in 



]ovc w[th her and she with him as far as her nature will allow, and when he tell, her o 
^aieliea Hnd pUasuiPa of Paris, she n^eds little persuation to induce her to elope with 
to ihr Capital. Lo ihe chagrin of Cuillol, whoM carriage the loveta coolly appropriate. 

Soon liriTiB o( love in a collage, however, the young girl encourage* the HllenlioOEl 
rich nobleman, de Brgligny, and when daCriaa U taken sway forcibly by his father 

» the . 

and lea 

«ith her 

despondent because of her faithlessness, has resolved 
'ctions turn again lo him. and she visits him bI the 

■t 111 she learns that Jes Cm 
to enli-r a tnonaslery. Her l^cldi 
Seminary of St. Sulplee. He at hrst repule 
rensl her. and they depart together. 

The ne:ct act occurs in a gambling hou. . 
to support A/<inun in the luxury she demanda. GutUot, in revenge for the tiick played 
him in Act I, cau9<?s their arrest, des Gtieax for cheatinK and Manon mi a diMolute woman. 

The last scene occurs on the road to Havre, where Ja Criaa and LtKBul. Mamm'i 
cousin, olan to fscvie Manon as she is being taken to the thip, en route to the priaon colony 
The soldiers appear, but it ia a dying Manon tbej eacoTt, and the unfortunate 

girl. = 

of the . 

and asking ft 

Iveness of Ja Grtaa, diei 


SCENE i -Cotirlyard of an Inn at A 

which p 

vilh mu 


1 Laca 

who v 

... „ er and eomplimenls her 

She blushes and then artleaaly tella him of her impressiona 
^unlry home. The scene from this point has been recorded 

her at this poini and 

on her iharmmg appi 

during the journey from tier country home. 

by the Seals singers. 

Restate qui (W^ait a Moment) 

By Elisa Tcoraben. Soprano: Federico Fedcrici. Tenor : G. Pini-Cor.i. 

Tenor: Riccardo Tegani. Baritone (In Italian) *55OO0 12-inch, *1J 

l.ticaul asks Manon to excuse him for a while as he must go to see after her luggage. 

He goes out, and the townspeople desert (he squai 
ing Manon alone. The roa^, Guillot. appears on the 
of the hotel, crying: "Miserable landlord! Are 
have any wife ? - 

He sees Mancn. and his evil eyes lit^ht up at 
youth and beauty. 



GaiLLOT Ueflly to Manon): 
md A poitillioD u coming lUi 



I'lwur thedoihMbr 


r did 

. >w«ur look 

ligbt m 



GuLilQi let the 
are calling yoo 

girl alt 

irecily; wbea you »ee 
ind aCteiwards you ahill 


Gallhl i> frigklened by the gruS loldier, to the amuKmenl o( the bystandeta, who 
laugh at the baffled libeitine until he Bee* in coDfuaion. 

Ltteaal now wanu Manan to beware of the men ahe maj meet. 

that I won't trouble myatU. I miut speak come worda of couniel full of 

(Thr (iro gwardsmri, In(.r.) wildom. 

FiMST GuAiDSHjtH («o L«rmil) : GuAiDsmii ((b mock rttignBtion): 

How now: Tbou comesl noil To his wiidom we'll liMen. 

Mi raccomando (Wait for Me) 

By Eliaa Trombeo. Soprano: Federico Federici. Tenor; Chorui 

(In Italian) *55000 12-ineh. tl.SO 
The young girl pfomiaea to be prudent and Lacaul leavoa with the guardaroen. 
LucAUT (to Manan): Sbould whisper folly in vour ear. 

Gin good heed to what I ny — Behave » tbougb you did not hear. 

" " away. For aafety's «ake adopt lh»l pl»n. 

imndeihcre (To tht Cmardimtn atiilti 

Upon m point tbai's not quite dear. ... _- ,. ... .. _. . 

Make no misulie. but prudent be, eyei. 

And if. fonooth, some silly man (Titty Qd n-f.) 

Do Grieax now entera, end aeeing Manan, ia much ii 

^^^^^^_ ^^^^^^^— r-'**"' with her beauty and modeat bearing. He addreai 

^ ^^^^^■*'^^^^^^H herreapectfully, beginning the lovely duet, El }t His ■»Qtn IW 

Et jc aaia votre oom (If I Knew Your Name) 

By Berthe Ccaar and Leon Campagnoli 

(InFrtnch) '53086 12-inch. *UO 
By Mile. Koraoff, Soprano, and \Aaa 

Beyle, Tenor {InFrench) *16S51 10-incb. .75 
The young girl anawera aimply, but (eela heraelf atrangely 
drawn to the young atudent. The transition from atrangera to 
lovera ia a quick one, ai will be aeen by the tranalation. 

' delightful hi< 

my fond foolis 
ay you iorgive 
f (iMJI;Wy]t 


That! li* 

Non, votre libei 

By Bcrtho Ccs; 

Ce ne sera pas ravie tYou Shall Remain Free) 
r. Sopranu. and Leon Campi^ola, Tenor 

{InFmtch) *S50B6 13-uieh, *1^0 

.hi Manon, jou il 
incc I would glad 

all the world. 

Des Giie 

(hat they lake il :ind lly logcihct. Drs Gricax joyfully agrees and tkey biib their aecoiid d\ 

Nous vivrons a Paris (We Will Go to Paris) 
By Luceite KorsofF, Soprano, and L&in Beyle, Tenor 

llaFrmeh) *4SO09 lO-ineh. *1.00 

Mascin AN" IK.j. nmn xi Evermore bl™ ii outs. 

lily .m« 
ble loss 

Df mo 


voice from 
ai^c and diiv 


ivithin the hole 
e off, while Gu 

, wh 




nl of Dcs Cri 

ux and Ma^an 


Dti Gri 
y lookin 



IlinK nl a dc 

sk, while Mam 
He tclU her he 


On I'appelle Nlanon (She is Called 

By Farrar. Soprano, and Caruso. Tenor 

I !n French) 69039 12-inch, 
By Mile. Korsoff. Soprano: Beyle. Tenor 
lln French) '4.1009 10-ineh. 
Conlinuinn this chatminn scene, she uke, thi 
from hitn and reads with simplicity : 
'D,H^i;-racc^ fl„^rJ S^page 284. 


Manon: the sprinR, 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 nas grace, speak to the zephyrs that kiss them in pass* 

radiant youth and beauty: music flows in a ing." 

stream from her lips; m 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 consent? 

Manon: Des Gkieux: 

Is this true? Ah, I knew it not. Yes; he will never in such a matter as this 

(Tenderly) oppose me. 

But I know how much I am loved. Manon: 

Des Gkieux (with fiassion): Dost thou desire it? 

Thou art loved! Manon, I adore thee! Des Grieux: 

Manon: I desire it, with all my soul! 

Come, come, good sir, there's more to read! Manon: 

Des Grieux: Then embrace me. Chevalier. (They embrace.) 

Like a bird that through all lands follows And now, go; — send thy letter. 

Des Grietix starts to go, but seeing some beautiful flowers on the table asks who sent 
them. Manon replies evasively, and euks if he does not trust her and if he is jealous. He 
assures her of his perfect confidence. 

A noise is heard outside, and Lescaut, accompanied by de Br^tign^, 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 Britignu an opportunity to speak to Manon 
aside. He tells her that des Grieux is to be carried off by his father that night, and urges her 
to fly ^th him. Tempted by the thoughts of ^realth the young girl hesitates. Lescaut now 
loudly expresses satisfaction with the attitude of des Grieux, and departs with de Brittgnip. 

Des Crieux goes out to post the letter and Manon struggles with the temptation which 
has come to her ; the pathetic air. Adieu notre petite table, indicating that she is yielding. 

Adieu notre petite table (Fareivell, Our Little Table) 

By Geraldine Farrmr, Soprano (In French) 88146 12-uich. $5.00 

By Mme. Valkndri and Uon Beyle (/n French) '^'45008 10-inch, 1.00 

She regards the little table at which they had served their simple meals. 


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. (H'ith a sad smile.) I upon its marfrin where dear lips had been, 

smile as now I call to mind what narrow Ah! best of friends, how thou hast lovedl 

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) (EnglU/d (Fitneh) 

II sogno — The Dream — Le Reve 

By Enrico Caruso. Tenor (In Italian) 81031 10-inch, $2.00 

By Edmond Clement. Tenor. (In French) 74258 12-inch, 1.50 

By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 66001 10-inch, 130 

By John McCormack, Tenor (In Italian) 643 12 10-inch, IXX) 

By lAon Beyle« Tenor (In French) *45008 10-inch. IXX) 

Des Grieux: *Tis paradise! Ah, no. 

With fancy's eye I saw, Manon, All is sad. sn sad and dreary, 

A sweet and lowly cot. For, O my only love, thou art not there. 

Its white walls, deck'd with flowers fair, ^, / j^t \ 

Glcam'd thro' the wood! ^t?P^ ^*W^'^=.,. . , . 

Beneath whose peaceful shadows ^« * vision, tis but a fancy! 

Ran clear the babbling brook; Des Gkieux: 

Overhead, 'mid verdant leaves No! for thus we'll pass our life. 

Sang so sweet and full the joyous birds. If but thou wilt, O Manon I 

A knock ia heard and Manon exdaima, aaide, ** Oh, Heaven« already they have come 
for him 1 ** She triea to prevent him from opening the door, but he inaista, and ia aeized 
and carried away, while Manon, auddenly repenting^ ia overcome with grief. 

*DoMeJ^aosd Rseord^Sm pags 2&4. 



ACT m 
SCENE--4 Sired in Pari, <. 
Manon enter*, accompar 
■everal eallantB. She is i 
ill youth and love in a fini 

ed by de B\iUgny 

Gavotte — Obeissons quand leur 
(Hear the Voice of Youth) 

By GcTsldinc Farrmr, Soprano 

(/n Frmch) 87023 lO-inch, *2.00 
By GiuMppin* Hufoet. Soprano 

(Inllaikm) *45028 lO-inch, IjOO 

LisI to the voice of youth when it calktli, 

It hida ye lo love for lyr! 

And ere the pride of beauty falletfa, 

Love then while you mny. 

The heart, ala^ lo tore i^ e'er wfl1in|. 

?eing Ja Gritux'i fatKer, timidly ap. 
and Bslu if Ja Crieux haa forgotten 
iiiB thai the young tnan hai for- 
med his love, and ia planning to 

easily forgotten; and as the curtain fall* 

SCENE II— Ri«p(;or, ftodm <.( Si. Su/pr« 
this scene the Count pleads wilh his a 
's he is resolved, and his father takes a so 
/ aong of renunciation, declaring he will n< 


(FoncA) (Arihrn) CGiixMn) 

Ah I fuyez. douce image t— Dispar. viaion I — Flieh.' O flieh* 

By Enrico Canuo. Tenor (In French) 88348 12-facIi. *3.00 

By Gino Giovannelli. Tenor (/n /lo/iiin) *9S001 12-inch, 1.50 

By M.Rocc>, Tenor (In French) +1697S lO-iaeh, .79 

By Otto Marak, Tenor (In German) *iS057 12-inch. 1.90 

He Boe> slowly out and Manen entera, shudderins at the eloomy walii and wondering 

if her lover ha* quite forgotten her. Del Crieux soon retumi and is astounded to see Manen, 

bidding her begone, saying his love u dead. She cannol believe iC, and cries = "These eyea 

that oh thou hast Iciased with ardor, do they shine no more > Am 1 not Manon > " 

Toi t Vous t (Thou Here I) 

By Berthe Cesar, Soprano, and Leon Campagnola, Tenor 

(In French) '9S089 l2-incl>, *1.90 
Del Gritax ia deeply moved, but asks Heaven for strength to resist her. 

N'est-ce plus ma main T (I« it Not My Hand ?) 

By Berthe Cesar, Soprano, and Leon Campagnola, Tenor 

(In French) *99089 12-inch. «1.50 
Her pleadings finally hava their effect, and he criesi "Ahl Manonl No longer vrill I 
struggle against myself I " and they depart together. 
SCENE— ^ Gamhting Room in Parit 
Dcs Griuu has been persuaded by Momnto come lo this place in the hope of winning money 
to satisfy her desire for luxury. He plays (or high stakes and wins large sums from Gidllel, 
who leaves in a rage. As iet Crteax is showing Manon the gold he has won, a loud knock- 
ing is heard and the police enter with CulUot, who denounces ieM Giieax as a swindler and 
Manon as his accomplice. They are arrested and taken to prison, but iet Grieax is after- 
ward released through his father's influence, while Manon is ordered to be deported to 
America by way of Havre. 

SCENE— On the Road lo Hacn 
Da Grieux and Lacaal ai« 
on the Havre road, waiting 
for the soldiers who are es- 
corting the prisoners to the 
ship bound for America, del 
Gritax having conceived the 
mad idea of rescuing Manpn. 
Beginning the duel he sings 
his sad and remorseful air. 

Manon, la catena 
(Manon in ChainsI) 

By Rcmo Andrcini. Tenor: 
Riccardo TeSani, Bari- 
tone : and Chorus 

(In Italian) 
'99001 12-inch, *1.50 

■^f:--'-^,ifj^%'U* ■• ': 

iiux (iiitevtrtd stand by ihi 
0. poor Msnon) .«■■" ' 

to lid? O HesT 
raaching.^ He co 
EC readri the Kildi 

rocue Hseon snd pTC 
d hcpcs vain i Ob I whr i 

« herded with theie wn 
back" to I 

(H« !■ 

esdi this jdscc. Thy D 


The voices of ihe soldiers ate now heard in the distance singing as they ride. Dei 
Crieui and Lncaul lislrn atienlively, and the former, rcalliing that they are almost al hand, 
madly to rush forward. /.»fou( dissuadeii him. saying he has a better plan. a. he U well 
acquainted with the officer in cammand. When the escort arrives. Manon is found to be 
very ill and is li^lt behind by the officei at Lticaal'i (uggeslian. Da Grieax clasps her ia 
his arms with joy. and then seeing hei tears, asks her reason for them. 

Manon ? Tu piangi 7 

By Soliri, Soprano; Franco de Grcgorio. Tenor 

{In Italian) 67659 lO-incb, fO.ZS 

Si, nial<:dico ed impreco 

By Solari, Soprano: Franco dc Crc^orio. Tenor 

(/n llallan) 67659 lO-inch. .75 

During K 

i, of Uvt- IV 

ohi Jrang au, ihrcm H.rzin 

B\,Ollo Ma.ok (/n 

voire liberie 
Cesar. Sopra 

n By Berthe Cesar, Soprano, ai 
gnola. Tenor (/ 
ne sera pas ravie By Bctthe 
no: Leon Campagnola. Tenor i/ 


I Restate qui (Wait a Moment) By EliM Trombefl, 1 

FedericoFederk^G.Pini-Cor,i.Rice«<loTeg«u (/to/tan) „o^ 12.inch. MJM) 
Ml raecomando i Walt for Me f 
ByTromben. Federici and La Sella Chonu (InllaUan)} 
rio son solo <A1oneai Last) By Cino Giovumelli (Ilalkm)] 

Manon. ]a catena (Manon in Chainsi) By Rcmo Andfcuu. [55001 12-IfiGh. 1.50 
I Riccardo Tegani lod Chortu (In ItaUm)} 

fPlieh' O Flieh- (DeparcFair Vision) By Otto Mink 1 

CI- ri II' u I 1 u f'" '^"™"H35037 H-inch. 1.30 

Elixir of LoBr—iVohl drang aus ihrcmHrrzen _ / 

""''' SS086 12-inch. 1.50 

iln F«ncA)) 
IToi 1 Vous 1 iThou Here ?) By Berthe Cesar. Soprano ; 1 

Leor, Campatfnola Tenor ['p ''''"'\'\sbOfi9 12-iiIch. 1.50 

N est-ce plus ma main ? |Is it not My Hand ?1 {In Fraichi 
I By Berthe Cesar. Soprano: Leon Campagnola. Tenor J 

(Nous vivrons a Paris (We Will Go to Paris) 1 

By Mile. KorsoR. Soprano; Leon Beyle, Tenor I . . „„„ in ■ t, i nn 

On Tappelle Ma"on iShc is Called Manonl By Mile, r*^""" ItJ-incn. i.UU 

I Korsoff. Soprano : Leon Beyle. Tenor (/nZ-Vtm/i ■ I 

Adieu notre petite table (Farewell. Our Liiclc Table' ] 
\ By Mmc. Vailandri and Leon Beyle ilr. French)} i500S 10-inch. 1.00 

iLeR^ve (The Dream) By Leon Beyle. Tenor (In French)} 
I Gavotte -Obcissons quand leur voix apelle | 

\ By Giuseppina Huguet, Soprano [In hali^in} 4502B lO-inch. 1.00 

I Ttomala—Non lapcle By, BaltaglioH and BaJir,< {I „ Italian i\ 

IEt je sais votre nom ( If 1 Knew But Your Name) I 

By Mile. Korsoff. Soprano; Leon Beyle fhF.^mh] in ineh 7S 

Favorita -SpUndon piu htlU in civile ^Icllc iln Heav'nly | lO^^i iu-incn. 

Splrndar) By St Stgiirola and La Scola Chorus {In Italian . I 
I Ah 1 fuyci. douce image ! (Depart. Fair Vision) 1 

\ By M. Rocca, Tenor (/n FiencA. 16573 10-ineh. .75 

I Co-men &/ec«an (Bizel) By Pryar's Bandi 

(Manon? Tu piangi? By Solari and de Gregorio (In Ilt,lian)(. .. ,. . , ,, 

iSi. maledico ed impreco Solari and de Gregorio {In Italian) r"'^^ '" ""'"■ 



November 7, IS93. Fir«t perfonnance in France at Nice, Maich 19, 1906, at Maneillei (not 
given at Pbtu until I9l0)i at MndHd Noveniber4. 1893. First performance in America at 
Sueno. Aires, June 9, 1893 ; in the United Sutei at Grand Opera Houw. Philadelphia, in 
Enslish. August 29. 1894, with Selma, Kionold and MonteKriSo. Given in French by a 
■mall travelins company at Wallack's Theatre, May 27. 1698. and at the Tivoli Opera Houae, 
San FranciKM. in 1905. Produced at Wallack'. Theatre, New York. May 27, 1899. hy the 
Rosial Italian Grand Opera Company. First important New York production. January 18, 
(907, with Caruso, Cavaljeri and Scolti. under the direction of the composer, who then visited 
America for the 6rst lime. Revived at the Metiopoliton in 1912. and given each aeaaon 
since that time. ^^^^ 



LESCAUT, sefEeant of the Kins* Guards . Baritone 


GERC»m: DE ElAVOIR, Treasurer.General Bom 

Edmund, a student Tenor 

An Innkeepor, a Dancing-master, a Sergeant, a Captain. Singers, Beaux and 
Abb^ GirU, Citizens, Students, People, Courtezans, Sailors. 

Seiat amJ P*rhd : Parti and eldnllg : -aaJ h^ rf Ae dihttmlh emiafy 


bcmg Halfvy. % 
:. ISi6; Aub« 

ale a ballet { 
and Mnsaen 
U of lour del 
tedge of ihc I 


1 treated operal 


ched Bcenea selecled from 
ory lo fully underatand thi 


9 cnroUBina with some cham 
. handsome gallant. Jes Grieu 
± dining at (he inn. dfeued as a atudei 
hool not appealing strongly to the youi 
res lo elope with des GrioLC. thereby apo 
le old rouif. Geronlr, who had planned 
ichool girl. Manan soon tires of Jes Grie 
nd leaves him for the weallliy GmnI 
-y Fails to biing her happineas, and whi 
Rain she tuns away with him. 
us and denounces Monon lo the police a: 
lan. 5K<^ is condemned to be deported ic 
nch possessions in Louisiana. Dw Crltux and i-eJtau 
cscue het, but the attempt iails, and in desperation th< 

. Manon 

del Crieui appeari 
an abandoned wi 

1 the final i 

e the 


edge of Am 
1 drew the s 
.rch for wate 

SCENE -/f Sin 

Iv Breet him. He 
who will take pit. 

, in fwnt of an Inn ot Ami 

Tra voi belle brune (No\v Among You) 

By Franco de Gregorio, Tenor [In llatiani '45015 

A diligence now arrives, and Monon and her brother and Gtronlt. a 
companion, alisht. Dej Grieux is struck with the beauty of the young 

fully. She trlls him that she is bound for a convenl. hut does not wish 
now calls to his sister, and she enters the inn after promising lo meet Jv^ G 

'"The young man gazes after her. and says lo himself, in ;, fine ;,i,, ,h 

Donna non vidi mai (Never Did I Behold) 

By Enrico Ciruso. Tenor 

By Giovanni Martinelli. Tenor 

By Egidio Cunego. Tenor 
The students now gather round, bantering da i 
no mood for joking and goes into the inn. La. 
are gambling, and soon becomes absorbed in the „ 

engaged, seeks the landlord and plots to abduct Manon. Edmund overhears t^ 
informs do Ciicui. who finds Monon and induces her to elope with hiir 

'Deabk-Faccd R,.:«id-S,, fiagt 288. 

r in"he 

(In Italian 
\}n Italian 
(In Italian 

67135 iO-meh. 
64410 10-inch. 
■'450I6 lO-inch, 


tii on his 

ew conquest, but h 
9 a crowd of soldier 
e, seeing the brolhe 

s who 



rch of the mnaway*. Ltacaul, 
: wilt admit him into the 
rt des Criaa for the older 

r, he finds Letcaut and sugKcsta that they go to Paiit in ai 
who has been drinking, coiuenls, delicately hinting that if 
family group, he will use his influence to induce Manan ti 
hut wealthier suitor. 

SCENE— y^n Aparlmtnl in Gtronlt'i Hou>t in Paris 

Manon, who has left dea Grieui foe the wealthier Gcrontt, is iieen aurraunded hy the 
utmoat luxury, attended hy her hairdresser, dancing master, etc. Lacaul enters, evidently 
much at home, and congratulates her on her change of fortune, taiting to himself all the 
credit. She aaya she ia happy, 
Lacaut tells her that the young n 
to win her back to him. 

Manon gue* pensively at the rich hangings, and in a fine air expreaies her longing for 
the humble cottage ihe has left. She tells her broihei that Ctronlc botes hei in spite of her 
every whim being gratified by her elderly admirer. Lacaul is disturbed, as he does not 
desire to be cut off from the income he receives from Gcrontt. 

They are interrupted by the entrance of b company of Madrigal singers who have been 
sent by Geronle to amuse Manan, and they sing a beautiful Madrigal 

Madri^ale — Sulla vetta del monte (Speed O'er Summit] 

By Lopez-Nunes. Soprano, and Chorus (In Italian) *4501S 10-inch. *1 JM) 
When the gingers have departed, the dancing master appears to teach Manon the minuet. 
She takes her lesson, while Geron/c and several friends walch her admiringly. 

Da Crieat now enters and reproaches Manon bitterly. At the sight of him her love 
leturna, and ahe begs him to take her away from all thii luxury. They sing a passionate 
duet, followed by a lovely solo for da Grleui, who reproaches Manon for her fickleness. 

Ah I Manon, mi tradisce (Manon. Kind and Gentle) 

By Franco de GreVorio. Tenor (/n Italian) *45027 10-inch. »i.OO 

By Giorjio Malesci. Tenor {In llaliar,) •63421 10-inch. .73 

Gemnle surprises them, but controls hia rage, and sarcastically wishing them a pleasant 
Me-i-ttte, goes out. Lacaul shortly afterward rushes in and announces that Gttanle has 
sent for the police. Da Gritux begs Manon to escape at once, but she insists on collecting 
het jewels first. This delay is fatal, and she is arrested and taken to prison, charged with 
being an abandoned woman. 

* DxJM'oi^dRKiri-Sm PC 



SCENE - Tht Harho, cl Havrt 
Manon has been banished from Frnnce. and U n 
mbarklngon theship fotthe Ffench ci 

colony in Loui 

-cers to permit him to ga on board. The captain, touched 
by ihe nuei of (he unhappy lovers, conaenla. and with a 
■cry al joy Dei Grlciu pmbarkii jusl as the ship is wiiling. 


SCENE— .4 Desolate Spof in 
This act ismeielyn long auel in 
very hvim^t.. tm^eciy .a ended. The 
hilingalienglKaf Afunon. the despair < 
tie is powerless Id aid her, (he tnsl [at. 
And the bitter gtiel of the unhappy 
Monon dies. As she expires, unable 
falls senseless on he> body. 

^hich the »d, but 
nusic pottrayt (he 
.( Dc, Gricux when 
well of the loveta. 

iTra vo, belle brunc Franco dc Gregorio. Tenor {In llallanU 
Madrigile- SullaveiUdclmonte < Speed O'er Summil) U»015 lO-in 

1 By Lopez-Nunes, Soprano, and Chorui {In llallanij 

JDonni non vidi mat Efidio Cunego. Tenor (/n ll''lion][.g_„,. ,„ -„ 

1 To,ca—Gia mi ,lruggaa Bn Er„c,la Bodini. Borilonf (/n /(o/iDnir'"'" '""'" 
(Ahf Manon. mi tradisce Franco de Gregorio llnllalian)]...,, ,- -„ 

t Gioconda- Chl„ , ma,! [Htavfn and Oc,an> % dc Grigorior^"^^ '""'" 
[Ah I Manon. mi tradisce By Giorgio Malesci tin llalian)], 
\ ETnam-hftUccrlui^'^deci An,lad^n,u Siltich. Bo>^ \ln llati- ■' 



UbreKo by Edward Fiblull. Music by WUliam Vinccnit WalUce. Finl produced at 
Dniry Lane. London, Novembei 13,1945. Finl American production in Philaderphia. May 4, 
IS46, by the Seguin>. Other notable production! : In 1854 at the old Broadway Theatre, 
New York, with Louiae Pyne and Simi Reeves ; in 1857 by the Pyne and Harrison Opera 
Company, with the compoter conducting; in 1665 by the Harriaon Elnglish Opera Company, 
at Nihlo 1. with Theodore Thomai conducting ; in 1866 by the Caroline Richings Opera 
Troupe, and in 1870 by the Paiepa-Rou Ejigliah Opera Company. Mote recent revivals 
by the Metropolitan English Open Company, Cuitave Hiniicha and Henry W. Savage. 

CHARLES 11 King of Spain Baa. 

Don JOSE DC SANTAREM. his Minister Baritone 


Marquis de MONTEnoRi Baas 

LAZARILLO Mezzo-Sopiano 

MARITANA, a gypsy singer Soprano 

Marchioness de montefiori Soprano 

7>im! anJ Place: The Kent i* laU In MaJriJ, al ihe llmt of Charles II. 

ACT r 

SCENE— j4 PaUie Plata In Madrid 
The opaning acMM dtowa a band of gypsisa singing in the streets. The young king 
OtaAti, listen* wid ia laschiBted hf tka beauty of MafNona, one of the gypaiea. The craf^ 



Don Jo:.!. Ihc Kms-> Mini 
compromla.^ himself so t] 
on Her Msj«ly. Don Q 

in a duel w]lh Lazarilla' 


Tilols her charms to His Majesly, hoping thai ihe King will 
i.Don/ast) can inform the Qunn and lurther his owndoigni 
Bvalier and a former friend of Don Jo 

n befriei 

a forlor 

(. Uzohlto. 


; in Holy Week, and he 

er. This leads la his arrest for due 
f a! Marilana. who hag taken a fancy 


SCENE— /nierior o/a Forlrai 
Dnn Caesar sleeps in his cell, wiih the failhhil Laiarillo. who has accompanied his bene- 
factor, by his aide. The Minister enters, and Coexrr, in a famous solo. "Let Me Like a Soldier 
Fall," begs lo be allowed to die like a soldier instead ol being hanged. He is assured ihal 
it can be arranged if, in the meantime, he will consent lo bo mRiried. Aniious to ovoid such 
an ignominious death, Don Caesai consents without inquiring who the bride is lo be. The 
weddinR banquet is being served when Lazarillo arrives with a pardon, which Jaie secures 
and hides, his scheme beinR lo have Don Caeaar shot and then induce Marilana to go lo ihc 
palace by preieiiding that her husband is there, and then compromise the King. Here. 
Donjo!.!. thinking of bis ajTection for the Queen, »lilaquizeB of the past. 

In Happy Moments 

By Alan Turner. Baritone Un English) '16552 lO-inch, »0.I5 

M^.dano, who ba> been promised a glorious fulure if she will consent lo wed Don 
Coesor. enters, heavily veiled, and the marriage ukes place, aher which ihe guards enter 
lor ihe execution. Latorillo. however, has drawn ibe bullets from the guns, and when ihe 
ned, but pretends dealh. and later escapes to a ball at the 



Under inst; 
aches the pah 

SCENE II -An Apartment in Iht Monl^oel Patact 

-tions from Don /»», the \farqali introduces Marilam 
:. but fails lo finJ his bride. He sings a melodious s 

(InEngliih) 64307 10-inch. *l.00 
sented lo the Marchioneii. who is closely 

There is a Flower 

By John McCormack. Tenor 
Don Jost arranges thai Don Coesor shall b 
veiled. The scheme does not work, however, as Cre: 
lo claim her. but she is quickly spirited away. 


SCENE-^poflmen/ in Iht 'Paha 
In the last act Marilana is in the palace, wonderm. 
ihe confiicling scenes and counter schemes. The Minister inli 
husband, but Coeaor suddenly appears and now boldly den 
demands his arrest as an escaped prisoner. Before explanati 
summoned by ihe Queen, while Don Caesar and Marilana consult together, finally deciding 
to appeal to ihe Quee". While waiting for her in the palace gardens. Ca»ar overhears /oie 
telhng Her Majesly that the King has a rendezvous with Marilana that eveninii. Catsar ap- 
pears, denounces him as a traitor, and slays him. When the King hea 
^ ts of his designs on Madlana and gives be. to ibe he.o. beside 


become of her amid all 
;e8 ihe King as Maritana'i 

1 bis bride, bul Don Joit 

of Valencia. 


J loyalty, 


(Overture to Marifana By the Victor BsndU 

\ Manila Waltz By United Stales Marine BanJt^^'" 

[Scenes That Are Briehtesc By Charles D'Almainc, ViolinistI 

\ Watt! from Faml 3y Charles D'Almaine. ViolinistI 

lln Happy Moments By Alan Turner. Baritonel 

1 Faa,l-lVaUz from Kermis>e Sctne \Goanodi Bs Prior's Bondl 

Gems from Maritana By Victor Light Opera Co, 31804 





-...-, Tliat 

Chorus. "Oh. WhM FIm 

, "Ld \ 


(Not -ah <kc F'T'-gakr^h) tMah-rtt-ahzW dth Fa -fh-nal 


Text by Lorenia da Ponte. founded on a comedy by Beaumarchsis of the aame name. 
Music by Mozarl. Fir.t production ot the National Theatre. Vienna, May 1. 1786. wUh 
Mozail conducting- In Paris as Lt Manage de Figaro, in live bcIb, with Beaumarchais' 
spoken dialogue, at the Academic. March 20. 1793: at the Theatre Lyiique. ag La Nora 
de Figaro, by Barfaier and Carrf. in (oui acta. May 8, 1538. In London, in Italian, at the 
King's Theatre. June IB. 1S12. First American production in 1823. in English. Some 
notable revival, were-in the 70's. with Hersee. Sequin and Parepa-Roaa : m 1889. with 
Nordica. Eamea. de Resike. Ancona and Arnoldson : in 1902. with Sembrich, Eames. Fritzi 
Scheff. de Reszke and Campanari ; and in 1909, with Sembrich, Elames. Farrar and Scotti, 
and in 1917. with Hempel. Farrar. Matzenauer and de Luca. 

Figaro. (F«.p,l,r.nh) the Barber, valet to the Count Bass 

COUNT ALMAVIVA, * Al-mah-m -aili) a Spanish noble Baritone 

Countess ALMAVIVA. his wife Soprano 

SUSANNA, maid o( the Countess, betrothed to Figaro Soprano 

CHERUBINO. (CW-rof-ice'.ooA) page to the Countess Soprano 

MaRCELUNA {Mn'^licl-la'-niih) servant to Bartolo Contralto 

BARTOLO, a rejected lover of Susanna Baas 

BASIUO. (a.A.«,'J^^) a busybody Tenor 

ANTONIO, gardener to the Count Bass 

Servants, Country People, Guards. 

Setnt and Ptriod : Seville ; the leetnttenlh cenhiry. The action It a dliecl 
amOnaaUen a/ (At Barbtr af SeeUle. 


Mozarl'i Marriage of Figaro, with ita 

merry plot and music, is one i 

of the moM 

delighdul of musical comedies 

musi be eipreued (or ihe all too infre. 


and lovely opera, m which ih, 
tions of Ihe slory, ihe quick 

, complice. 

change, of 

mood, and the .parkliug hu. 

nor are .11 

to well reflected in ihe mu 

single opera, perhaps, is the 

succession of musical gems ai 

1 in Figaro. 

Each is perfecl m its way and 

each seem. 

to enhance the beauty o( the others. 

Those who have read the story of 
Ba,bt,nf StoitU will find themselves again 
making the acquaintance of Barlolo, 
Almooiva and Figaro, some time after the 
marriage of ihe dashing Count to f 
lolo'i ward. The Count has «ttled down 
quietly on his estates, while Figaro. 
a reward for his services as a mat 
maker, has been appointed major-do 
of the castle. Figaro a in love with the 

marry her soon, hut unfortunately for j 
his plans, had also promised lo wed | 
Marcelllna. the ex- ho use keeper of Barlolo, 
on the very same day. Further complica- 
tion? are promised by the fact that the 

making love to Susanna himself, 
■n in true Mozarlian style. 


At the op< 
that the Count h 

-Jl Room in Iht Count; Chateau 
ling of the opera Susanna tells Fi£. 

Se vuol ballare. Signer Continor » W^ 
You Dance ?) 

By Herbert Witherspoon, Bass 

tin Italian) b4473 lO- 

Marctllina baa confided in Df. Barlolo 

portly doctor still harbors a grudge again 

robbing him oi his ward, he consents ic 

. and as 1 
. help he. 

and how to bring him back to her side. 



SC£NE ]—jipartmtnl of the Ceanlttt 
At die besinninB of Scene I, the Counlcu ainga her lovely appeal to Cupid. 

Porgi amor (Love. Thou Holy Impulse) 

By Tereu ArkeL Soprano {llaUan) '63419 10-inch. tarS 

, Siuanna entera and tell* the Counicu of her buibancl's ficUenen and ihey CMisult 
Figaro, who ptani to make the Count jealous by telling him that the Cxintesi it to meet a 
lovet that evening in the garden. It ia planned to lend Maneiltna in the Cnunfoi' place, 
and Chetvhino, dtewed as a young girt, to it '' " ' ' " 

Figaro depart*, and CAcnitfno enteia. 
Seeing hii mistTcsi, he begins to heave 
deep sighs, but Sutanna mocks him and 
telli the Counfeu he h«« written a song 
about his lady love. The Couniea bidi 
him sing it, and he takes his guitar and 
describes the delighta and toimeott 
caused by Cupid's arrow. 

Voi che aapete (What is This 

By Nellie Melba. Sopmno 
[In Italian) 8B067 ll-inch. 13.00 

The song is in ballad [otm, to suit 
the situotion, the voice jdving out ibe 
clear, lovely melody, while the stringed 
inotrumenti carry on a aimple accom- 
panimenl plMzlcato, to imitate the guitar; 
and this delicate outline ia abaded and 
animated by aolo wind inatrumenta. 

It ia difficult to say which to admire 
moM — the gracefubieM of the melodies^ 
the delicacy of dispoaition of the parts, 
the charm of the tone calorinK or the 
tendemcat of expression — the whole is 
o( entrancing beauty. 

What ia 
Wbal Is 

Pain Ih ,_ 

Plea lu re Ihit paini mc 
Fetler'd tboMfV Im'. 

ne, — How can ' 




The women now dress up the page to represent Satanna, and have 
when the Count knock*, and Otcrubtno hide* in tbe cIoseL The Count observe* hi* wife'* 
confusion, and bearing noiaes in the closet, becomes jealous. He demands that she open 
the closet door, and when the refuses he goe* for a ciowbai. The moment he i* out 
Oicrubino, aided by Sutanna, slip* out and e*capes through the window, and Suianna enter* 
the closet in his place. When the Count returns and opens the dooi, the maid comet out and 
the husband it forced to apologize for hie auapiciont. 

Manelbna now entert with her lawyer and demand* that Figaro thsll keep hit ptomiae 
lo marry her. The Cxinf promise* to look into the matter. 


SCENE l—jt CatlrM In Iht C 
The third act spent with a scene between 5iita 
~o aee«p( hi* attentiop* by threatening to mak* Fi 

il 'i RaldcrKt 

a and die Cnunl. He plon* to force 

ro wed the ancienl Manalllaa, white 


anna pietendii to encoucage ihe Bttentions of 
nt. in hirthecance oE the plot conceived by the 
': while at the Mime lime ahe deEtly lepeb hia 
~s. Finally she promiiea to meet him in the 
nil the CiKfnf it ' 


.'twilishi I will 


ths long loM aon of MaralUna. He embrace* hU mother juit «« Stuannn c«mei in, and ahe, 
•eeinaRfarawith hia arm* around the womsii he warn lately trying to avoid, decide! that he 
haa chansed hi* mind. Matten are explained, howevei, and preparationa lor the wedding 
are begun. 

Sttianna now aeelu the Counfca and tella her mirtreu thai the CeunI wiihea to meet hei 
(Suaama) in the garden. The Cwnfeu then dictate! a letter in which Sutanna ia to appoint 
a time and place (or the meeting. 

Che soave zeffiretto {Letter Duet — Son^ to the Zephyr) 

By Mareella Sembrich. Soprano, and Emma Eamea. Contralto 

(In Italian) 95202 12-inch, tSAM 
Thii number ia always greatly enjo)red in lepTeaentations of the opera, being a fine 
example of the MozBidan Myle and full of beautieai not only in the vocal parta, but in the 
maateily orcheatration. 

SCENE 11— Hall In the Chattaa 

SCENE— 77^ Qatdm ef Iht Chaltau 
The last letting ahowa the garden where the moat delightful of the comedy acene* 
takea place. Figaro entera and acdiloquizei on the ficklenen of woman. After hu air he 
hide*, )uat aa Staatma, diaeuiaed aa the Ceanlat, and the Cwnfen dia* 
guiaed •* Sutamitt, enter. The mietrea* conceal* heraelf, while 5iuanna, 
awaiting the Comd, and knowing that Flgam i* listening, unga her famou* 

Deh vieni non tardar (Oh, Come, My Heart's 

By Marcdla Sembrich. Soprano 

(In Italian) 88020 12-inch, 13,00 
By Frieda Hempel, Soprano 

(In Italian) 8B490 12-inch. 3.00 

Thi* ia one of the moat exquisite numbera in the O] 

A voict to love invite*, the l)o«om filling 
With love alone, all other p»sions >Iilirng:— 
Come then, my deareat — the hours are quickly flyingi 
Let me with rom hind now thy head! 

Oteniiino, having an appointment with the maid BarbaHna, now entera, and aeeing the 
Caanttn, thinka it ia Satanna and kiaaee her. The Cbonleu atrogglea. and the little taaca] 

CHUUltHO: CouKIiai (llruggling) ■ 
Why to me ■ Un deny? K.,.w ,., i ~Mi r-a\i 

With the Count you aVe not ihyl "'"'*' ■" ' *'" "" 

Come, ODiae, clvc o'er, then, _ 



iln Jloli 
ir lo Vila oncor-Romanza 
By Ttraa Ark'l 
{In Italian 


The Count airives just in time lo see this, and sleps between them just in lime to 
ret:eive the kiss intended (or the Counlesi. He gives Ckcmbinn a box on the ear sending him 
flying, and then makes love lo the suppoaed Susanna, the G>iin/e« diagiiising hei voice and 
encouraging him. He kisses her hand, remaiking on its lily whiteness, then lakes a diamond 

Figaro now Bees Susanna, whom he of course takes to be ihe 
Counless. and (ells her that her husband and Susanna are together. 
Susanna reveals herself and F/gora en.bracea her- The Count 
sees this errkbrace. and his jealousy making him forget his new 
conquest, he seizes F/garo and calls (or help. The plot is now 
revealed, and the Count, confessing he is conquered, begs the 
Counlai' forgiveness and promises to be a model husband. 
As the curtain falls the ihree happy couples are entering the 


I By Arthur Pryor"s Band 

1 Fra Diaoolo OMCTlure \Aubt,) 
I Sp A'lhar Pryor's Band. 

Porgi smor 

By Teresa Arkel, Soprano 





Libretto by St. George and Fiiedrich. Muaic by Friedrich von Rotow. The opera U 
an elaboration of "Lady Henrietta, or the Servant of Greenwich," a ballet-pantomime, with 
mi by St-Ceorse and music by Fiotow, Burgmuller and Deldevez, which WBi lugseated by 
an actual incident and preaented in Paria in 1544. Mariha wa> Arat produced at the Court 
Open, Vienna. November 25. 1647, with Anna Kerr and Carl Forme*. Fiiit London 
production July I, 1838. at Covent Garden, in Italian, and at Drury Lane in Engliah. Fint 
Pari* production 1838. In Italy, at Milan. April 25, 1839. Given in 1865 at the Thatre Lyrtque. 
with Patti. First American production 1852, in German. Fiial New Orleana production 
January 27. 186a with Mile. Dalmont. A notable New York production occurred in 1887 
virilh Patti, Guilte, Del Puente and Scalchi. Later Metropolitan performancea were in 18%: 
1897 (sadly memorable because of the death of Castelmary on the stage in the second act) ; 
I90a in English 1 the brilliant revival of 1906. with Caruu. Sembrich. Homer and PUnton. 
After this revival the work waa allowed to alumbet until 1916^ when another production was 
made with Caruso. Hempel, Ober and de Luca. Seven performances have been given 
during the past two seasons. 

Characters of the Drama 

Lady Harriet Durham. Maid^f-bonor to Queen Anne Soprano 

Nancy, her friend Mezzo-Sopiano 

Sir Tristan MlCKLEFX^tO. Lady Harnet'a cousin Bus 

PLUNKETT. a wealthy fannei Bass 

LKWEU bis foster-brother, afterwards Earl of Derby Tenor 


THREE Servants of lady Harriet Tenor and Two Basses 

Three Maidservants Soprano and Mezzo-Soprano 

Chonis of Ladies. Servants. Farmers, Hunters and Huntresaes, Pages, etc. 

. UlJ. . 

n Richmond 

Flotow'a Rielodious opera has alwaya been 
most popular one, with its spirited Fair Seem 
ita beautiful dueUand quartet, the famous third a< 
finale and the beloved "Last Rose of Summer." 

The compoaer ivas of noble birth, a son c 
Baron von Fiotow of Mecklenburg, and was bom 
in 1812. His father destined him for a diplomat. 
but the boy loved music and went to Paris to 
study. His first attempt at opera was Pfcrre cl 
Catharine, followed by SiraJella and others. 

Many great prima Jonne have sung the rOle of 
MarMa— Patti, Nilsson. Kellogg, Cerster. Richings. 
Parepa Rosa ; and in the present day Sembrich 
and Hempel have charmed their audiences with 
Fiotow s beautiful strains. 

The fine overture containa many of the best 
known melodies. 


ByPryor'aBsod *»133 ll-inch, *1J» 
ByPryor'aBuid 91478 la-inch, 1.00 




SCENE [—BouJolr of Lady Han 
Lady Hamel. maid-oi-honc. In Quprn Anne. 

I life. 

M announced and propoie 

■aya her ia[lK(iil maid, ^an 

7'ri;,/un, Wprrie/'j cousin. I gny bul talher 
a lon» lilt a( div.!rsmn» far Hatritf^ amusemt 
mercifully. The song of the servant maids, on iheir way lo the Richmond Fair, now float! 
in ihrough (Ke window ; and hearing these strains of the happy peasants. Harrlel concrJvi 
a madcap deslrr to accompany them. Nancy and Ttlslan prolest. but she orders them to t 
with her. Dresses arc procured and they atari ior ihe fair, the ladies in the disguise of > 
■erv»nl girls, and Triilao garbled as a Intmer. 

SCENE 11 — r/wFo/f o( Richmond 
Ihc .iccnc ch.inKt^a to the Richmond Fair, where s motley crowd of men and maidena 
are lookmB ior pnsihons. Two young [armcir., Piujd^tt and Uond. now enter, the laHer 

.en Pluakull a ring, which was t 
L'olv<:d in diihcullies. 

In this elfeclivo duel ih^ friend. 

.-ak of L/o^Wi iath..-r and .h^ incident of the 

Solo, profugo (Lost, Proscrib'd) 

By Enrico Caruso md Marcel Journct 
By Van Hoosc and dc Goeoru 
LhncI lell, the slory of his adupliur, by Plunk-rir^ (.imdy in the .,ria beKmninH- 

■nd tells of the grea 

and has heen used for many poe 
ove he has for his adopted brother 


Tlie duet, which ii a vety beautiful one, then foLlowa : 






Have I puied my Ii: 

Sironger. Siil?. grew . 

ThBi ('oKvef Huts. 

c ^uld'ever darken." Both: Brother, tblnk not wealth and splendor, 
Uuoth He. "Show il 10 Ihi Queen; If perchanre (hey e'er be mine, 

She will save you, she will guard you Can as happy this hear! render 

When no Dlher help is seen." As the friendship fix-d m Ihine. 

The diaguiaed Udie* now appear, BCCompBoiad by the unwillinff and diiguated TVfilon, 
who comider* the whole afiair ■ joke in very bad (arte. The two young farmen ipy the 

girl*, and being much taken 
with their looks, offer to hire 
them. TYie ladies, carrying 
Further their mad prank, ac- 
cc^pt the money which is 
offered them, not knowing 
that they are legally hound 
thereby to aerve their new 
maalei* for a year. Trittan 
loudly proteati, hut ia hooted 
off the grounds, and the 
frightened girls are taken 
away by the farmers. 


SCENE— ^ Famhaut 
As the curtain rises the 
fanners enter, dragging with 
them the unwilling and ter- 
rified maidens. 

Siam (fiunti. o giovinette (This is Your Future Dw^elling) 

By France* Alda, Soprano: Josephine Jacoby, Contralto; Enrico Caruso, 

Tetior: Marcel Journet, Bsss {InUaiian) 95207 12-iach. *9.00 

The hrmers address the maidens as follows; 

ISd t" ''T 'h'"" ''"'J!'"*: At dawn of day and morn's 6nt (limpse 

wV" "aping*?" our tollr, "h/W '"',° ^"""'^ , , . 

Full measur-J punishment: What vulgar wa^a they make us lake! 

Our houH and home are your. now. *•?" monstrous things they II ne.l eomniam) 

Their comfort you will ihire. That we never heard ahoui: 

Haskiet AMD Nahcv (>>vaicdfly) 1 Liohel: 

O we unhappy pair: Before the year ia ouC 

The quartet passage with which this record ends is one of the most beautiful in 
Flotow's opera. 

Che vuol dir do (Surprised and Astounded !) 

By Frances Alda, Soprsno : Josephine Jscofay, Cootralto : Enrico Caruso. 

Tenor : Marcel Journet, Bass {In Italian] 99208 12-inch. *5.00 

When the ladies have recovered their hreath and begin to realize that they are in 
DO immediate danger, the temptation to plague their employers is irresistible, and when 
the young men endeavor to instruct the new servants in their duties the fun commences. 

At the doae of the first quartet passage. PlttrJ(tll shows the girb the door of their room. 
Anxious to tiwrm» from the scene and have an opportunity to discus* their predia 
they atKrt toward tlisir room, {-'"■--'■'■ 

, but Pha^dt, ihinfcmj of hi* appetito, atopa them. 


V/hj not excuic Ibcm? They are tired! 
Too much kindness will nol d.>. 

\\^. of .-L.111 

Martha i- ti 


Well, don'l fou know ll? 


Plcthketi (Intoi nbait): 

Nnt Bci bluntly (ive your orden, 
Ruher wiahn breathe, like me: 

IHarnii luirs Ihrm. Iml froml'lty U 

Presto, presto (Spinning Wheel Quartet) 

By Frances Alda. Sopnno: Josephine Jacoby. Contralto: Enrico Caruso. 

Tenor; Marcel Journei, Bass ilnllalian) 95209 12-inch, »5.00 

iln English^ 70052 12-inch. 1.25 

By Victor Opera Qui 
Lionel and Pl„nk- 

jnished at such signs of insubordinalion. unheard of in servant* 
decide to learn what accomplishments these strange domestio 
m to show their skill at spinning. 



Quick now, fetch the spinning-wheels 

From out the comer I 
Hakkikt and Nancy: 

Do you want us then to spin? 

Yes, most surely. 

Do you think 

That for talking we engag'd you? 
Hakkiet and Nancy: 

Ha, ha. ha! To see us spinning! 
Plunkett (angrily): 

'*Ha, ha. ha! To see us spinning!** 

If you want your wages paid 

You must earn them first, mjr maid. 

Come and make then a beginning. 

Fetch the wheels now I 
Harriet and Nancy (teith mock humility): 

We obey, sir! 
Lionel {to Plunkett): 

Not so harsh, you frighten them. 

When it is plainly seen that they are ignorant of the art the young men otfer to teach them. 

Lionel and Plunkett (spinning): Harkibt and ii as cy (sitting down 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; 

Gently guided, drawn and twisted, 
It becomes both strong and fine! 

(The ladies brina the wheels and place ihem in 
the foreground.) 

Begin now, I command it. 
Harkibt and Nancy: 

We cannot! 
Lionel and Plunkett (astonished): 

How? What? 

Sit down now! 

We're seated. (Taking seats behind the wheels.) 

Turn the wheel! brr, brr, brr! 

(Imitating the noise of the wheel.) 

It will not turn! 

With your thumb and your first finger 

Draw a thread and twist it round. 
Girls (in mock despair): 

But the stubborn wheel won't move, sir! 

Draw and twist it. neatly, tightly, 
Then 'twill be both strong and nne! 

At the close of the quartet Nancy maliciously overturns the wheel and runs out, pur- 
sued knr Plunkeit, and leads him a merry chase, causing him to lose his temper, while 
Lkmel 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, sings the exquisite 
** Last Rose of Summer.'* 

Last Rose of Summer 

By Adclina Pmtti, Soprano 

By Frieda Hemp^ Soprano 

By Luisa Tetrassini, soprano 

By Mareella Sembrieh, Soprano 

By Alice Nieben, Soprano 

By Lucy Marsh, Soprano 

By Elizabeth Wheeler (See page 303) 

(In Englbh) 
(In EngliMh) 
(In English) 
(In Engliih) 
(In English) 
(In English) 
(In English) 

95030 12-ineh, $5.00 

88567 12-ineh, 5.00 

88308 12-ineh, 3.00 

88102 12-ineh, 3.00 

74121 12-inch, 1.50 

60126 10-ineh, .75 

16813 10-ineh, .75 

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, which was called **The Groves of Blarney." Moore wrote the words 
about 1813, and they have become the most popular of all his verses. 

'Tis the last rose of summer, I'll not leave thee, thou lov'd one. 

Left blooming alone; To pine on the stem; 

All her lovely companions Since the lovely are sleeping. 

Are faded and gone; Go sleep thou with them. 

No flower of her irindred. Thus kindly I scatter 

No rosebud is nigh Thy leaves o'er the bed — 

To reflect back her blushes. Where thy mates of the garden 

Or give sigh for sigh! Lie scentless and dead! 

Nancy now returns, still pursued by the exasperated Plunkett. 

Plunkett: Plunkett (releasing her): 

Don't you try this game again, girl! Ry the prophets! she has spirit! 

Where do vou suppose she was? I confess, that pleases me! 

In the kitchen was the vixen Nancy (plaintively): Martha! 

Breaking bottles, glasses, dishes, Plunkett (mimicking): Ma-a-a-r-tha! 

And a good deal nave I suffer'd. Pooh! What's wrong with you now? 

Till at last I caught the lass! Standing as if thunder-struck! 

Nancy: Get yourselves to bed, ye idlers! 

Let rae go! Don't make me mad, sir. Off with you, my saucy Puck! 

Or some scratching you will see! (The clock strikes twelve.) 

The fannett. acnnewhat subdued by the knowledge that they have engaged two most 
spirited and inanboidinate damsels, now bid thmr new-found servants good nii^t in the 
beautiful ''Good N^" quartet. 



Quartetto notturno iGood Night Quartet) 

By Frances Aldi. Soprano; Josepkine Jacoby. Cootralto : Earieo Caruao, 

Tenor: Marcel Journet, Bi» (In Italian) 95210 I2-ioeIi. f 

By Lyric Quartet {D^«ili-f^«h-Sm pan SOI) {tn Engbih) 11226 10-inch. 

To m 


> yoi 

J know? 
mghl ,: 



Play the pcaual 



ir. locking I 

t alttT thim. 

;:„%', 'tTX- 


■ecing no 

gh the wi 



.come out, BDcli 
w, and return ti 

ire ex- 
> their 


SCENE— ^ HunUng Pa,k in Ruhmwd Fnr^^l 
The young farmera. who havp sought vainly for theii laie servants, have come hither to 
walch the Queen and het train at the hunt, and (orgeL the two maidens who have wrought 
such havoc with their aflections. The act opens with the spirited apostrophe to porter 
bee., sung by Phnk^tt- 

Canzone del porter (Porter Song) 

By Marcel Journec. Bass (In Italian) b4014 10-inch. *1.00 

By Carlos Francisco iDouilc-fa,rJ.>c, gage 303) (In Italian) 16812 lO-inch. .75 

This most fimous of old EnKhsh beverages is highly praised by the jovml Pl^nkfll. who 
gives It credit for much of Britain's vigorous life. 

I Wi,nl 1^ n-k y..i,. .-an you ri.>l Ir-ll iw. It Kuidt^.I.'Iln Hull, wlur,-ir lif 1.,. 


Tbe fanners diapene, laving LJonet alone, and he aagt hU femoua "M'sppBri," the 
i)elo<lioiu air of the broken-hearted lover, in which he tella of hi* hopeleu paciion for the 
inknown Martha. 

M*appari (Like a Dream) 

By Enrieo Canuo, Tenor 

By Giovanni MutinelU, Tenor 

By Evin Willianu, Tenor 

(/n llaHan) 88001 I2>inch, *3.00 
(hlhlliin) 74469 12-inch. 1.50 
(In Engllih) r4128 12-isch. 1.50 

n bright and fair. 
y tbougfat of art. 

Mkde tbc world ■: 
Bui. als ■ ■' 

of bliii 

Lionel luddenly encounter* Ladu Hanltl, and although amazed at aeeing her in ike 
drew of a lady, warmly pleadi hii love. 

I La^ Harrltl is forced lo call the hunters, to whom she 

declare! that Llotxl muM he mad. He i* diitracled, while 
Ptanlfell endeavors to console him. The great finale, a part 
of which is in the "Cems" (see below), then occurs. 


SCENE l—Plunkelf, Farni Hotue 
FlaiJfelt is discovered alone, musing on the unhappy 
plight of his foster brother, who. since his rejectlan by HartM, 
ia inconsolable. 

Nanqi enten, and she and PtuvlftU aoon come to an un- 
derstanding. They decide to present iJomi't ring to die 
Qnecn, h^ing thus lo dear up the mystery of his birth. 
SCENE \\~A RtpnMoHalhn of the RlchmonJFalr 
Lhntl 'i ring has been shown lo the Qocen, who discovers 
that the young roan is reoUy the son of the banished Earl of 
Dttbg. However, he refuses to accrat his rightful rank and 
continues to brood over the insult offered him in the foreet. 
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. Hanitt. Nancy and PlunkeU are dreswal in 

Uond U led in by Piuritelt. and when he sees Harriet in 
the dress of a servant, the cJoud seem* to pass from his 
mind and he embrace* her tenderly. The two couples 
pledge their troth and all ends happily. 

Overture to Martha By Pryor's Baodl 

Nocturne (n £ll {Oput 9) {Chopin) }35133 12-inch, *1.25 

By VicUa Sorlln. 'CdUil (ftan* oef.)| 
List Rose of Summer By Elizabeth Wheeler, Soprano] 

{In Engllih)\lbai3 
Tarmhatua — The Eeating Slar By Vlctoi Sotlln. 'Cdllil] 

Good Niffht Quartet By Lyric Qusrtetl 

Madrigal from " The MlkaJa " (BrlgMy Daiom oar tVeddIng U 7226 
Day) {GiOtri-Sullloan) Bs Lsric Qaarttl\ 

Cantone del porter (Porter Song) I 

By Carlo* Francisco, Baritone (/n/(ajfan)l,.g,, 
Tnoatere—Il halm del MOO torriio (TAe Tanpat of the Heart) .'"""-^ 
By Frarxaco Ogada, Bartlaae (In Italian)) 
Gem* from Martha 

duns of nirna— Quartet. " Sniaa 3s Sfay"— " LaM Roh of Simunn"— '*GDa<l Niahl 

QnutM — "Mv Dnems Tnanpett Tkao^-Kaflmr^Mk Mer Hwvb Foiain Thee." 

. By the Viator Op«ra Compuy (/nfiaiAiA) SlrST 13<lncb, 





T^xt bv M. Si.inm.i. music by Vrrdi. Firal produced in Rome at the Twlra ^potfo. ' 
February 17, IHi'J: ai Pans. Thi6l,t </« ^M/iem, Jnnuary 13, 186), Fits. London ptodurtion 1 
June 13, Ifibl. Firat New York production February 1 I. 1861. Some notable MetropoIilM J 
revivals in 1903 with de ReszUe: February 6. 1905. with Caruso, Homes. Homer. 1 
Scolli,<;on and joumet ; and November 22. 1913. with Caruso, Deitinn. Matzenauer, ,fl 
Hcmpel and Amalo, " 


RH.IiAKD, Count of Warwick and Governor of BoMon Tenor 

RUNHARl, his secretary Baritone 

AMKLIA, wife of Reinharl Soprano 

Ulrica, a negress aalrologer Contralto 

Oscar, a page ... Soprano 

Samuel,! ■ i v, n " 

rOMASO,r'"=""" "' ""^ ^-"""' - 

5c(r,( and PetioJ . /., anJ near Boston. cnJ of the s. 

The opera was composed for th<; San Carlo. Naples, and first called Gustavo 111 (after an 
as»«inated Italian monarch), but after the announcement had almoO created a riot in Naple*. 
Verdi was farced to change the scene from Stockholm lo Boston, and the name to Ballo in 
MaBchera, Finally It was thought best to abandon the Naples premiere altogether, and the 
opera was taken lo Rome. 

There are many, of course, who consider this work old-fashioned— and so it is. not 
pretending at all to be a great music drama; but tb^-re are many far more ambitioui 
works with certainly less real music, and the familiar Eri lu. the Sapti iwrssli and the fine 
concerted numbers in Acts II and 111 are well worth htarin-.- 

Richard. Count of Warwick and Governor of Boston, falls in love with Amelia, the wife 
of Rcinharl, his secretary and intimate friend. This love is returned, but the wife's conscience 
troubles her, and she consults Ulrica, a black sorceress, hoping to secure a drug thai will 
cause her lo forget Richard. Ulrica sends her lo gather a certain herb which will prove 
effective. Richard, who had also gone to consult the astrologer, overhears (he conversation, 
and follows >4mrf/a to the magic spot. /)me/r<r'i husband, whohascome In search of Richatd 
(o warn him of a conspiracy to assassinate him. now appears, and Ri<:hard makes his eKape, 
after requesting Rrmhad to escort the veiled lady to her home without atlempiing to learn 
her identity. On the way, however, they are surrounded by the conspirntors and Amelia 
is revealed. ReinhaTl swears vengeance on his false friend and joins tbi' plotte.s- 

At the Masked Ball. Richa,d is stabbed by Reinharl, but the dying man declare* the 
innocence of A-,elio and forgives his murderer. 


SCENE 1 -A Hall in Ihc Goinrrmr'^ House 

The hall is filled with people— officers, deputies, gentlemen, etc.— waiting for the 

appearance of the Governor, He enters, is warmly greeted by those assembled, receives 

their petitions and inspects a list of the guests invited to the masked ball. The famous La 

rioedrd, the quartet from the first act. then occurs. 



La rivedri nelPestasi (I Shall Behold Her) 

By Enrico Canuo. Tenor ; Frieda Hempet. Soprano ; Leon Rothier. Biii : 

A. Perello de Seturoli. Bsh: and Choriu (In Italian) 89077 12-iach. $4.00 
Thia number, althouffh uiually taking it* title from the famoua aolo of Richard, La 
tIeeJri, actually begin* with hi* greeting o( the people who have aaaembled for the 
~ 'i morning audience : 

RicltAiD (HjHIino Ihi aiitm 
My friends, soldiers, and 

Thf only charm in power 
Good deeds with glory. 
OtCA« (addresiii 


invited to tht ball. 

, . n in a choru* of pniae, while the 

Gorupiratara, headed (qr Samud and Tomato, decide to idect a 
'to conaummate their plot* against the 

Alia vita che t'arride (On the Life 
Thou Now Dost Cherish) 

By Titu RufiFo. Baritone c*«uto as iicha.!. 

[InllaUan) SrilS lO-tnch. «2.00 
In thia fine air he enthuaiaalically praiaei Richard't noble acta, and tella him hi* frienda 
and faithful *ub)ect* will defeat the plana of the con*piTstor*. 

A negro woman, Ulrica, i* now brought in and accused of being a witch. Oacar, in 
dia ait VAla la lema, *o ably defend* the old woman that Richard lau^<* at tl 

Volta la terrea (Readintf the Stars on Hifh) 

By Frieda Hempel. Soprano (/n haUan) 8T29S lO-ioch. I2.00 

Richard call* hi* courtiers around him, and ■uggesti thai for a lark they go disguised lo 
the hut of the aorceress and consult her. The friends agree, and the plotter*, headed by 
Samael and Tomato, lee a chance to further their plan*. 

SCENE II— TRe H«t of Vlrica 
The hut IB crowded with people who have come to have their fortunes told. The 
soTceres* stand* over her magic cauldron and sings her incantation. 

Re deir abisso (King of the Shades) 

By Carolina Pietrscewika. Contralto (/n Italiari) 7600S 12-inch, •2X)0 

She call* on the ab]'**mal king to appear and aid in her mystic rites. 
UuicA <ai >y \iuHTti); The ominous lapwing. 

ttanen. O King of the AbyssI Three times, too. has been hisung 

Fly throuih the ambient air Tbe venomous red dragon. 

Three limes has been heard screeching. The spirits from the graves! 

The Governor now arrive*, dreaaed a* a aailor, and accompanied by hia companiona. 
Hiey are convetaing with the witch when a knock ia heard, and all kkve the hut by UlHca't 
order* except RhkuJ, who a ' * ' " ' 


Arrnha enlrr? and aaka ihr aorreress to give her peace of mind by banishing a 
whidh she i.^niiQt conlrol. Thr witch promites speedy relief if Amelia will gather a cei 
herb which grows near the town gallows, and irom which can be brewed a magic [iqucav 

Delia citti all'occaso (Hard by the \(^estem Portal) 
By Ida GiacamcUi. Soprano : Lina Milen. Contralto; Gido 

Martinei-Pitii. Tenor (In Ilalian) •68143 12-inch. *lM' 

The Frightened girl consents to go that very night, and takes her departure. Ulilca n<n 
admits the people again, and Hichoni. in the character ol the sailor, asks her to tell his For- 
lunp. Hia inquiry of the propheiesa takes the form of a barcarolle — the favorite measure 
sea-song — and the ballad, vigorous and tuneful, has all the swing of a rollicking song of the 

Di" tu se fedele (The Waves Will Beat Me) 

By Enrico Carusu, Tunur, and Metropolitan Opera Chorus 

tin llalian. 67091 lO-inch. *2.0O 

By (Jiovinni Maninelli. Tenor {In llalian) 64467 lO-iDch, 1 

Thia ntliactive hnllad is full of humor, the ilaccolo passages toward the close indicating; 

the Covernnt'a impatience Lo Icacn the future. In a gay mood he hanters the wor 

asking her lo Icll him if he will meet with storms on his next voyage. 

If V'l'.'i.ilig IbAm^d "nc rnI„'r«foin I "o* 

l-ari^»i-"l'''l" ™ saying, my i'>vr is lietrayiBg. 
ttlih «1[* .Ml usunaet, with .>™l in com- 

Thc anjet of Heav'n . 
Then Wte with il 

.n<] llcU lo defy) 

Or dcall 
Ulrka rebukes him. nnd examining his palm, tells him he is soon to die by the awotd nf 

that Iriend who shall next ah^ke his hand. 

Quintetto. "E scherzo, od e folHa" (Your Prophecy Absurd!) 

By Enrico Caruso, Tenor : Frieda Hempel. Soprano; Mme. Duchene, 
Mezzo-Soprano; Leon Rolhicr. Bass; A. Perellode Sefiurola. Bass; 
and Metropolitan Opera Chorus (/n Italian) 89076 12-iDch. *4.00 

, although it 
s title from the commeno 
f Richard; laughing -t »ch 
■ally begins with the commi 
I the hor 

* Dautk-Fn,^J RtEo.rf— S« MP- 309. 


The conjpiretor^ Samad 
mad ToBiate, are uneaq', 
(hinlcing ihemKlvei lua- 
pectecip but the Oovemor 

IbukIu and aiki who will 

graq) hii hand to prove the 

prophecy falie. No one 

darei to grant hit requeit, 


Which one will prove 

The prophecy filwf 

iOgtri hii hand. Iml all 

Rdnhart, who has be- 
came ansioui about hi* chief 
and has come in aearch oE 

the Governor, ihakes him 
by the hand, csllins him by 

oE all those not in the secret. 
Sir Richard tells the witch she 
is a false prophet, as this is 
his most faithfui friend. 

li my moil faithful friend! 
All the people greet the Governor with cheers, and kneeling, mag the hynut : 

O figlio d'lnghilterra (Oh. Son of Glorious England) 

By Giuseppina Hufiiet. Ines Salvador. Francesco Cigada. Ariatodemo 

Saiich. and La Scala Chorus (h batian) *b3l73 lO-ineb. 

ACT 11 
SCENE \—A FItld—on one ildm a Galloau 
Amelia, much frightened by her lonely surroundings, enters in search of the magic herb. 
She liiigs her dramatic air. Yondtr PianI Enehanled. 

Ma dall'arido stelo divulsa (Yonder Plant Enchanted) 

By Johanna Gsdski. Soprano (h Italian) 00496 12-inch. SS.OO 

By Lucia Creatani. Soprano [In Italian) *68I43 12-inch, US 

is midninhtt Ah, 


Deign, oh, Heaven. Thy, alrenith to imps" 

The vision reaolvea itaelf into Richard, who n< 
approaches. The unhappy girl conf eases that she lo' 
him. but bogs him to leave her. 

Ah ! qual soave brivido iLike Dew Thy Words Fall) 

By IdaGiacumelliandGinaMartiiieE-Paui ilnltalian) '68026 12-inch. tlOS'l 

Biciisiii'; Kilurni wilh giinl power, Ihe love my hEWt'l 

,\'i/l'.n'\tilh'^.u^- (o'nd pals"™' "' ' Ah'won'd'lw HMven ■twrtc gr»nled. 

a!i, ihiiliiiiu i%'iiIi I'limtu.-iun tlieu Rentle Tu siib foi bin my lale« breitli, 

iMiiil-. .[Ljiir Or in_ dealh's slwp cnchanied tetl my * 

Tr,."." -- 1. r Biilthy nolik hcarl ii-itl proWcl mr from 

Th.-i . ;, ;i ■ .1 li li,,. .ippearance oF Rrlnhatl. who comes lo warn Richard that 

his pnrriiii - ' I ■ ■ i:i . •!' ii> iiiurJL-t him. Richard, unwilhng to leave Aiatlio. is forced 

taeaV l<^'.<:'' ..'< < .-..ii tl. vrnlr<d I.Wv to ihe city without necking to discover her iden 
Rt,nhi>rl swr...* to ol3,.y, nod Wic/rord makes his escape. The couple .larl for Boston, but 
are surruuncJeti by tht? conspiratora, who take Reinhori to be the Governor. DisappoinCetl 
in their prev. they tear the vei) from the unknown lady and Relnhart is astounded lo see ihot 
it is his wilri. The great finale to Act II now occuis, 

Ve' se di notte qui con la sposa lAh ! Here by Moonlight) 

By Giacomelli. Minolfi. Preve and Chorus (llallan) '35179 12-iDch, »1 JS 
Amflia Is overcome with shame, but protests her innocence. Rtinharl bitterly upbraids I 

her and denounces his False friend Richard, while the conspirators depart, anticipating (btt J 

acnsatton which the city will enjoy on the moirow. 

Rtinharl, now bent on revenge, dccidBi ta caat hii lot with the plotters, and the 

closes as he says to Amelia with deep meaning: 


SCENE \-~A Room In Rcinhaifs House 
Rci-harl ia denouncing Amelia (or her supposed crime, and finally decides lo kill her. 
She beg, to be allowed to embrace her child once more, and her husband consenting. 
she goes out. 

Morro ma prima in grazia (I Die. Yet First Implore Thee) 

By Johanna Gadski In !lalian< 88497 12-inch. »3.0O 

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 Rcinharl he swears to avenge his wronga. 

Eri tu lis It Thou?i 

By Emilio de Gogoria /n llalian' 88324 12-inch. »3.00 

By Pisquale Amato /n llaliun) 88464 12-inch, 3.00 

By Titia RufTo lln /(a/funl 88344 12-inch, 3.00 

By Maltia Battistini l/n /lolian) 92044 12-ineh, 3.0O 

By Giuseppe dc Luca In Italian) 74526 12-inch, I. SO 

By Francesco Cigada l/n llalian) ■ 33 1 79 12-inch, 1.29 

Somael and Tomo^o enter ^md Reinharl tells ihem he knows oF thel, n1ot<i. .lod will a»i.t 

them, as he desires the Governor's death- They dia 

the assassm. Amelia enters in lime lo re.iliie the stale 

the Governor's liFe. when Oicar. the page, enters beari 

The page, beginning an effective quartet, tells oF the 1; 

close of the number the conspirators go out, after agr< 

SCENE \]~The Governor's F 

Richard, alone, resolves to tear the unworthy lov, 

Reinharl to England, 

* DKuikFaceJ RtcorJ—Sm patr 309. 

s mui 


r,harl h 

' rh. 


in h,. 


is aboL 

to the 

■ M,i 

Lsked Ball. 

nrv ol 



nt ihe 

on the 






Ma M ffl'£ fbrza perderti — Romanza (Forever to Lose Thee I) 

By Enrico CaruKi. Tenor (In Ilallm) 88346 12-inch, $iJ)0 

The recitative tndtcatei this deciaion ; 

Haply I h> 

1, 6ndint peace of mind 

, will 'f 0^1? hfm. 

in hia bosom, he gives expresaioi 

If compel led to Iom thn now 
To pari (rom tbee (oreYer: 
My Wrning thought! will fly to ib«, 
Tfiough (ate ourV may «ver. 
Thy memory itill enshrined shall be 
A p>se brings a note lo (he Governor from «n unknown iBdy who wami kiir 
plot, but Richard resolves to brave his enemies and attend the ball. 

And now, wbBI dark forehodingi 
Around my soul are Ihronging? 
When, once mnie to bebold l£ee, 

scene: III— Grand Ballm 

n the Goo. 


Rdnharl, mingling with the guests, tneeta the page 0«ar, and 
attemps lo learn how the Govemoi is dressed. The page teaaea 
him, sinBing his gay air, Saptr narrate. 

Saper vorreste (You Would be Hearing) 

ByLuisaTetraiiini (Inllalian) 88304 12-inch, «3.00 
In reply to AdnAort'j questions the merry page tauntingly singK 

When he has : 

I, tbe fact be hidden P 

0( iDvr my besrt feels all th 
Yel walcfaful ever, my secret 
Rank nor bright eye* shall t 

le page finally reveals to Rdnharl that the Cover- 
black, with a red ribbon on hit breast. 

JM the Governor and warns him againat the plot- 
ten. He bids her farewell and is about to go, when Rtlnhart stabs 
him. The dying Governor, supported in the armt of hi* friends. 
tells Rtinhari that hia wife ia guillless, and that lo remove her from 
temptation he had planned to send Reinharl to England to All an 
honored post. 

The secretary is overcome wilh remorse, and Richard diet, 
after declaring that Rdnkart must not be punished. 


{DeUs citt4 all'occiio (Hard by the ^'estern Portsl) 1 

By Gucomelli. Mileri ind Mtrtines-Pstti (/n Italian] [68143 12-inch. : 
Ma dalt'arido ttelo divuba By Lucia CrcSUni {In Italian)} 
)Ve' se di notte qui eon la tposa (Here By Moonlight) I 

By Giaeomelli. Minolfi, Preve sod Chorua (In Italian) >3S1 79 12-inch, 
Eri tu (It it lliou 1} By Francesco Citfida (In Italian) I 

f Aht qnal foavc brivido By GiscomcIIi and Msrtinez-Patti'I, „„_. ... . 
I FoaaDtMno-Nonhnprtcart Gtacomdil. Martlna-PalH and Prarr''"^'' l*-""!"- 
fO fifUo dlnfbilMnrs (Oh, Son of Glorious En^nd) I 

ByIIuriMt,4alwlor,Cltfs<Ia,Sillieli indChorua (In lfaHan)\tins lO-ineh, 
" ' " " kHf BgUmlaCM,Sttimm (/hAoftan)] 





Roito; a p»rBphr»»e of bolh parts of Goelhe'a "FBUBt." Ihm'i 
firal production at La Sola, Milan. I 

vilKauccess. Firal London pro- 
July 6 ■"" - ■ ■ 


emy of Music. 
24. 1880, with CHinpaniai. 
.nd Novara. Given at ihe New 
19 Opera in 1881. in Italian, and 
4. in Frrnch. Oth« New York 
niona were in 1896, with Calv«; 
9. m Geiman. with Lehmann: 
IWI with Mclntyte. Homer and 
.n; in 1904 with Caruso and 
.; in 1907. for Chaiiapine; in 1906 
ManhalUn Opera: the Chicago 
■ ' Ruffo; and the n 

?o. Dos 


I, Her 










Pantaus . 


Celestial Phalnnxi 


. Soprano 


itic Choir. 
Cheriiba, Penitent!, Wavfaters, Men- 
al-atms. Huntsmen, SludenlB, Citi- 
zens, PapuUcc. Townsmen, 
Witchea, Wizards. Greek Chorua, 
Sirens, Naiad*. Dancert, Warnora. 


le great modem compoaen. Hii 

notably the Garden Scene, with it* loveh' nnuic and the PnK>n Scene, in which the pathoi of 
die deiDented Margartl'i wanderinsa, Uie heautihil duet and the frenzy of the finale are 

great poel'a work it 


SCENE— TAe Rtgion i>f Spaa 

The prologue to Bolto'* opera i« ■ moat impreadve icene, which take* place in the indef- 
inite regioiu of apace. Invisible angel* and cherubim, aupported by the ceieatiai tnimpeta, 
•ing in praiae of the Ruler of the Univerae. 

M^iloftle ia repreaented hovering between Hell and Earth, denying the power of Cod. 
He addreaaea the Almighty in hia Hall, Gnat LordI 

Ave Signor (Hail, Sovereif^n Lord) 

By Marcel Journet. Baaa {In Italian) 64126 10>ineh. 11,00 

The Devil conlenda that man ia but a weakling, eaaily cheated oF hia salvation. Standing 
D a claud M^sla/tlt mockingly addreaaea the Creator : 


Hail, Sovereign Loiii. 
Forgive me if my liawlinB 

■Mid Stan his nose ia pu.h- 


Then with superb (atuity 

ThoM sublime anlhems aung 


For|i«"e i^ m"fa« ia 

Trijia with pride cantuna- 

^■J;^jfc ■ 

Now wanting the radiance 

Vain, giorioul atom! 

Thai, u witli a Rarlind, 

Pro»d -mid confusion! 

The eherub legion graces! 

Phantom of man's delualon! 



Ahl in auch deep degrada- 

^^B^^^^Bl jM 

Is fsTlen the master. 


Lord of the whole creation. 

No more have 1 the will. 


Errelh through wrong opin 

While in thai atalion. 
Ilim to tempt to ill! 

^^^m m 

And"'like a cricket, with > 
iong leap rushing. 

^^^^^m iB 

Then, diacuMing Faast 

with the Myatic Chorua, M^/Frio- 


ftlt wagers that he can e 


path oE virtue. The cKall 

nge ia accepted, and Mt^jloMt 

diwppears to begin hia plou against the soul of Fmtl. 




SCENE \-A SquoTt l„ 

F,ankfort-Ea,te, Sundau 


The aged philoaophe 

Fault, and hia pupil Wagntr. 



and aaya to Wagners 

■■■■ih— ^,- 

Fausi: Observe him cloHly. 

Tell me. who is he? 

WACHa.: Son,., lowly Friar. 

circle*; *nd with each spiral, comes »er nearer and nearer: Uh! as i gare, 1 <^cu- his foolprinls 
marked in firel 
'Wmhsi: No, maatcr. 'ti* some idle fancy. 'Tis a grey friar, and not a specter. Come hence, good 

As they leave the tquare^ followed by the Friar, the scene changes to FamI '» laboratory. 

SCENE II— Tie Sludlo ofFeaii. It It Nlglit 
FaatI mOan, oat obaarving that the Frfor alipe in behind him, and o 
an alcora. Tba aaad philoaopbar dalmn hia aoliloqvy, Dri cmmpl. 


Dai campi, dai prati (From the Green 

Alberto Amadj. Tea ot ( Daatli-Faral — hc^.J/V) 

[In Italian) 63313 lO-inck. *O.I9 


Fmro the mcidowi, from the vn: 

Jit tuthcd in noonUcbl, 
Anil where palhj liient ileep. I c 

My . 

s low tor 

The Friar appear*, and ihrawitig off hia dUgu'ine 
himself as the Devil. oAeHng la be Fauil'i servanl il 
MLurupBuy him. "What is the price J" asks the philosopheB 
■■Up here 1 will obey thee." By. Me/iito/e/e. "but belm 
our places will be rrverud." Faa,l say* he cares ' ' 
(or ihe future, and i( Mtfi^tle can give him but o __ 

' ' .ppiness. for that at>e hour he would sell hia soul. Tbaf 

am ia made ant) they set forth on ihcic advcnlurea. 


SCENE-FAe Gardrn of Margaret 

Fa^,l (now a handsome young mar 
known as H^nru) is MraliinR in ihe gar- 
den w,th M-rgir^l. while MrfiM'l'. as 
inGoiinod'sversion. makessarcasljc love 
to Martha, whom Bolio has pictured as 
Moigaifl's mother, Faual pleads for a 

dares not consent because her mothel 



eps lightlv. He gives her 
ughl, assurirg her thai i 

sleep soundly. The scene 
nly changes tu the mou 


se her 
ns d 


The S„ 

nmil 0/ l/iu BfDc 




Th.s seen 
Dcken moun 
nd ia whiall 
fch ia help 

shows a wiiJ 
lains by moorl 
ng in weird gu 


in the 



b ih.- 

jagged rocks, from which llam.'s now 
and ihen dart forth, Will-o'-lhe-wisps 
flultcr to and ffo. and Faait welcomes 
them. Krateful for the light they pve. 

Arriving al the BUmmil. MeJiMo/th 
summons ihe infernal host — demons, 
witches, wizards, gobhrs. 

T the 1 

.a fCin 

All pay hi 

eat joy as he hre^aks into fragment 

glass globe, typifying the earlh, cryi 


" On its auiface vile iBce* dwelt, degnuled, toilaame. quarreling unoog thenuelve*. They 
lau^ at me, but I con laugh sUol" 

Fau^ now sees a vinan o( Margaitl, on her way to prison for the murdcc o( her mother 
and her babe. A red itain on her neck horrifiei him, but Mefiitoftle laugh* and aayt, "Turn 
away your eye«." The act cloaei in a riolou* orgy, the 
demons whirling and dancing in a mad revelry. This 
wild scene is graphically pictured in KreUng's painbng, 
reproduced on page 312. 


SCENE— TAe Prim >4 Maiganl 
The demented girl ia lying on a straw bed. She 
rouaea henelf and sings her sad ballad, /■ 'a/fra nolle. 

L'altra nocte (Last Ni^ht in theDeep Sea) 

By Geraldine Farrar. Soprano (llallanj 

88114 ll-inch, *3.00 
By EMa Cavaliert. Soprano {Italian) 

5901 9 12-ineh. 1.90 
She raves of the cruel iailers, whom she says threw 
her babe into the ocean and now accuse her of the crime. 
To Itac Ka. O nighl of udncu! 

Father, pitr me! 
In a dnlhly alumbcr tallinf. 
Died ay mother, no aid cauld save btt; 
And (□ ciown the wm appalling. 
They declare I poiioB gare her! 
Mtfitlefdt now entera, followed by Fault, who begs the demon to save Margard, The 
Eend reminds Fmul that it is his own fault, but promises to try, and goes out. 

Foul goes to Margaret, who does not know him and ia frightened, thinking her jailei* 
have come for her. He urges her to fly with him, and they sing a tender duet. Far Aaag. 

Lontano, lontano (Far A'way) 

By Geraldine Farrar. Soprano, and Bdmond Clement, Tenor 

{Italian) 88432 12-iach. f3.00 

*Mid palm ti 


a brief 

The return of Mtfiituftlt drives Margaret into a frenzy, and ihe 
prison, Bnally falling into Faait't arms in her death agony. Her senses 
period, ihe forgives him and dies, while a chorus of celestial beings an 
la saved. FaiU and M^ilofelt disappear just as the headsman and jail 
Maigard to ezecubon. 

The Nighl of Ihe Claulcal Sabhalh 

We are now transported to distant Greece, where M^ilofele has resurrected the beautiful 
Hden of Tiw for the further temptation of Fnuil. The scene shows an enchanting spot on 
the buka of tbe Paneua, with the moon shedding a golden light upon Helen, PanlaOi and 
group* of Siieaa. Food and Mefiilofele enter and the former soon forgets all else in the love 
of the fair Credao. M^ttofelt, however, feels out of place in this classic neighborhood, 
and Wvint FrMrf in dte arms of Hdtn, retuma to the Bracken, where be amuses himself 
with hi* MiMaie enw. 



Giunto sut passo iNearing the End of hiie' 

By Alberto Amadi. Tenor i/n /lalian) 63313 lO-inch. *0.79 

Mtfisloftlt cnt»9 (or his final Iriumph. bul Fauit lurns to <)><- Bibl<- and seeks salvation. 
Mtfislofde. m despeialion. Bummons [be Sirens to bis aid. bul Fouif. leaning on the sacred 
book, prays for forRiven^a, and .be defeated Mtfislo^U sinks into ibe Kfound. A shower 
of roses, a token of h'auifs salvation, falls on the dyinu man as the- curiam descends. 

iMetlscofele Select 
Fofza Jet Dalino- 

:tion By VesselU'i Italian Bandl 

t], ycutlh's Italian Band] 

35512 IZ-inch. »1,2» 




Both tcM end munc by Wsgner. The idea oE the opera wu •uggeited to the com- 
■poaer in boyhood, ma wu Tannhlluser, hy the reading of one of Hoffmann'm noveli, and wot 
plumed •• • kind of burleaque of the Mtnnetlnger conleat in TannhKuter. First production 
in Munich, June 21. 1668. Vienna fir*t heard the opera in 1670; Berlin the aame yevi 
Leipaic in IB72, and Milan 1890. 

The fint performance in England took place at Drury Lane, May 30; 1682; an Italian 
venion wai given at Covent Garden in 1689, and an En^iih production by the Cail Roa* 
Company at Monchealer in 109Ei. 

m t&8B it wai given for the firM time at Bayreuth; and the lirat American production 
took place at the Metropolitan Opera Hou*e, New York. January 4. 1686, with Fiacher, 
StaudigL Kemlitz, KrKmer, Kiauu and Brandt. Some notable American production* oc. 
curred in 1901. with de Retike. Gadiki. Schumann-Heink. Dippel and Biapham; in 1905. 
with Van Rooy, Acte and Burgitalier, and the thirty-teven Metropolitan perfoi 
der Sig. Calti-Caaazza, with varioui 6ne casta. 


Hans Sach& cobbler, 

POCNER, goldamith, 
VOCELCESANG, furrier, 
NACHTIGAL, buckle maker, 
BECKMESSER. town clerk. 
KOTHNER. baker. 
ZORN. pewterer. 
E15SUNCER. grocer. 
MOSER. tailor, 
ORTEL, aoap boiler, 
SCHWARZ, slocking weaver. 
FOLZ. copperamilh. 

conian knight 

David, apprentice to Hana Sach*. 

Eva. Pogner'a daughter 

MAGDALEN A. Eva's nuiK 

_..."^" — 


'♦■t^l-- "?"'"• 

Burgheri of all Cuilda, Journeymen, Apprentices, Girls and People. 

Scene : Naremterg In iht middle of Ma iMecnfA cenfuiy. 

To the opera-going public in general Meiateriinger is the moat 
entertaining of all the Wagner operas. Its gaiety and lunefulness are 
charming, and ita story easily understood by an audience, which 
cannot be said of most of the worka by the master. 

The humor is essentially German.— an intermingling of play- 
Fulnesa, aatire. practical jokes, and underneath all something of 
■eriouaness and even aadneaa. while the romantic element, provided 
by the lovers. E«a and Widia, ia not lacking. 

The opera ia a aatire on the muaical methoda of the days of 
the Reformation, the mediaeval burner's life in Nuremberg being 
pictured with ■ master hand. The lores of IfaAsr and aoa; the 
noble philoaophy of Sad», the cabblei>pael; the envy of the ridicu- 



Ev» B«atow( the Wrath of Victory 



I the 

e night widi Saela, comas in 
jndeiful melody which hsd 
iey write !t down uid leave 
t and B t d pnt t ter enten, aeei I 
lOut it. Satkt make* him helie _ . . . 
» him, having conceived a plan 

on the table. 

own and offer* to 

1 for 

I ike 

e appearance of Wttlltt. Btdtmattr 
erjoyed and run* out to team the tong, Eva enter* to 
1 shoe fitted, and then occur* the great acene in which 
famoua quintet i* *unB' The young girl, who ha* ju*t 
lully revealed to her the noble character of Ham Saeht, 
lo the good Bhoemaker, and with a grateful heart ring* — - 


SCENE n—A FidJ on the SHant of Ihe Riser Pegnlti 
The acene luddenly change* to an open meadow on tbe 
banlu of the Pegnitz, where the conteil \a to be held. The 
■pectBcle ii s brilliant one, with gaily dvcaiated boats dio- 
cbarging the varioiu Guildi, with the wives and families of the 
membera. It ia in thia acene that the famous March of the 
Guild* U played. 

March of the Guilds 

By SooM** Baad (Da,aie-faaJ. « mc 322) 

39044 12-iiicb. tlJS 
II and maTcb to taka tbeir pUcea on 



wonb infinite, 

and, ditply 

Bcrknater,^ who » in an Bwlul state with his eSoTta I 
rarnniit Wallct't song (o memory, wipes his heated brow a 
b.:gins- He confuses his old melody with the new one. to 
hia place, miiei hia lines, and is lorced by the laughter 
the people to slop. In a towering rage he accuses 5acA* a 
1 down the song and rushes off. ^^ 

.11 and lemaiks that the song is e, 9% 

The ^m^ 

-DMi*fe-5o« J RtcorJ—Si 

The Maslersingeis agree that U'alUr may attempt the ait. 
ajjd he moiints the pUlfo/m and sings the nohle Prizt Song. 

Preislied (Prize Song) 

13v John McCormack. Tenor 

ilnEngliihi 74479 12-inch. »1.»0 
Bv Evan Williams 

: In Endi-h 74115 1 2-meh, 1 .SO 
By Mischa Elm»n. 74180 12-inch. 1 .SO 

By Lambert Murphy, Tenor 

l/n Gf'moni 700B0 IZ-inch. 1.25 
By Sousa'9 Band '35044 1 2-incn. 1.2S 

By Beatrice Harrison. 'Cellist 

'550fe7 12-inch. 1.50 
By Victor Sorlin. 'Cello "SS 1 II 1 2-inch, U» 

:tlner>inier, Act III.) 

nraujo, lad p,;,, 

"■Sri" ;™!' ■ 

h^s tnee befo.„ ,„., 


Text by Barbier and Carre, baaed upon Goethe's H^llhelm Melttei. Music by Ambroiae 
Thomas. Firal production at the Ol>ira Comique. ParU, November 17. 1866. In London at 
Drury Lane, 1870. Firal New York production November 22. 1872. with NiUion, Duval 
and Capoul. Revived at the Melropolilan in 1900. with de Luuan. Adami, Selignae and 
Planton ; by 0«car Hammeiatein in 1907. with Bieutei.Gianoli. Pinkert Bonci and Arimondi. 
and at the Meliopolitan in 1908. with Farnir. Jacoby, Abolt. Plan^on and Bonci. Thomaa' 
work ia among the most popular ai at) operas in Germany, and during the decade 1901> 
1910 was given nearly three thousand presentation*. 

Characters of the Drsnu 

MiCNON. a young girl atolen by gypsies Mezzo.Soprsno 

FlUNA, (FllJct .nah\ an actress Soprano 

Frederick, a young nobleman Contralto 

WILHELM MEISTER. a student Tenor 

LAEBTES. (LoK'-teii an actor Tenor 

Lothario. a<>AjAaA'.«.aA) an Italian nobleman Basso Cantante 

GlARNO, (Mr'-™*) a gypsy Baas 

TownsFolk, Peasants. Gypsies, Acton and Actresse s . 

Tht sca« of Adz I and H It hid In Gennani,: of Act III in llal,;. 

Overture to Mignon 

Part I and Part II By Victor Concert Orcbestrs 1 7909 lO-inch. 10.79 

Part I and Part 11 By La Seals Orehems 68019 12-inch. US 

By Pryor*a Band {Condtnted) 31336 12-incb. l.OO 

The overture ia full of the grace and delicacy (or 

which Thomas' music ia celebrated, and conlaina the 

principal theme*, notably FlUna'a daahing "Polonaise." 


SCENE— durfyarj of a Gtrman Inn 

Mignon, a daughter of noble parents, was stolen 

when a child by gypsies, and as the act opens is a 

girl o( seventeen, forced to dance in the public streets 

by the brutal Glarna, chief of the gypsy band. 

The first scene ahowa the courtyard of a German 
inn, where townspeople and travelers are drinking. 

After the opening chorus. /.olAario, a wandering minstrel, ^^h ^■^BMSXlT^ 
enter* and sings, accompanying hinueK on hia harp. ^^^ft. "^ ^V^^^i^\''l.' 

Opetting ChOFUS and Solo. " FuggltivO ^^B* ^- ' ■^- 

e tremante" (A Lonely Wanderer) 

By Perelld de Sefurola. Baas, 
and La Scala Chorus 

{/n hellan) *9S004 12-inch. *1.90 

Fugffitivo e tremante (A Lonely 

By Ceaare Preve, Bass (/n llatian) 

'62650 10-inch. (0.79 >aiib;kr as micno^j 

The minstrel i* in reality Mignon 'i father, whose roind was affected by his daughter's 
abduction, and ha wanders about seeking her. 



The gypsy band appean and Mlgnan U ordered to dance by Glamo, who threaleiu her 
with hia (tick whBD aha wearily rehuea. fVllhehn, a young atudent, protect* her {rom the 
nrpiy and quettioni her about her paienti. She remembera little, but telU him of her 
imprewion o( home in thia lovely Connalt-la It POIM, hill of lender beauty. 
(Prmeli) (ED(li*h) 

Connais-tu le pays ? (Knowest Thou the Land 7) 

(Gcrsua) (Itiliaa) 

Kennst du das Land ? Non conosci il bel suol ? 

1. Soprano 

By Geraldioe Farrar and Friti Kreialer 
By Gcfaldine Farrar. Soprano 
By Emmy Dettinn, Soprano 
By Emmy Deidnn, Soprano 
By Giuieppina Hufueti Soprano 

Contralto (InCern 

(In Frtnch) 88098 12-inch. tS-OO 

(/n FnncA) 88938 12-ioch, 

(ta FkikIi) 8821 1 12-iiich. 

f/n Gennan) 68467 12-itich. 

{in Gcman) 91083 10-inch, 

(hllaltan) *39I78 12-inch. 


caught the __ 
poem and hi 

ua an idea of the melody, one of the la*«lie*t il 
■wnate longing o( the orphan child 
for her childhood home ia effectively g 
expreaaed in ihia aupeifa dimax: 

Kbowhi Thou ttw Idod t 

1 yonder lanO where Ihe oni 
ruit 19 ot gold, and to [*i 

String eletjilly reigns, wilh the i 
Alia, why afar am I ■Iriyini, obv e 
Tl.i with Ihee I would Ry! 

luld d 

IVllhtIm, full of pily (or (he helpleta girl, offers Qams 
a aum of money to releaae her, and goea into the inn to 
complete the bargain. Lothario cornea to Mlgnon lo bid het 
farewell, laying he must go aouth. following the awallowa. 

Then occuri the charming "Swallow Duet." 

IFrCBcliI (IliliM) 

Les Hirondelles Letftfiadre Rondinelle 


(Son^ of the S'wallo'ws) 

By Geraldioe Farrar. Soprano: Marcel Joumet. 
BaM (In FroKh) 89038 13-ineh. 14.00 

(/n AdAon) •676S7 10>iaeh. .75 


MiCKOw; loccomfanying htrtitf en thi harp): 
Ob swslloos gay andbllttar. 
Y. joy of rTFiy lind, 
Unfold your gentle wingi. 
Spcrd quickly on youi trafl 

Thc'birp. louchcd by bcr ncnlle band 
A mi^lancholy «und myiicriousiy ei«* fnrlll. 

Ye blilhe and gentle twjllows, 
Unrnld your nimble wingi; 
Quick, hasten In Ifac land 
Where winter never rel»Ds. 
TbriCF bappy bird, tbrice happy bird. 
Who fi.,t the *i*hed-(or gooy ' 
Right jayouily fball rcatfi. 

mihi^lm U now invited to go to the CaXlr ol Prinet 
Tieffenhach with the Croupe of players, headf^d by the 
lovely Flli^o. who has observed the handwime otudent 
with on appreciative eye. He hesitalra. thinking of 
Af/gnon. but ahe begs to be allowed to accompany him 
disKoiaed a. a aervan.. 

Wllhttm finally yield, a reluctant cotiaenl. not kn 
\nf what elae todo. and the act enda with the departure 
of the players. 

>ii..M.. .N.. ...MM,.,.. ACT n 

SCENE 1->I Boudoit In Tiegtniaeh Caillt 
Act II represents a room in the Prince'a castle. Fitlna la aeated ID front of ber toilet 
table, musing on the handsome tVilhclm, who has made a deep impreaaionon her somewhat 
volatile affections. Wilhclm ,,Men with Ayigno", who meeu with a cool reception from the 
gay actresa. Wilhclm makes love to Filina while Mignon watches ihem with n sad heart, aa 
>he has learned to love her new master. When left alone, she tries by the aid of Fitina'l 
rouge to make her complexion as beautiful as that of the actress who ha» daziled her 
master. She goes into the closet, and after IVlthetm has returned makes her appearance in 
one of Fitina; dresses. He tells her, in a beautiful air. that he must leave her. 

Addio. Mignon (Fare'well, Mignon) 

By M. Regis. Tenor l/n Frtnch) *45023 lO-inch, »I.OO 

By Emilio Perei. Tenor I Piano <,cc.) {In Ilahan) •63420 10-inch. .75 

Mignon utters a cry of grief and begins to weep, while Wilhtim tenderly says ; 

Mignon refuses money which he offers her. and is ab. 
Filina enters, and seeing Mignon in one of her own dresses. ( 
ment. which puts Mignon into a jealous rage and she rushes 
borrowed finery and puts on her gypsy garmenls. 

to bid him farewell when 
s her with sarcastic amuae. 
to the cabinet, tears off the 



SCENE II TU Garden, of lU Collie 

ark of the castle. Mignon. in despjii. altempls to throw 

self into the lake, but is prevented by Lolhano. who consoles her. In a ht of jealousy 
she wishes that fire would consume the castle in which Filina had won her master's affec- 
tions. Lolhoria is puzzled by this and goes off muttering to himself. 

Filina. "in'the flush ^oi"her"'t"ump"h shTsin^ the brilIiant"po/on(« oTpolac"a (French. 
Polonolsf). one of the most difficult and ahowy of all soprano airs. 

• DoukU-Foud RitiiiJ— 5« ( 



Polonese. " lo son Titania" (I'm Fair Titania I) 

By Luiw TMraziini. Soprano 
By Mabel Guriaon, Soprano 
By Giuicppina Hufuct. Soprano 
By Lucectc Koraoff. Soprano 

(In Italian) 88396 12-ineh. tSJM) 

(InFnnch) 74489 Il-inch. 1^0 

{tnhaUan) *39ir8 12-inch. 1.25 

(hFioKh) USOOb 10-inch. IJX) 

And bthold my num'iaua lraphl»! 
il'Biiilixg la Ihe artalh wMck hai been I 

I-m fair Tilania. glad and gay. 

Thro' Ibr world unfe1tcr-d I blilhcly ttray. 

Wilh jocund hcatl and happy mirn, 

I chrerity dance the houri away. 

Like Ihe bird that fieely wings Its fllihL 

Bclh niihl and day. My allendania ever ting. 
The achicYemcnli of the pid of LoTet 

I blithely do dance! 

nehald Titania, glad and 

Wllhtlm now aeea Mignon and ia about to apeak to her wkc 
Fdlna inlHpoaea and oaka her to bo to the caalle on aome 
errand. The young girl, glad to eacape meeting Wllhtlm, obeya. hut haa no aooner gone 
than the caalle ia diacovered to he in flamea, the half-wittod Lothaiie having aet lire to it 
after having heard Mignon'a jealoua wiah. 

Wilheim ruahe* into the huming caatle and aoon reappeara with the unconacioua fonn 
of Mignon, while the curtain falls on a magnificent tableau. 

SCENE— Cwnf Lothario- , Caillt In lialy 
Thia act takea place in the caatle of Lothario, to which the old man haa inatinctively re- 
turned with Mipim, followed by WHhtba, who now realizea that he lovea hii youthful ward. 
The young girl ia recovering from a dangerotia illneta, and aa Lolhorlo watchea outaide h«r 
sick room, he ainga a beautiful terceuM or lullaby. 

Berceuse (Lullaby) (Ninna nanna) 

By Pol Plancon, Biaa 
By Marcel Journet, Baai 
By G audio Manaueto. Baia 
By Ceaare Prcve. Baaa 


I've loathed the thriAbina of her aching heart, 
And lo her lipi Ihe imile 1 have reatored. 
Her weary eye! ■! Uil have closed 
In gentle .lumber; 

tVllhdm takea Lelharh't place aa watcher, a 
beautiful air. 


(/n Italian) 85126 12-inch, *3.00 

(In Italian) 74270 12-inch. 1.50 

(/n/(a//on) '59004 12-inch, 1.50 

(In Italian) *62650 lO-inch. .75 


I lella of hia new-found aSeclion in a 

Elle ne croyait pas (Pure as a Flo^^'cr) 

By M. ReHiB. Tenor \Dcubtt.r-\KtJ RecorJ—Stt brl^w) 

tin French} 4S023 lO-inch, *1.00 
Mignan now ctimca with feebip slep on the balcony, and BCemg IVilhelm, i< much agi. 
tated, hie Endeavota Lo soolhi; her, but she inBists ihat only Lothario loves her. Lothario now 
enters, and announces that he la the Counf Lothario, having been reilored to his lighl mind bjr I 
the Faroitlar at^n..^ of hia ancestral home. He ihow. (hem the jewel* and prayer book o( f 
his lost daughter, and tells thrni hi^r name wu Spaala. Mignon ■taru al the name a 

She then b<.-t:ina to read from the 1 
conlinues From mt-mory. her hands clup< 
■gilaled and when ahe haa finished, 
daughter are reunited, while a blesaing 

k B little prayer, but soon drops the book and 
uid her eyes raUed to Heaven. Lothario is mi ' 
ignizea her as hia losi daughtei. Falhei i 
bestowed on the young people by the happy 


a fro 

y Ye Frit 

By the Victor Light Open Col 

onaiae— Barcarolle. "Now 

, a Flower ■■—■' Dow Thou 35337 

By Viclot Light Optra Co) 

On We Sail"--Pure > 

Gem, f'om TaUs of Ho^mon 
lOpcninB Chorus and Solo, " Fuefitivo e tremante" | 

\ By Andrea Perello deSeeurola.Basg.and La Scala Chorus}55004 
(Ninna nanna By Gaudio Mansueto, Basal 

IPreludio. Pane 1. (Overture. Part II La Scala Orchc 
iPreludio, Parte 2i (Overture. Part 2) La Scala Orch< 

la-inch. tl.2S 

6B02S 12-i 

IPolonese- lo si 


nTiwnial (I'm Fair TitaniaK 
By Giuseppina Hufuet, Soprano 

sel suol ? I Dost Thou Know Thai 
By Giuseppina Huguei. Soprano 


By Mile. Korsoff, Soprano 


{/r, llaliaTiil 

By M. Regis. Tenor 




ntc I A Lone 
radle Song I 

! faZtoSO lO-i 

By Maud Pow 
By Victor Si 

lAddio, Micnon .Fai 
I Simile d-0.o- Roma^ 
/Overture— Part I 

r Concert Orchea 




Text by W. S. Gilbert', music by Sir Arthur Sullivan. First produced nt the Savoy 
Theatre, London, March 14. I6BS. Firrt American production at the Museum. Chicago. July 
6, 18B5. followed by the production at the Union Square Theatre. New York. July 20. IS65. 
All star revival by Meura. Shubert and William A. Brady at the Caaino Theatre. May 3a 
1910. Revived at the Majestic Theatre by the Gilben and Sullivan Festival Company, 1913. 
The most popular of all the Gilbert and Sullivan operettas. 


Mikado of Japan BaHtone 

NANKl.POO. his aon, disguised as a minstrel in love with Yum. Yum Tenor 

KO.KO. Lord High Eliecutioner of Titipu Comedian 

Pooh-Bah. Lord High Everything Else Bass 

PISH-TUSH. a noble lord Baritone 

YUM-YUM 1 f Soprano 

Pi I' 1 1-SINC JThree sisters, wards of Ko-Ko | Mezzo-Sop tano 

PEEP-BO J I Soprano 

ICATISHA. an elderly lady, in love with Nanki-Poo Contralto 

Scho^girU, NobW, Cuaid* and Coolies. 

Thmmiftae*! Thttt 

mbUHfa/dprn: pnmMttm*. 

many Kalitha. Ka-Ko Teceiv« ■ meuBge from the Mll^ado, 
me one in Titipu ii beheaded wilhin ihe month or he will loH 
ilerfere» with the Lord High Eiecutioner'» matrimonLal nrrang 
sacrifice himielf if he msy marry Yum-Yum and have tier > 
( month. Thii is agreed to and the w»i<l<li"" -' 


Two •plendid record* b^ the Victor open forces are offered, containing no leu than 
thirteen of the favorite numbers, admirably sung and grouped in a most attractive man- 
ner. The Lyric Quartet has given the dainty Brightly Daam Oar Wtdding liay, one of 
the most beautiful example! of the MaJrigalt in existence, and Miss Romaine the charming 
•onB of Yam-Yam, Tht Moon and I, which she sings exquisitely- 

■•Trio, '■Tli™ 

Chorui. 'He'iConc 

Genu from "The MUcado"— 

QuanM, " Behold the Lord Hish Eieculianci" 
-^The Flowera ibal Bloom in the Spiini"-Woi 

Utile M.i€li--3olo, Tit-WilEow" -Duel md C 

uid Married Yum Yum"~Chonu. " With Jo>ful Shoul' 

By Victor Lifht Open Coi 

Gems from '*The Mikado"— Part 11 

ChoTui. '-Cenllemoi of J.p<m "-Solo, "A Wudnini Mmilrel' 
Solo and Quartet. "A Sonf of the Sea"— Solo. " Moan Sons' 
Duat, "Emperor of Japan" —Solo and Choru*, *'Mr Obj< ' 





39591 12-iDch. 11.29 

By Victor Light Opera Company 
Yum- Yum 's Sooj— The Moon and I (Act III) 

By Margaret Romaine. Soprano 60122 
Madrigale— Brightly Dawns Our Wedding Day 

By the Lyric Quartet 
Martha— Good Nighl Qaerttl By iht Lyric Qaarttl 

Mikado Selection— Part I 

Entrance ol Mikado. '" Mi-Ya-S»Ma "— "A Wanderini M-nMrtl " 
— - Moon Sone "-Quintette, "Youth Mual Have Ita Fnii|"--Trio, 
-'The Critninal Cried" 

By Victor Concert Orchestra 
Mikado Selection— Part II 

"Tit.WiJlow'-" Three Unle Maida'-" He'a Goin. In Mairr 
Yum Yum "— "' The Flnwcia thai Bloom in the Spcina'' -" Here"! 
■ State of Thinsa "-Finale. "' With JoTful Shoui" 

By Victor Concert Orchestra 

. r226 10-inch. 

16191 10-inch, 

BtlU of Nail York Sdtclhn 

Bs Prpof'j 



Wotda by M. Cart*, from Mi'rio, Provemal poem by Mislra) ; music by Gounod. 
First veisior. given at Saint R« -Provence, under the direction of tbe compoaei. in 1663. 
P>odu»d in Paris March 19. 1664. Reduced <o three ads. with the addition of the walti. 
and reproduced December 15. 1864. In Undon. in Itahan wiih five acts, as Mirella. July 5. 
1864. The f^rsl performance in America ol which the author has a record was at New 
Orleans. January 29. 1685. in Italian. April H. 1885. given at the Academy of Music. New 
York, with Patti in the cast. 


Ramon, a rich farmer Bass 

Mirella. his daughter Soprano 


Vincent. i.. ,,,, I Tenor 

VlNCENETTE. ("" ^Kiidren 1 Mezzo- Soprano 

TAVENA, a fortune-teller Contralto 

OURRIAS, a bul! lamer Baritone 

Peasants and People ^ Pilgrims. 

Mi'clla. which came later than Faust in order of production, la an example of the mote 
delicate art of Gounod, and the story of the faithfulness of the heroine for her peasant lover 
is reflected in the music with true Provencal warmth and color. 

The hbrettist took for his subject the pastoral poem Miriio. by the beloved poet of 
Provence, Frederic Mistral, and Gounod has given it a tuneful setting with much local color, 
including many folk-songs. 



Tlie 6rH >cene i^en* in • 
mulberry grove, where Minila 
ia teaied by the village girl* 
about her attachment for 
Vinctnt, the basket- maker. 
Taeena, the fortune-teller, 
warn* the young girl that 
Ramon, Minlla'i father, will 


> the 

a i'lncenf and the 

_. sn. The lovers renew their 
pledges and agree to meet soon 
at the Chapel of the Virgin. 

The young girl is also in. 
formed by the fortune-teller 
that yiiKcnl has B rival, a wild 
herdsman, who has asked 
Mirdla'i father for her hand 
and obtained his consent. 
When the herdsman appears 
Mirtlla repulaea him, declaring 
her irrevocable attachment for Vlnanl. She then starts on the long journey across the desert 
to meet her lover at the chapel, and on the way meeta Tavtna, who ssaurea her that Vlnctnl 
will be waiting for her. TTie journey provea almoBt loo much for the young girl's strength, 
and when she finally arrives at the chapel she is completely exhausted, and faints on the 
threshold. Kincenf soon appears and miniatera to his fainting love. Ramon, who has 
followed his daughter, aoon appears, and moved to pity by her sad condition, gives his 
consent to the union of the lovers, and all ends happily. 

Valse. Act I 

By Bessie Abott, Soprsnc 
TMirelU Overture 

I Parilani Qaartcl [Btllini) 

(InFnncfi) 88129 12-inch, *3.00 
By VeaselU's Italian Band;^ 

t, VattHa-, Ilahan Bandl 

66471 12-incb. 


^MHfln«B^ffl^ll|H^UH^II ^H ^vIR^^^BI 






Text by Solrra : music by Giuseppe Verdi. Firs, production at La Scala. Milan. March 
9. 1842. was a great success and broke all Scala lecords by reachmg sixty^livc peiiormancea 
in one season. Produced at Vienna. April 4. 1843'. Berlin, 1844: Paris. October 16. 1843: 
London, in English, as "Nino.'' at Her Maiesiys Theatre. March 5. IS46. In 1900. a year 
before Verdi's dtath. ihe opera waa revived in Rome and met wilh great success. First 
American production. New York, April 4, I&48, "Nabucco" was [he opera selected to open 
the 191 i season ai La Scala, being presented with a sumptuous setting October let two 
months in advance ol the usual time, in honor of the Verdi centenary. 


Nabucco, Assyrian king . Baritone 

FENENA, his daughter Contralto 

Abigail, an Amaion Soprano 

OROTA5PES, Babylonian priest Bass 


Priests. Couriers, Soldiers and Townspeople 

Time and Place : Babylon ; sMh ten/u-.u R. C 

"Nabucco" (a revision of the original title, -Nabueodonosor") was the third of Verdi". 
works, and the one which established his reputation in France. 

Verdi, m his reminiscences tells ]nterestingly of the writing of this opera. It waa at a 
time when the young composer, discouraged by poverty, illness, and the failure of hit firat 
allempls at opera, had resolved to write no more. Merelli. th<- manager of La Scala. who 
had agreed to accept all new operas written by Verdi, came lo see him and talked kindly to 

These words, however, did not persuade Verdi, but Merelli went on to speak of a new 
libretto he had just received from Solera, 



** 'biuicine,* said Merdli, * one of Sclera's librettos, supeib. magnificent, extraordinary : die moat grandi* % 
oae dramatic situationa, full of interest, with each beautirul veraea, and that beaat Nicolai kioO listen to nothinji 
<^ it. He decliuree that die atory ia impoaaible, and so on. * * 'Here I* he cried, * here I look at this : it is Solera a 
Kbretlo — soch a grand subiect, and to refuse iti ^ Here you are; take it, and read it.* 1 refused, but he placed 
the book in my hands: it was a big pamphlet written in big characters, as was the style in diose days. Trolled 
it up, and sasring * good-bye* to MmuU, wended my yna^ homewards. 1 reentered my house, and with an almost 
Yioient gesture threw the manuscript on the table. ^ In nJling on the table it had opened itsdf , and my eye* fell 
upon the open page before me, precisely upon this verse, 

' Va pensiero, sull* ali dorate.* 

(Fly away, thought, on golden wings.) 

" I then read a fragment, I read two fragmenta, but strong in my resolution to compose no more, 1 gained 
command ower^ my feelings, shut up my book, and went to bed. But Nabucco kept running in my head, and 
sieq> did not visit my eyeuds. 1 arose, read the libretto not once or ,twice^ but three times, and so carefully 
^at the next moming 1 Icnew Solera's poem by heart. In spite of this 1 did not fed disposed to change my 
mind about composing, and during the day 1 went back to die theatre to give Merelli his manuscript, rlow- 
ever, he refused to take it. seizecTme by the shoulder, and not only briskly put me outside his study, but 
actually shut the door and locked it in nur face. 

* What was to be done? Nothing but to go home, which 1 did. 1 went back with Nabucco in my pocket. 

** One day one verse, one day another verae, here a note and there a phrase, and little by litde the opera 
waa written, we were then in the autumn of *41, and remembering my procnise to Merelli, 1 went to him to 
announce that Nabucco was finished, and that in conaequence he cotud have it performed the forthcoming car- 
nival and Lenten season at La Scale. So. near the end of February, *42, the Nabucco rehearsals began, and 
twelve^days after the piano rehearsal, on the 9th of March, the first representation took place. 

"It IS with this work iny artistic career commenced, and even if 1 had to struggle against innumerable dif- 
ficuhiea, it is likewise certain that Nabucco was bom under a happy star; even the very things which might 
have been hurtful to its success by some chance were the very things which happened to be favourable. To 
begin with. 1 had written a villainous letter to the manager, from which it was highly probable that the said 
manager would have sent the youiig composer to the devil; but Just the contrary happened. The old and 
patched-up costumes, rearranged with taste, became simply splendid. The old worn-out scenery, touched up 
and readjusted by the painter. Perrani, produced extraordmaiy effect; especially on the first representation, the 
aeene of the temple caused such an overwhelming enthusiasm, that the public applauded certainly not less than 
ton minutes. At the last rehearsal we did not even know whether the inilitary band was to come on, or where, 
•ad the leader, Tutsch, had been very much embarrassed. I indicated a measure to him at rehearsal, and on 
the first nii^t the music came on the stage widi such precision in the crescendo that the public burst out into 
6ie wildest storm of applause I had yet heard.** Verdi concludes: '* You see. it ia not always well 

to confide 
fai, benevolent •tars, and experience has proven to me the justice of our proverb : *' Fidarn 6 bene, ma non 
u 6 meglio** (To trust oneself is weQ, but to disttust onoMlf is better.) 

The opera was a triumph, and from that day we gee Verdi on the road to success. 

Abigail, the principal character in this four-act operst is an ambitious Amazon who has 
risen to a high place among the Assyrians through her influence over the King. The first 
scene reveals a group of frightened townspeople in Babylon, as their ancient enemies, the 
Asmians, led by ICing Nabucco, are besieging the walls. The besiegers finally scale the 
walls and when the gates are open Nabucco, Abigail and the Assyrians enter. Oroiaspea, 
the High Priest and real leader of the Babylonians, hopes to arrange terms of peace with 
Nabucco through the old King's daughter, Fenena, who the Babylonians are holding captive. 
Hydaspes, a prince of Babylon, has fallen deeply in love with Fenena, and when he hears 
Oroiaspes threaten the girl's life if her father persists in his intention to subjugate the Baby- 
lonians, he traitorously disarms Oroiaspes, leaving him at the mercy of Nabucco. The 
Assyrians thereupon promptly destroy the Temple. 

Abigail discovers that Nabucco has only used her to bring about his own success, and 
that Fenena, and not she, is to be sent back to Assyria to rule in the King's absence. This, 
together with the fact that she is in love with Hydaspes, whose love for Fenena leaves him 
blind to the Amazon's passion, stirs her anger and jealousy, and she resolves upon revenge. 

A report is circulated that Nabucco is dead, and immediately Abigail assumes command 
of the Assyrians. The King, however, reappears, and in his anger at Abigail, defies his own 
gods and those of the Babylonians. For this rash act he is suddenly stricken insane. 
Abigail seizes the royal crown and proclaims herself sovereign. An idol is set up which the 
Babylonians are compelled to ivorship. The ambitious usurper secures Nabucco's signature 
to a decree sentencing all the Babylonians to be slaughtered, and as Fenena has embraced 
the religion of Hydaspes and hence become a Babylonian, her death warrant is issued. 
Fortunately, Nabucco is made to realize the situation, is converted to the religion of the 
Babylonians, and his reason is restored. He assumes again his royal position and rescues 
Fenena before the death decree can be executed, while poison puts an effective end to the 
high ambitions of Abigail. 

Tremin fV insani del mio (They Shall Tremble Before Me) 

By Titta Ruffo. Baritone (In Italian) 87194 lO-inch, $2.00 

The air of Nabueoo, which Mr. Rutfo has gimg for die Victor, is from die great Temple 
Scene in Act I. 



Opera in three acta ; l«t by JoKpti D. Redding ; muaic by Victor I 
ed by (he Philadelphia-Chicaso Opera Company, at the Metropol 
ladelphia, February 25, 1911. Firrt New Yort productioD Febnjat] 


Don FRANQSCO DE la GUERRA. ■ noble Spwiiaid Bbm i 

Barbara, hit daughter Sopiano 

NATOMA. an Indian girl Soprai 

Paul MERRlLULieulenant of the U.S.Bris''Liberty".. Tenor ( 

Juan ALVARADO. a young Spaniard Baritone 

JOSE Castro, a half-breed Buitoi 

Father PERALTA, Padre of the Mioion Church Bu« 

kagxma.K"™"''"'''*^"' r^^ 

Chiquita, a dancing girl; Two Amerion Officera; Nuna; Conv 
Friars: Soldieri; Spanish Dancers, etc. 

Scene and Period: California, under ihe Spaniih riglmt, 18 

Victor Heitjeit's Natonia treats of one of the most romantic periodi 


matbei, u >lao aiudoudj' vnutiiiK her urivaL Nafema hw met Lltutaianl Paul and there i* 
already a bond of ajtupathy between the handaome Indian maiden and the joung officer. 
The two are now leen approaching the Indian eirl innocently telling the young officer that 
her miitreu. Baibara, ii veiy beautiful. When Barioni arrive* and meet* Paul it is a cB«e of 
love at fini sight, and later, when yf/oaradouTgei hia suit, the young girl haughtily re fuies him. 
In a rage he plota with Coftra, the half'breed, to cany Bartara oS to the mountBina the next 
day, when the celebrations in honor of her coming of age are at their height Thii plot is 
OTcrheard hy Natoma, who i> concealed in the arbor. All the guests take their departure, 
and Barbara, alone on the porch ia the moonlight, declares her love for Paul. The young 
lieutenant appears and they sing an impassioned love duet. When a light is aeen in the 
hacienda, the young girl, thinking it is her father, urgea Paul to take hia departure, and goes 
into the hacienda. As thecurtain faUa/Vafania, who realizes thai 
is seen seated alone in the window, gazing out into the night. 
SCENE— PIozo In Fmni ef the Miulon Church. Santa Barbara 

In the dirn light of early morning Natoma is singing her 
**aong of fate." and as davm begins to break the Spanish 
•oldieta appear, the Bae of Spain is raised, and tnimpetera 
and drummers play the national salute. The vaqueros and 
rancheros arrive, singing of their life on the plains, while the 
dancing girls join in the revelry. 

Don Frandaco and his daughter appear on horseback, with 
Naletrta walking by their side. The guests assemble, and after 
the Caatilian custom, Don Franclico place* on his daughter's 
brow a woof of royal lace, signiMng thai she aucceeds lo tide 
and estate. Barbara sings a brilliant aong of happiness, love 
and springtime, with an exquisite accompaniment. 

Sprm^SoogdListtheTrillofGolden Throat) I 
By Alma Gluek {En^Uh) 74374 la-io. * 

The sailors from the U. S. S. LAatg appear, and with them 
is Llailenant Paul, who presents his commander's compliments. 

The Penuelo, or "dance of declaration," follows, in which | 
each man places his hat on the head of the girl he lovea. Bar- 
tara infuriates Alttarado by gaily tossing his hat into the crowd 
when he places it on her head, but before he can speak Caalra 
appears and dares any one to dance with him the anci< 
Duger Dance of California. Natoma accepts the challenge, 
and they dance to the vrild and barbaric rhythm. — 

Dagger Dance By Victor Herbert** Orchestra ?004» IZ-inch t\.25 

As the scene becomes more absorbing, Alvarado and Pico slip close to Barbara, and, 
throwing a serape over her head, attempt to cany her oS. Nalama, who has been watching 
Ahaiado, rushes wildly past Cmlra and plunges her dagger into the Spaniard, who falls life- 
less. The crowd rushes at Natoma to avenge the death of Alnarada and Paul draws his 
sword to protect her. Suddenly the Mission door opens, and Father Peralta slowly 
advances, holding aloft the cross. The people kneel, and the Indian girl, dropping her dag- 
ger, approaches the priest and falls at his feet. They go into the church as the curtain Ealk. 
SCENE— /nferfor of tht Miulon Church 
Natoma is seen kneeling at the altar, invoking the Creat Spirit to give her vengeance 
(or her mUfortunes. The old priest seeks lo calm her. and finally strikes the one re- 
sponsive chord in her heart — her love for her mistress. He convinces her that she can yet 
make her mistress happy, and that fate haa decreed the union between ^al»na and Paul. 
The church now fills with the people, who respond to the words of Falhtr PcratUi. 
Paul and Barbara sit near the altar in opposite pewa, and at a sign from the priest the Indian 
girl walks down the aisle to where they are seated. Under her apell they kneel, facing the 
altar, and Natoma, lifting the amulet she wears around her neck, bestows it as a blessing on 
her beloved mistreaa. Tnming, she walk* towaid th* oonvant garden, and as the piieat ia 
the pulpit laiae* hi* hand* in benedkliaa, the doan of the cloister cIom tipon bet. 



Book by Felice Ftomani, founded on ui oM French atory. Score by Vincenzo Bellini. 
Firat production December 26, I83[, at Milan. Firit London production at King'* TKeatre, 
inltkriBn,June20, 1833. In Enelith at Dniiy Lane. June 24, 1637. Pint Pari* production 
TheAtre dei lulien^ 1833. Fiimt Vienna production. 1833i in Berlin. 1834. First New York 
production February 23. 1641. at the Park Theatre. Produced at the New Orlean* Opera. 
December 31, 1642. Other Ametican production*: Septembei 20. 1643, with Coraini and 
Perozzii October 2. 1834. with Griai. Mario and Susini. at the opening of the Academy of 
Muaic; and December 19. 1891, at the Metropolitan, with Lehmann. Recently revived by 
the Bocton Opera Company- 
Chine ten 

Norma, High Prietteu of the Temple of E«ui Soprano 

ADALGISA, b Virgin of the Temple Soprano 

CLOTILDE. attendant on Norma Soprano 

POLLIONE. a f^man proconsul commanding the legiona of Gaul Tenor 

FLAVIO. his lieutenant Tenor 

OrOVESO. the Arch-Druid, father of Norma Bast 

PHestB and Officer, of the Temple. Gallic Warriorm Prlealeue. and Virgins 
of the Temple, two children of Norma and Pollione 

Scene and Period: The jcene Is laid In Gaul, shortly after the Roman conqual. 

NomiB, although an opera of the old school and seldom performed nowadays, ci 
•ome of the loveliest of the writings of Bellini. Its beauties are of the old-feahioned kind 
which our forefather* delighted in, and which are an occasional welcome relief from the 
abundance of "music dramas" with which we are auirounded of late. Especially charm- 
ing is the spirited ovorture, always • favorite on band progTMn*. 


Overture to Norma 

By Arthiu Pryor'a Band * 33 166 12-uich, tias 

The tcene ii laid anDOOg the Druida &I the time of the Roman invaaion. Norma, the 
H^h Prieileu, though awom to bring about the expulsion at Rome, ii •ecietl)' married M 
B Roman ptoconaul, PMone, by whom ahe has two children. She rehukea the Druida (or 
wiahing to declare war, and after the ceremony of cutting the mistletoe, ahe invokes peace 
from the n ' ' - . *.. 

Casta Diva (Queen of Heaven) 

By Marcell* Sembrich. Soprano 
By Giuieppina Huguet. Soprano 

On Italian) 88104 12-inch, *3.00 
Ih Italian) • 16939 lO-inch. .Ji 
■a beauty and tendenteaa mak- 

Krcn of llMven. while Ifaou art rei 
'e uuoii us ii bill] rcmaininii. 
CUd in purcnctt. alone diidaining 
GtoMcr earth'i n«lum»1 veil. 
Quern of HetTen. hsllow'd by thT p 
Let lis faolier, sweeter cEKnce. 

'd uf auahl 

In the next scene Norma diacovers that her huaband loves Adalglta, and in her raga die 
nntempUtea killing her children i but her mother's heart conquers, and she resolves to 
^_tj I.., k..^._j J .k:Li,__ •_ ^J^i^ J «_:.». k.. .«._,_. «_ >k. t..--,-.! _-_ 

•vers that her huaband loves Adalglta, and in her raga Mie 
mniciiipHiici m.uii>i)t uci uiuuiciii but her mother's heart conquers, and she resolves to 
yield her husband end children to AJalglia and expiate her offencea on the funeral inrra- 
Adalglta pleads with her, urging her to abandon her purpose, and offers to send PolUtim 
back to her. 


th« Hear Me, Norma, (Bmilimr to every muiic-[ov«r. 

Mtra o Norma (Hear Me, 'Norma) 

By Alma Cluck. Soprano, and Louiie Homer. 

Contralto (fit llalion) SB576 12-incli, *3.00 

By Ida Giacomelli, Soprano, 
and Lina Milcri, Contralto 

(/n ItaUan) ' 62101 lO-inch, .79 

By Francia L^pitino, Harpbt * 17929 lO-ittch, .79 

By Arthur Pryor'* Band * 16323 ICinch. .75 

DeaJ«i Norma, .before Ihee kneeling, 

LcI^Ihit' lunbeim, a mother's feeling. 
Rrcak the night around thy h>uI. 

From the phantoma, far 
Which in death's deep o 
Adalcisa: Ah^ ht persua< 

Adalcisa: In friendship, Iily Invi for him 
Now wears a more befitting sentence. 
/VAonc refuaes to return to Norma and attempta to aeize Adalglia againat her will 
hiila thia attempt and reaaona with him, lellinK him he must give up hi* guilty love 

In mia mano (In My Grasp) 

By Ida Giacomelli. Soprano. andGino Martinez-Patti. Tenor 

{/n Ilattan) * 66309 I2.ineh, «l.a9 

Noiua; In my grasp allhaugb I have Ibee. Swear by the gods that guide At Roman, 

Yet with kind intent I bear me: Adalgiu to relinquish 

\nd this " 

r by II 

9 that 


I Had 

I tby » 

a\ I 3 

P^liom atiil refuaea, and Norma atrikea the aacred ahield to aummon the Druida. She 
declarea war on Rome and denouncea Potllone, but oSera to aave hii life if he will leave the 
country. He refuaea, and ahe ia about to put him to death, when love overcome* juUice 
and the Prieateaa denounces heraelf to save Polllone. Norma's noble aacrifice cauaea ma love 
to return and they tucend the funeral pyre together. Aa the Rames mount about them 
they are declared purilicd of all aiit. 


1 Obtron Oixriurt (Weier) 

iln mia mano alfin tu lei (In My Graip) 
By Id* Giacomelli. Soprano, and Gino Martinez-Patti. 
Tenor {In llalian) 

Favotila—Fia iwre lauUarii {Shall I Uaoe Thet >) 
Bu OottUe Etpotilo. Soprano, and Gino Marllna-Paltl. Ttnor 
(In llcllan) 
/Hear Me. Normal By Pryor'i Band), ._.- 

' 68909 12-inch. 1.29 

Siring Qu 

By Francia Lapitino. Harpist) , 

By Francis Laplllrm, HatpiilV 

, Mignon—CaeolU 
I Hear Me. Norma 1 
1 Lucla—PrtlaJt 

ICaau Diva (Queen of Hi 
By Giuaeppina Hufuet. Soprano (/n Italian) 
Lucia— Regnaea ntl tf/enifo {Silaia O'tr AID 
By Gutepplna Huguel, Soprano {/n llalian) 
JMira o Norma (Hear Me, Norma) By Ida Giacomelli, 
Soprano, and Lina Mileri. Contralto {In llalian) 

~ ■ ^>.AtilV BuUSeJQOrdmtra 


7929 10-inch. 

16939 lO-inch. 

62101 10-inch, .75 






Text by James Robinson Planck6 ; music by Carl Maria von Weber. 
ent Garden, London, April 12, 1626, in English, under the personal di 
;r. Translated into Cerman by Theodor Hell, and given in Leipsii 
ina. March 20, 1627; Berlin, July 2, 1626. First Paris production, ii 

a comparative failure. Revived at the Th^Atre Lyrique, translatioi 
t and Chazot, with success, February 27, 1637. Revived in London, 

American production. New York, October 9, 1827. Revived at the a 
z\\ 29, 1870, in English, with Parepa-Rosa and Mrs. Seguin. The ope 
m at Her Majesty's, London, July 3, 1860, with recitatives by Sir Ji: 
version was given in Philadelphia in 1670. Revived in New York i 


Sir Huon de Bordeaux 

SHERASMIN, his Squire 

OBERON, King of the Fairies 

REZIA, daughter of Haroun 

FATIMA, her attendant Me: 



I lAROUN EL RASCHID, Caliph of Bagdad 

BaBEKAN, a Saracen Prince 

ALMANZOR. Emir of Tunis 

ABDALLAH. a Corsair 


rOfaeron Overture 

\ Norma Ovttturt (Bdllnl) 


The story of "Oberon" originally np- 
peared in a famoui collection of French ro- 
mancei, "La Bibliolhfque Bleue," under the 
tide -Huon of Bordeaux." The German poel 
Wieland adopted the principal incidents of 
the story as the basis of his poem. 

The opening scene of the opera occurs in 
Fairyland, where the fairies are dancing 
around the sleeping Oheron. the Elfin-King. 
Oberon has quarreled with his fairy partner. 
Tllanio. who vowa never lo be reconciled to 
her King until he shall find two lovers con- 
stant to each other through trial and tempta- 
tion. The King's "tricksy spirit." Pucl;. hears 
of the plight of Sir Huon of Bordeaux, a young 
knight, who has killed the son of Charle. 
magne. and who ia tor this condemned to 
travel lo Bagdad and slay the person who sits 
at Harounl left hand, and claim Haroun'i 
daughter, Raio. h> iili wife. Ohcron deter- 
mines lo use Sir Huon and Rala to bring 
about his reunion with Tilania. Puck brings 
Sir Huon to the Elfin.Klng, who shows him a 
viaionof Hatoun 'idaughter. Raia. HuonU[U\n 

love with her, and on waking Oberon promises lofhtti 

him that he shall possess the maiden, giving him a magic horn ^hich 
King at Huon 3 need. Huon is transported to Bagdad and carries Rala 
' " "' ' ' ' " ' ' a desert island. Reila ii 

' e dead, is left < 

raised by Oberon and they are shipwrecked on a dese 
and sold lo the Emir of TunI,. whUe Huon. believed 

Huon. ho< 

ranspoTted by the 

■ tne sea. and enters the harem 

Rezia, but is captured by the 

indemned to be burned alive 

At this crisis Oberon. hearing 

m, appears with Tilania, saves 

nd bears them to the Court of 

agne, where Huon ia pardoned, and 

»nd Tilania. influenced by the con- 

,f Huon and Reiia. are reunited. 

; air which is presented heie belongs 

icene whetem the lovers are shin. 

ung by Reiia. the 

B the 

of the 

' hifloH* 

Ozean ! Du Ungeheuer (Ocean, Thou Mighty ^^nster) 

By Johanna Gadski. Soprano (/n German) eSS4S 12-iach, »3,00 





□ok hy Ramien De Caluibisi; muiic by ChriMoph Willibald von 
n in Vienna. October 5. 1762. Gluet conduering. FirM Paru pro. 
le of Orphtui wai tranaposed for high tenor. Revived bI the Tk& 
riber 19. 1839. when Pauline Viardot restoied the Italian eontr 
in production at Covent Garden. June 26, 1770. Some notable re 
inler Garden aeaKin of 1663 ; in 1865 (in German), by the Metrop. 
r Damrotch: the English production in 1B66 by the National Op 
y revival in Italian in 1692; and the Gotti-Cauzza production of 
i and Cluclc. Twenty performances have been given at the Met 


gnce, while the atory w an interesting and affect' 
ingone. Orpbeui maybe called ike ginntlfatheT 
of erond opera, it being the oldcM work ai ita 
kind to hold its place on tKe atage, the (irat repre- 
aenlation occurring one hundred and fifty yeara 

The opera haa had only one adequate Ameri- 
can production previoua to the recent Meliopolitan 
revival and that waa during the American Opera 
Company acaaon o( 1866— the Abbey revival of 
1892 meeting with but indifferent aucceaa. Suck 
haa been the intereat arouaed by the recent per> 
fonnancea, that il ii likely to be heard quite 
Frequently in the future. 

The atory concema the Greek poet Orphtia, 
who grieve* deeply over the death of hia wife 
Eurtdlct, and finally decJarea he will enter the 
realma o( fHalo and aearch for her among the 
apirita of the departed. The goddeaa Loot appeaia 
and promiaea to aid him, on condition that when 
he haa found EuriJlce he will return to earth 
without once looking at hei. 

Orpheai joumeya to the Gatea of Erebua, and 
ao aoftena the heaita of the Demon guarda by hia 
iiui iKD grief and hia exqui«le playing of hia lyre, that he 

ia permitted to enter. Ha finda Earldlet, and 
without kraking at her, takea her by the hand and 
bida her follow him. She obey*, but failing to underatand hia averted 

Ke, upbraida him for his iq>pareDl coldneaa and aaka that he ahall 
k at her. 

Su e coo me vieot cara (On My Faith Relying) 

By Johanna Gadaki, Soprano; Louiae Homer. Contralto 

{In Italian) 89041 12-ineh, *4.00 
Orphcaa. knowing that to caat a aingle look at hia loved 
death to her, keepa hia face averted. The dialogue portrayatl 
of the characters, while Gluck'a muaic auggeata the present perplexity 
and the tragedy which ia to follow. 

a his. 

Ach,ichhabesieverloren— Che faro senzaEuridice 


I Have Loat My Eurydice 

By Mine. Schumann- Heink 

(In German) 880»1 

By Louise Homer (In Italian) 86265 

"Malheanuxt qu'al-Jt /all ? El Jam quel piiclpice 
funette amour f ("Wrelched one. what have 1 done t 
haa my fatal love caat tne >") criea the hapless youth, 
hia lovely and pathetic lamFntation. 

Of the muiy beauliful mimbeii m Cluck', drams ihi. lovely > 
iwn by the Italian title Che fan )tnxa Eurldkt) \t the most (■milit 
Otphtai ia about 1o Itill himaelf wh«n Loot appean anil cries: 

Who dlrcd * 
M» F.urydi« 



My 0.pheu.! 



1 "Ballet Muiic") By Maud Powell. Violioui 64079 

Billet Music") By Miicha Elnuo, Violioitt 74499 





l-^ .4 

wm--._ ^1, 

V > li 



Text by Arrigo Boila, afler the diama o( Shakeapeaie. Music by Gmseppe Verdi. 
Flr»t production February 5. 1867. a( La Scala, Milan, with Tamagno hb OuUo. Firat 
London production May 18. 1889. First performance in English given by the Carl Rosa 
Opera Company, at Manchester. 1693. First American production April 16, 1868. with 
Campanini as Oullo. Some notable revivals occurred in 1894. with Tamagno and Maurel : 
in 1902. with Eames. Alvarei and Scotli; in 1906 at the Manhattan, with Melba, Zenatello 
and Sammarco : and in 1910 al the Metropolitan Opera. 


OTELLO, a Moor, general in the Venetian army Tenor 

lAGO. y Et-ah' -lah) hi> ensign Baritone 

CASSIO. ( CW«-oA) his lieutenant . Tenor 

RODERICO. [RohJtT-a- -,ah) a Venetian gentleman Tenor 

LODOVLCO. [/.oA-i/oA-w'-taA) ambassador of the Venetian Republic Bass 

MONTANO, predecessor of Othello in the government of Cyprus . Bass 

DESDEMONA, wife of Othello Soprano 

EMIUA, {Au-mci' -ki-ah) wife of lago Mezzo-Soprano 

Soldiers and Sailors of the Republic; Venetians: Cyprians; Greek, Dalmatian 
and Albanian Soldiers; an Innkeeper. 

Sctot anJ Period : End af Ihe fiflttnlh century ; a aeafiorl In Cypnia. 


After having given the world liia ■plen<lid AiJa, Verdi 
rested on hia Uurels and was nlenl (or (izteen ycMV: 
tKen. Bl the age of teventy-four, he suddenly aMoniahed 
the world wilh hii magnificent Otello. a nuuterljr muaic. 
drama which alone would suffice to nuke him (amou*. 

The change from the Verdi of 1653 and 11 Trovalore, 
to (he Verdi of 1867 and Otello, ia amazing. Each opora 
produced by him ahowg a steady advance, until •omettiing 
approximating perfection i> reached in Otello, the writing 
of which was an astonishing feat (or a man of nearly eighty 

.of age. 


SCENE— Olei/o'a Cailte In Cypna. A Shrm /i Ragtag 

and Iht Jlngrji Sea li elilbU In iht Background 

Venetians, soldiers, including logo, RodtHge and Caith, 

ire awaiting the return of Olello. His vessel arrivea safely, 

ind amid much rejoicing the Moor announces that the war 

g all been sunk. He goes into the caslle, and logo and 

Rodcrigo plan the conspiracy sRainst CatMo attd OttHo, by which Radcrigo hopes to secure 

Ihid^mona (or himsslf and lago lo be ' 

They join the soldicis and try 
drink. He refuses, but when logo lot 
compelled lo join, /ago sings the rousing BrlndM .' 

Brindisi— InafiFia I'ugola (Drinking Song) 

By Pasqusle Amsto. Baritone, and Chorus 

• Inllatian] 68336 12-inch. *3.00 
By Antonio Scotti. Baritone 

tin Italian) 8B082 12-inch. 3.O0 

By Antonio Scotti. 87040 lO-inch. 2.00 

during which he continues lo fill Ca,,ia'^ glass. When the 

latter is quite drunk ihcy pick a quarrel with him. and he 

draws his sword, wounding Montana, logo and Catsio 

which brings Otello from the 

He disi 

and ■ 

«ith DesJtm 

Quando narravi (When Thou 

By F. Lotti. Soprano; F. Conti, Tenor 

• Inllaliani '55023 12-inch. 


of his 


, husband a 

wly i 

ACT 11 

SCENE A Room in the Caslle 
rally /ago is advising Canio how i 
Ullo. telling him that he must ind 
rch of Dcdem 

and then si 

B the 

Credo 'lago's Creed) 

By Pasquale Amato. Birit. 
By Titta Ruffo. Baritone 
By Ernesto Bidini. Barito 

(/n Ilalian] 88326 12-i 
lln/lalianl 88466 IZ-ii 
[In/lalian^ '55023 12-ii 


Thia i* a free adsptatioii of /ofo j last ipeecK with Caato in 
Shakceapeare, Act IL In bia letting Verdi hu expieued fully tKe 
character of the perBdious logo; C3mical, vain, weak and ■ubtle. 
He decUre* that he waa faahioned by a cruel Cod who intended 
him for evil, and that he carea naught for the conaequencea, aa 
after death there ia nothing. 

logo aeea DaJenmna approach and Caulo greet her, and aa 
soon Bi the young officer ia eameatly pleading with her to inter- 
cede for him, logo runs in aearch of OltUo, and lowa the first 
seeds of jealouay in the heart of the Moor, bidding him walch 
his wife well. Otdlo. much troubled, seeka Dademana and 
qUEStiona her. She begina to intercede for Cat^o. but the Mcwr 
repuliesher, and when (he would wipe hia perapiring brow, roughly 
ihrowa down the handkerchief, which ia picked up by logo. 

Left alone with lago, Olella givea way to deapair, end ex. 
pressea hia feelinga in the bitter Ora a per itmpre. 

Ora e per sempre addio (And No'w. 
Forever Fare-well) 

By Franceaco Tamafno 95003 10-inch, fS-OO 

By Enrico Caruao STOri lO-ioch, 2.00 

Now finally convinced that Dadtmona ia deceiving him, 

he bida farewell to peace of mind, ambition and the glory 

of conqueat. /o^ further aaya that he haa aeen DciJenwna'* 

^^^^ ^^ uioBBMomi handkerchief in Casifo 'i room, at which newa Olethit beaide 

hiroaelf with rage. The act cloaea with the great acene in 
which lago offera to help Otdio aecnre revenge, and they awear an oath never to pauae 
tintil the guilty ahall he pnniahed. 

Si pel ciel (We Swear by Heaven and Earth) 

By Enrico Caruao, Tenor : Titta RudFo. Baritone (.HaiUm) 89075 12-in. t4^0 

SCENE— rfca Gnat HaU of Iht Curie 
Oltlh now seeks Dadanona and contrivea an excuae to borrow her handkerchief. She 
offera it, but he aayi it is not the one, and aska for the one with the peculiar pattern which he 
had given her. She says it is in her room and offera to bring it, but he at once denouncea 
her, and aends her away aatoniahed and grieved at the audden jealouay which ahe cannot 
underaland. He remaina looking after her in dejection, then ainga hia aorrowful aoliloquy. 

Dio mi potevi scagliare (Had it Pleased 

By Carlo Barrera *9S009 12-inch. tl.50 

tago now telle Oldh how he had slept in CouJo'j room 

lately and had heard Caalo talking in hia aleep, bemoaning 

the fate which had robbed him of Dadanona and given her 

Caaiio enters, and lago, bidding Olello watch behind a 
pillar, goes to the young officer, and with liendish ingenuity 
induces him lo talk of his sweetheart Blanco. Oltlh. liaten- 
ing, thinks that it is of Dadanona that Caulo apeaka, as 
Caitio producea the fatal handkerchief, telling lago he had 
found it in his room, and wondering to whom it can be- 
long. Olella, seeing the handkerchief and not hearing the 
conversation, has no further doubt of Dadanona 's guilt, and 
ivhen CdssAj departa he oaka lago hov^ beat can he murder 
them both. The villaio augsesta that Dadtmona be atiangled 
in her bed, and aaya he will himaeU kill Coaifa. 


Ah! mille vite (A Thousand Lives 1} 

By Barrera and Badini *9S009 H-inch ll.SO 

Messengers now arrive fram iheSenate bearing order* (or Olello, vrko hsa been recalled to 
Venice, and Caisio appointed Gavernoi of Cyprus In hii stead. He announce* hi* departure 
an the morrow. and then unable tocotilrot his rage and jealoui)' he publicl)' inaults Deii/cniona 
and flings her ti> the ground, then falls in a fit. The people, conaidering the nimmoni to 
Venice an additional honor for iKe Moor, mail in, ikouting "Hail toOtella,"when/aro, paint- 
ing with fiendish triumph to the prostiate body.crie*, "Behold your Lion of Venice!" 
SCENE— DejJemoM. Bw/iown 
The heartbroken Dademona is preparing to retire, auiited by her maid, Emilia. She 
tells Emilia ihat an old song ol her childhood keeps coming into her mind. Then ahe ainga 
the sad and beautiful IVillow Sang, which aeema like the lamentation of a broken heart. 

Salce. salce ('Willow Songi 

By Nellie Melba. Soprano (In llaHan) 88148 12-ineh, *3.00 

The faithful Emilia leaves her. and she kneela before the image of the Madonna and 
sings the noble Avr. one ol the most inspired portions of the wonderful fourth act. 

Ave Maria (Hail. Mary) 

By Nellie Mclba. Soprano 
Oullo enters and rush. 
toward the bed, but stops an 
gaies at his sleeping wife 
long time, then approach e 
and kisses her. She wak. 

{In Italian) 88149 12-inch. f3.00 

and speaks his 

of I 



irds her 

cries for m 


and s 


her. £ 



> at the 

: door an, 

i is 

admitted by OleHo, who ha 


s what 

he has d 



.na lifeless. 


s him o\ 

[ the crime 



.udly fo. 

help. Alli 


in and Emilia, i 

seemg t„gc, 

, de- 

:s h,m a 

s the aulh. 



ot, and 

lells Olfllo 





is lorn 

with rem 


and tenderly gaiing on h 
dead wife, sings his last air, 

Morte d'Otello (Death of Otello) 

By Francesco Tamagno. Tenor (, 

By Nicola Zerola. Tenor 
He then draws a dagger and stabs himself, and v 
mo-a he has so cruelly wronged, he dies, 


JDio mi polevi Bcagliarc By Carlo Barrera. Tenor ilnliaiian<\ 
|Ah! miUc vitc By Barrera and Badini i/n ltaliaf:]i 

(Quando narravi By F. Lotti and F. Conti ilnltalionW 

ICredo (Otello's Creed) By Ernesto Badini (/n llalianW 

iBrindisi. Act 1 and Morte d'Otello Vessella's Italian Bandl 
I GioconJa-Prtludc. Act I ( Ponchirlllj l^aulla 'j Italian Band, 

■DouSfc-foctJ Ricr.rJ—Sa oioK M. 






















Wordu and Munc by R. Leoncavallo 
The EngliiK veriion quoted trom i* hy hlenry Craflon Oi*pinMi 

Quota&DDB fmn krxl ud «iiw (dcffrt (be PnJdcue) br kiad pcnHiA cj G. Schniia, (Copr't 1906) 

RugBiero Leoncavallo was bom at Naplea, 

March 8, 1838, and waa the son of a magittrate, 

the Oievnlier Vincont, preiident oF the tribunal 

^^^^^^^ o( Potenza. Hit mother was a daughter of the 

^^d^^B^k celebrated aitUt. Raffaele d'Auria, famoua {or 

^^^■1^^^ hii decocalioni In the royal palace at Naplea. 

^^^^^^^^^^^f He took up the pianoforte at an early age 

^^^B t^^f with Simonetti, a well-knovm teacher of Nanlei. 

^^^B ^flB^K and entered the Neapolitan Conservatoire, where 

^^K ^^^ ^B kestudied underCesi, Ruta and Rossi. Atsixteen 

Hk ^H ^° made a concert tour as a pianist with soma 

^Q 'M^^^ft/ success. Leaving the Conservatoire at eighteen 

^S ^^^f^f he promptly showed his leaning toward operatic 

^^^^^ ^^^^f compodtion by beginning to write an opera, the 

^^^^^^^^I^B^^^^^ libretto baaed on de Vigny's well-known dnma, 

^^^^^^^B^^V^^h Chatterton. Finding an Impresario, the produc 

^^^^^^^^^^^^■^QI^H tion of this opera waa promised, but at the last 

^^^^^^^I^^^^^^^B^H moment he was deserted by hia manager and the 

^^^^^^^^^^^^^^^H^^l young compoaer waa reduced to poverhr. He did 

^^^^^^^^^^^^^^^^^^H not despair, however, and abandoning tor a time 

^^^^^^^^^^^^^^^1 bis operatic pretensiDna, set to work at anything 

^^^^^^^^^^^^^^1 which would give him a living. He gave lesaona 

^^^^^H^^^^^^ and played accompaniments at caff concerts, finally 

becoming a concert pianist, the latter occupation 

taking him to many countries — England. France, 

LEnscAVALLo Holland, Germony and E^pt. Returning to ltal|' 

after several years of these wanderings, he proved 

1 idle by submitting to the house of Ricordi the first port of a tremen- 

n the subject ot the Renaissance in Italy. 

il work he entitled CrepuKu/um (TwilighO. and the three parts were 
called: 1 — MeJld; 11 — Girolamo Saoonarola : ill — CezanBorgla. This Ricordi accepted, agreeing 
to produce the iirst 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 famoua. The young 
compoaer wetil lo work and m 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 Pagliacei wa. made on Moy 21. 1892, at the Teatro dal Verme, 
Milan, lu success was overwhelming, and the name of Leoncavallo waa heard throughout 
the world. His fame led to the production, in 1893. of the first section of the great trilogy, 
Mcdid: but it was not well received. Other operas by Leoncavallo which have been pro- 
duced with more or leu >iicce»a are: Chatterton (produced 18%): BohSme (1697); Zaza 
(1900): and finally Roland, written at the request of the German Emperor (1904). He has 

But it is PuliiLCci whi<:li will lieep the name of Leoncavallo remembered, lu 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 

it the Metropolitan 

that he had n 

y baaed o 



Du>.n» ll.^ urch^tral introduction Tonio. in his down coUume. comet, forward B 
explains ihal ihe play is taken (tutti tral liFe: remindB the audience that actors are but m 
tvilh paBsions like theii own. and that the author haa endeavored to express the leal fc 
inga and sentiments of the characters. He then orders up the curtain. 

The iirst act shows the entrance to an Italian village. Canio and hi* troupe of stiolling 
players, or paghotci, having paraded through the village, return to their traveling theati 
fallawed hy a noisy crowd of villatjers. Canto announces a performance for that evening 
■even, then goes with Ptppf intp the tavern. Tonia, the clown, remains behind ostensibly 
to care for the donkey, hut takes advantage of his master's absence to make love to Nedda, 
Camo's wife. She t.^pi>Ises him scornfully, striking him with her whip, and he swears to be 
revenged. S.lcio. a rich young villager, in love with Ncdda. now joins her end begs her to 
fly with him. 5he refuses, hut admits <hat she loves him, her confession being overheard by 
Tonio. who hurries in search of his master. Canio returns too late lo see Siloio. but he 
Nedda-, parlinu words, "forever 1 am thine I" Mad with jealousy, he demands the lov. 
name, and wlien Nfdda refuses, tries to kill her. but i> restrained. Ncdda goes lo d. 
And Camo is in despair at the thought of being obliged to play while his heart is breaki 

The curtain rises on the same scene and the play is about to begin. This pro 
to be the usual Farce in which the Clown makes love lo Columbine during the ahsei 
of her husband. Punchinello, but is laughed at and resigns his pretensions. Finally c. 
aentin^ to act as a lookout while Columbine and her accepted lover. Harlequin, dine loget^ 

Sliangety enough, this conventional farce U very like the situation in the real lives 
the players, and when Punchinello i.Canio) arrives and surprises the lovers, as the pUy 
demands, he loses bis 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 lage. he again demand* 
her lover's name. Ncdda tries to save the aitiution by continuing the play, while the 
audience is deliehied by such realistic acting until the intensity of Canto '» passion begins to 
terrify them. The other players endeavor to ailence him, but in vain. Finally, stung by 
his taunts, Ncdda deiies him and is stabbed, CnnJo hoping that in her death agony she will 
e of her lover. She Fall-, c.illinn unon -W™, who rushes from the crowd 
in turn the dagger of the outraged husband. As Caoio is disarmed by the 





(Dee Bah-mri"-,!! (PaA-iwAiil 


Libietto and music by RuBgiero Leoncavallo. Fir.l perFormcd al iheTealro dal Vermr. 
Milan, on Msy 21. 1892; in Vienna, Seplember 17. 1892: in London. May 19, 189J; Dresden. 
January 23. 1893; Parie. in French. December 17. 1902. Rrai New York production June 
13, 1894. with Kronold. MonleKriffo and Campanari. Some (amou> casts of recent years at 
[he Metropolitan and (he Manhattan opera : Caruso. Farrar. Stracciari — Alvarez. Scheff. 
Seotti— Parrar. Bars. Scotti -Cavnlieri, Rousseliere. Scott i-Deveyne. Martin. Campanan. etc. 

Characiers in the Drama 
NE.DDA iNcJJah (in the play "Co/umiinc"). a strollin); player. 

wifeofCanio, Soprano 

CANIO .Kfl*-.n«*ft) (in the play ■■Pagliaccio " [Panchinelto]). 

master of the troupe 1 enor 

TONIO (roi'-iM-oAi (in the play ■'TaJdeo"), the clown Baritone 

PEPPE {Pet'-pa,) (in the play "Hatlequin") Tenor 

SILVIO. (Sirjct^ht a villaKer Baritone 

Villagers and Peasants 

r^ icenc U laid in Colahrta, near Monlallo, on Iht FutI of the Auamplion. 
Period, UhMai 1865 and 1870. 



Leoncavallo chose to introduce his characters in a novel manner, and wrote this number 
in the midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient 
Greek tragedy, and explains that the subject of the play is taken from real life, and that the 
composer has devoted himself to expressing the sentiment, good or bad, but always human, 

of the characters he introduces. 

Prologo ( Prologue) 

By Pasquale Amato. Baritone 
By Antonio Scottt. Baritone 
By Antonio Scotti. Baritone 
By Emilio de Gogorza. Baritone 
By Emilio de Gogorza, Baritone 
By Titta Ruffo, Baritone 
By Reinald Werrenrath, Baritone 
By Pryor's Band 

(/n Italian) 
(In Italian) 
(In Italian) 
(In Italian) 
(In Italian) 
(In Italian) 
(In Italian) 














10- inch. 










Prologo (prologue) (Complete in two parts) 

Part I— Si puo? (A Word) 

By Titta Ruffo, Baritone (In Italian) 88392 
Part II — Un nido di memorie (A Song of Tender Memories) 

By Titta Ruffo, Baritone (In Italian) 88393 
f (a) Part I— Si puo ? (A W^ord) 

By Francesco Cicada, Baritone (In Italian) 
(b) Part II — Un nido di memorie (A Song of Tender 

By Francesco Cigada, Baritone (In Italian) 

12-inch, $3.00 
12- inch, 3.00 

*35171 12-inch, 1^5 

The first part of the Prologue is in itself a miniature overture, containing the three repre- 
sentative themes associated with the main events of the drama to be unfolded. 

The first is the motive which t^m,t^,Hmmu-=^m _y,^^^^ ^e 

always accompanies the appearance ^ 
of the players or pagliacci : ^ 

The second theme represents 
Canto's jealousy and is a sombre 
strain suggestive of revenge : '•^ 

The third represents the guilty love of Nedda and Silvio. 


P — «wt pmM»itm 


and appears frequently throughout the opera, not only in the love duet, but in the last 
act, when Nedda refuses to betray her lover even v/ith death awaiting her. 

The presentation of these themes is followed by the appearance of Tonio, the clow^n, 
who peeps through the curtain and says : 

readies and Kcntlenicn I 
I'arflon me if alone I appear. 
I am the Prologue I 

He then comes in front of the curtain and explains the author's purpose, w^hich is to 
present a drama from real life, showing that the actors have genuine tragedies as w^ell as 
mimic ones. 

Our authrii Inves the custoin of a prologue to 

his btury. 
And as he would revive for you the ancient 

Tie sends me to speak before ye! 
Hut not to prate, as once of old. 
That the tears of the actor are false, unreal, 

* Douhle-Faced Record — Sec page 364. 

That his >igfiv and the pain that is told, 

He has no h(\'irt to feci I 

No! our author to-night a chapter will borrow 

From life with its laughter and "-orrow! 

Is not the actor a man with a iieart like you? 

So 'tis for men that our author has written. 

And the story he tells you is true! 




to .pa 

ak of the a 

Ulho,-. in. 



I hii liifnin 



rou Bhall bcbnld 
nd Innguith. criti 

Cla'd'i^ouf "011'?"^/ "nKi. * '" *' 

For ours ire human hurls, bealing wLth [BMioii. 

We are buL men like yau. for glidne^s or urrow, 

-The Mine uide, lonely world before us: 
Will ye hear. Ihen. lie slaty, 
Aa it untold, ilwlf .urely and eerlalol 
Cumc. Ihenl Ring up Ibe c'uruinl 
The curtain now liie*. as the fiagllacel molloi reappean in the orcheitTB. 

Openin(f Chorus— " Son qua!" (They're Here!) 
By La Scila Chorus 
M^ i/n llaliani '16814 lO-incb, *0.1i 

fcj The i^raC acetie. repre»Miting the edge of > amaU viUm 

^mF ^ in CaUbiia, i« now revealed to the suilieiice. The people 

^V ^ y g ate engaged in celehraling the FeasI of the Anumptioii. utd 

^p J^^ ^ among the attractiona offetetj lo the crowd* who have flocked 

= •^■^ -^ to the village is the troupe of atrollinB pkyera headed by Caido. 

Theac wandering tnnunlebanka ate commoD in the rural diatricti 
of Italy and are known aa pagtiaccl. They take with them a 
imall tent (uaually carried in B cart dcBWn by a donkey), which 
they act up in the market places of the amall villagea, or any- 
where that they see a proapect for the earning of a modoat 

of ihe townapeople have aaKtnbled in front of 
■ and are awaiting the tetum of the clowna, who 
have been parading through the village to announce their ar- 
Tival. aa ia the cualom. As the curtain liaea, the sound of a drum 
■nd trumpet is heard fiom a distance, and the villagera are full 
of joy al the prospect of a comedy performancie. They expreu 
their ejicitemenl in a vigorous opening chorus, B clever bit of 
writing, but so ditficult that it is seldom well given. This oft- 
recurring phraae: 

which is presented with many odd niodulations, pioducea a peculiar and novel effect. 
Bors: Hi! They're here' Womem; Ser, tb.-t.-'s (lie wanonr 

They're co.ninB back' My. what a fiendish din! 

Pagliaicio't their Thf l..>rcl hove mercy on us' 

The little troupe has new come into view and the noiae is redoubled. Confo appean al 

e head of hw company, his wife, NedJa, tiding in the cart drawn by a donkey, whi 

Tonlo arid PtptK make hideous noise* m the baai drum and cracked trumpet, which con- 
it ■*» of the ctowli, 

is face amea: 


addrf^as ihecmwd, but thr noise .s tiemrndous- 
ToTjIo beals ihe drum (uHousty to sLIc^nce the 
voices, but It U no! until Canio has raiBi^d his 
Imnd to comniand aiti^iition that he is allowed 

Ntdd>. to alight '■'■"•'- "° ""•'• 

the carl, but lindi Tonio. the Fool, there before him. 
Giving him a cuff on (he ear. he bids him be off, 
and To„lo ahnks away mutlering. The boys in the 
crowd ieer him. saying: 

One o( tliE peasants invites the players to ihe 
wine shop for a friendly glass. They accept, and 
Canio calls to Tonio to join them, but he replies Irom 
wllhln: "I'm rubbing down the donkey." which 

Un tal gioco (Such a Game!) 

By Nicola Zerola. Tenor i/n /laliani 64206 lO.inch. »1.00 

The (irst trai-e of Canio', jealous nature is now shown, as he takes with apparent 
■eriousness the idle joke of the peasant, and begins to warn the spectators as follows: 


Canio: Such a game. I'd bive jiou know, 
■Twerr better nol la play, my nei( 
To Tonio, aye. to you all. 1 uy ii: 

here and life, ibey are i\ 

If up Iheii. (fBinrina to thi 
Piglianio hii lady sEould i 

■aya aaide : " What does he mean >" Tke 

__.. him if he iaaerioua. With an effort he rouwa 

himself from hi* gkximy mood and aaya lightly: 
Xol I— I love my wife most dearly! 
(//« appmachei Ntdda and kl"" htr onthtfotthtod.) 
The sound of bagpipea (oboe) is heard in the 
diatance. telling of the merrymaking in the village, 
and the church belli begin to toll the call to veapen. 
Tlie people commence to disperse, and Canio again 
repeata hia melodious strain of invitation; 

(Ht goa leHh Mevtial paaanit Into iht liat.) 

Coro della campane (Chorus of the 


By La Seals Chorus 

(hllallan) *3ai72 12-inch, *U9 


This ia the fan 

la Bell Chorus, or "Ding Dons' 

, opera. It is aung with spirit, and the chiming betU are 

roduced in a moat effective manner. The people go 

* oR ainging and the meaiurea die away in the diatance. 

> troubled by her remembrance of Camo'i manner and wonders 

[ shaking oS her depression, she becomes once more alive lo the 

s of the day, which fills her with a strange delight. 

Ballatella. " Che volo d'au^elli t" (Ye Birds Without Number I) 

By Lucrczia Bori. Soprano (/n Italian) 88396 12'inch. 13.00 

By Alma Gluek. Soprano (In llalian) 74238 12-inch. l.SO 

By Ciuseppina Huffuet. Soprano (In Italian) *3M72 12-inch, l.aS 

A gay tremolo in the airings announces the theme of the birds, and NedJa speaks of 

her mother, who could understand their language. 

Undcr^Iood uhat they're ymging. 
And in my cfaildhood. thua »uiild she ^iriK n^•■■ 
n follows the brilliant Balatella or Bird Song, beginning: 

1 most beautiful number with a 

exquwte accompuiiment, mainly of atfinga. 


At the close oF her song NtJda ftnAt thai the hideous 
Tinio has heen listening, and now seeing the hondioine 
Columbine alone, begins (o make love lo her; but she 
acornfull)' orders him away. 

So ben che dcforme (I Know That You 
Hate Me) 

By Ciuseppina Huguel. Soprano, and Fran- 
cesco Cieada. Baritone 

(Inllalian) 'aSirS 12-inch, »1.2S 


He persislB. but his protesla lions are greeted with 
mocking Uughter. 

Tonh. driven almost lo madne» by Neddc', scorn and 
ndirule.aeiies and tries to Icisa her. She strikes him acrosi 
<hL- face with her whip. 

Y^u'^h.n w '"."'tor it! (B«A«of.) 
N'FniiA itnaicking him): Scorpion! ii lasi you've shoum your 

Tbf'h'eaif of °)^' li ju!t ss crooked ait your body! 
, Sitvio, wham NtdJa haa secretly met on previous vinta to ihe town, 

>)!. /Vct/Jo. alarmed, cries: 


: Silvio: In the daytime? Whsl folly! 
: 1 fnnry ifl no great ri-i, I'm lakinii! 
raiii,, ! spied from star with Peppe yonder. 


she tells him of Tanlo'i behavior and bid* him beware, aa the clown U lo be feaied. 

Her lover cheers her and laughs at her fears, and they sing the beautiful love duet, in 
which Silvio urges her to fly with him. 

De toi depend mon sort (My Fate is in Thy Hands) Part I 

By Mile. Heilbronnerand M. Vigncau (/n French) '69099 lO-inch. *0.75 

She is afraid and bega him not to tempt her. but he persists, and reproaches her for 
her coldnes!., umil finally in a passion of abandonment she yields. 

Pourquoi ces yeux {W^hy Those Eyes) Part II 

By Mile. Hcilbronncr. Soprano: M. Vigneau. Baritone 
TI,anc<,rdlncfu>k,lhr,luefyullaic-J-l'—Sfil>tli>ui {In French) 69099 lO-inch. »0.75 
Then lon-^thp, ihoy siiiH the lovely duet: 

By Giuaeppina Huguct, Francesco Cigada. and Ernesto Badi 
itnllalian) +35 


Then' l.i^v^'m.'' dear! 11.. th: i U,.. [bi;"\ 
The lovers, who have cast aside all prudence and see only eacV 
nm. who h,-.s been warned by Tonh and has hurried from the tave 
T..Mi> lliiilJiim CiiJiii) b.ickl: Now just ^lep 'oilly. 

Scivcn <d>iafreari„g ,.:er ,l,c -j:all): 

To-night at niidniehl, I'll 1>i 

■ '^""■'' And w'.^t rirV Itiinc! 
l,Sh( jr« Can/o -nJgieo a crj, of fear.) 

• lir,uili.F„crd RrtorJ—.Sti » 


Canlo, who hss not leen Sihh, but hu heard Nedda i psidny wonl(, now niihei lowaid 
tke vnU. NeJda ban hi* vray. The record begioi with the melodnmatic music written 
bjr LeoocavallD for thii excitiiig atraxgle, cJuring which Confe puihea her aaide anil ruiu 
in pumiil of Sihlo. 

Nedda (liiltning ao^neuily): May Heaven prolecl him now! 

C*Nio tfrom bthind): Scoundrel; Whi.c hidesi Ihouf 
ToHio (hughng cnieally): Ha! Ha! IIiI 
Ncnnji (IBraing to Tanio wilk loalhine): Bravo! Well done. Tnnio! 

Tiisio (inlA fieadiib lahifaclion) : 1 hope in Ihe fulure to do betlcr! 
Canto [c-enters, out oF breath and com- 
pletely exhaualed, Aa he tuma to Ntdda with ^ 
aupprewed rage we hear again in the ace 
panimcnt that dismal theme of revenge : 

That shows how well hr knows thai path. 

SrKak now! 
Ntdda proudly reftuei. Filled with joy becauac of Sllolo'i eacape, ahe caiea not what 
inay be her own fate. CnnJo, bewde himieif. ruahea on her with the knife, but Ptppe hold* 
him back and lake* away hit weapon. Tonfo cornea to Ptpfit'i 


.ill come back, 

Ntdda goea into the theatre and Canlo remaina alone, hit head bowed with ahame and 
baffled revenge in hia aoul. 

Vesti la giubba (On With the Play) 

By Enrico Caruao. Tenor (In Italian) 88061 12-incli. tS-OO 

By Nicola Zerola. Teoof (In Italian) 641M lO-inch. IXM 

By Giovaani Martinelli. Tenor (In tl^m) 64484 lO-inch, IJM 

By Paul AlthouM, Tenor (OMtb-FoMd) (AiAdtan) 4S055 10-iach, IdOO 


1 hen follows the greal aria, in which the unfortunate 
Patjiiaccio deacribo how he muat paint hi* face and make 
merry (or the public while hi* heari i* torn with jealouay. 



pay , 













or Ih 




the pa 

n th 

( Ht moves tlowly bHeerJ ikt theatre, weeping ; then at Iht 
'ain iIoibId falh, luthet Into Iht Itnl.) 


""'■■■ "~'"- ""■-" " '""'"" SCENE— Sam* o* ^ci / 

La Commedia (The Play) Part I, Serenata d'Arlecchino 

(Harlequin's Serenade) 

By Giuseppina Hujuet and Gaetano Ptnj-Corsi 

[In/laliani '3S\H 12-inch. »1.25 

Passing ovm the preparations (or the play and the quarreling chorus oi the peasants as 
they fight (or the best seats, which is not interesling without the action, we come to the 
commencement o( the comedy- The curtain is drawn aside, disclosing a small room with 
two side doors and a window at (he back. Nidda. dressed as Columbine, is discovered 
walking about anxiously. The tripping minuet 
movement which runs throughout the action o( 

Columbine ri^.-.n ^.n.l looks out o( the window 

The soxmd o( .. BUitar. cleverly imilated 
by the violins, pfr.-fculo. causes Col umbme lo 
Utter a crv o( ,oy. and the voice of 1 lai lequin 
i. heard outside in the Serenade. beRinninK: 
in which he extravagantly rhapsodizes hi.'^ swe 

La Commedia (The Play) Part II. E dessa ! (Behold Her!) 

now preps through the door and m-H^^-^^^ ' ^ ClL^^ht^SSsf^^ 
aays exanncl.ltedly. with a comiral cr—'H^IT- — 11 ' - i^^_^=^^g i%. a ' i r^ z 

The audience laughs in delight as Tanio tries to express his love by a long, exaggerated 
sigh. Columbine tries lo suppress him by inquiring about the chicken he had been sent 
for, but Tonio kneels, and holding up the (owl says: 


ind leadi him out by the car. 

Versa il filtro nella tazza sua I (Pour the Potion in His 'Wine, 
Love I) 

By Augutia Barb*ini. Giuseppina Hutfuct. Francoco Cicada, and 

Gaetano PinUCorsi (/n Ilalian) *35ir5 12-iDch. *l.2S 

The loveia now partake of their feait and make merry together. Harlequin lakes fiom 
hia pocket a little vial, which be givea to Columbine, laying: 

IIaii.i^DUIh: Take thii little itecpini draught, And tben away we'll fly. 

Tis for Pagliacdo! Cc.luh«ihb (tai>"h)-- 

Give it him at brdtime, Y«. give mf. 

Upon the scene auddenly buratt Tonfo, in mockalarni.bawlinB loudly: 

The lovera aimulate the which the excited apectators are highly pleased, 
and applaud lustily. Harlequin leapa from the window, and NtJda continues the scene by 
repeating Columbine's next linea. which by a strange chance are the very words she 
had spoken to Sllolo eailiei in (he day : 

Canlo. dieased as PunchinfUo, r 
now enters from the door on ihc I 
right. pN 

Htll and damnation! 1 I 

And the very same vordi, t<~v. ■ f 

llul, courage 1 ^ 

vi!."^d''»™rwilh ou' 
rvaiNE (ligl'lh)-- 
ul nonsense! You 


Ah. Il 


The audience laughs loudly, 
which enrages the unhappy man, 
and forgetting hia part he lumi to 
NeJda and fiercely dernand* the 
name of her lover: 

Throwing off entirely 

themaik I 

• DiitU-FmaJRKmJ-S.tea 


No, Pagliaccio noo son! (No, Punchinello No More I) 

By Enrico Caru»u. Tenor Un Italian) 68279 12-ini:h, f3.Q0 

By Nicola Ztrola. Tenor <ln Italian) 74247 12-mch, 1.50 

By AueusioBarbaini. Tenor I In Italian) '35175 12-mcli. 1.25 

TKir p<-ople, while a tillle puzzler! by aucll intemily, loudl 

laud what they iKinIt ii 

Cinio pleads his defense, saying that he ii no loOKer b player, but m man, and protMtt 
as a man against ihe wrong inflicted upon him. Hia paadon gives place to B tofler itrain 
as he speaks oF his love for NrdJa, his (aithhtlneaa anil hia aacrifiM* (oi her. 

Finale to the Opera 

By Antonio Paoli. Tenor: Ciuseppini Hufuet, Soprano: Franccico 
Ci«ada. BaHlone: Gaelano Pini-Carsi. Tenor : Ernesto Badini. 
Tenor: and Chorus fin Italian) 92013 1 2- inch. * 3. 00 

The close of Can/o -J great 
air. "No. Pagliaccio No More I" 
i* gieeted wilh loud ciiei 
"bravo" (torn the excited au- 
dience, who think it IB] 
■plendid acting. 



I'll kill youl (Act II.) 
t triea to contioue the play, and aa the little savot 

ntw thai 

Wert auch s fearful man, sir: And cauied you all this bother 
The tn>n who's been to >iip W»» only Harlequin, you tte. 
you with me Poor Harlequin, no otber! 

The crowd begina to laugh, but ia checked by CinAi'i appearance, which ia alaifning. 

C*Kio (violrnlly): Ah. you defy mel 

You'll name him, or elie I'll kill yiiu< 
IShouiine): Who wu it? 
NmD* (IkroaiHg off htr maik dtfamly-): No. by my mother, 

I'm faithlesi, or whatever yon choou to call mei 
(Proudly): But cowardly, no. neyer! 

I will not ipeak: No. not even if yon kill me. 
A> ihe linKi we hear triumphantly appearing above her voice the love motive: 

telling o( herpBSHonforSifDfo, which ia to endure ev 
her. but i* reitrained by Tonia and Peppe. NtdJa tr 
ataba her, crying : 

NtJda Ula, and with a last faint effort call.: 

"Oh. help me, Silvio." 
Sllelo, who haa drawn hia dagger, tuahea to her, when CanJe criea; 
Ah, 'twaiyou! 'Tia welll (Subt him.) 
Cawio (« if ituptftd. Itliing fall hu l'.'i<l'\- ^, 


I Flying Dulchmo,, Fanla. 

... ._ _ 


(Prologue By Rcinald Werrenrath. Baritone [In UaUaK'\.., 

I Cormcn - C/,oniOn </,, TarcaJo, IVfremalh ond Cho i /n Frenc/i) I* *' 
iPrologue. Part 1 By Franizesco Cigada. BiritODe {In Italian) \ 
(ProloBuc. Part [| By Frjncesoo Cigada. Baritone l/n Italian)} 
iProloeuc By Pryor'* BindU^,. 

■■■ !>) fijfPryoi'-. Bandr 

La Scala Chorua {lnhaUan)\, 
}\a d'augelli By Giimcppina Huguet. Soprano (llalian)) 
So hen chc defarmc By Huguet and Cigada {In Italian)],., 

JNulbscordai! By Huguet, Cigada and Badini iln Italian)) 

(La Commedia- Pan I By Huguet and Pini-CorBi 

LaCommcdia Part II By Giuseppina Huguet.Soprano; 3 

Francesco Cigada. Baritone: Gaetano Pini-Corsi.Tenorl 
(Versa il filtro nella laiia sua ! I 

J By Barbaini. Huguet. Cigada and Pini-Corsi (In Itolian)]^ 

(No. Pagliaccio non sonl By Augusto Barbaini (In Italian)] 

(Opening Chorus.-'Son qua" By La Scala Chorus itn Italiani), 
\ Tfovatore Pc,mto,a/otoU- F-'-t>hC<.tr>nna and Chow, {Italian)]^ 
Gema from Pagliacci By Victor Open Co. [In Engliih)\ 

^ " ■ """ - -<™m"- BLid Son. -"Ye I 

dy. ■■],.« Look. My Lov=- -Chin™i, "Soe, TbeyCo. " 
Oem, ],om CavalUria Rusli<ana i.Maicagnl) I 

Bv Victor Optra Company (In Engliih) ' 
IVesti la giubba By Paul Althouie. Tenor lln /fa/Jan)U^nSS 

1 Tojco E hctvan If Utile By •Paul Allhoatt. Ttnor (In Italian)!^ 
I Ve>ti la giubba By Pietro. Accordion iat) ■ toj] 

1 CacalUna Ruttitana-lnttrmtizo Vidro 's Accordion Qaorlrt( 

iDe loi depend mon sort By Mile. Hexlbronncr. Soprano ) 

and M. Vigneau. Baruone lln Fr.^cA) [^,^099 

Pourquoi ces yeux By MIk. Hclhronncr. Soprano , osuai- 

and M. Vigneau. Bariume (In Frtnchj) 

Choru.--DmK Dong ■ -"Thi. 
Bi.d. Wilhout Numbc- ■■ 
Thf Comcd);. "h"t Look. My Lovs 




















Muiic and Ubretio by Richard Wagi 
duced at BayTCuth. July 26. 1B82. bul n 
Bl ihe Melropolitan Opera, in «pite of 
production in English was ahEfward gi 
in 1913 and productions at Berlin. Paris. 


based on ihi 

amous Grail Legend. First pro. 
■ewnere until 1903. when the work was given 
determined opposition of Mme. Wagner. A 
by Henry W. Savage. The copyright expired 
e. Bologna, Madrid and Barcelona followed. 


TlTUREU a Holy Knight Bass 

AMFORTAS, his son Baritone 

CURNEMANZ, a veteran Knight of the Grail Bass 

PAR51FAU a "guileless fool" Tenor 

KUNCSCm, an evil magician Bass 

KUNMY Soprano 

Knights of the Gimil ; KlingMr'a Fairy Maiden*. 




of th<^ Grail is perhapi the moM be 


m l<gen 


on. which was i 




1300 by Wolf n. 


of ThuimBia, who 

n Wagner has 



ed ro 

ells of <he Holy Graii. 

(he c^p 


which Chris, dra 
pies, and Inio whic 

k at the Last 
was placed the 

-with M 



of the Saviour. 


wilh the lance 


caused thrse 

wounds. wi>a in dan 

iei of piofanatio 

n from 

infidel h 

-ind was iherEforcr s 

<^ Kn' 

yhL. Tilurct. who bu 

t a splendid sar 


enees and gathe 


co.,ipanv of Knighla of 



who ar. 

d^vo " 

inu iheir liven to ih 

guarding of the Grail. 



^r a dove descends 

■om Heaven to 



wers of the Grail an 

d its guardians. 


. ,ubjec 

t as ihis. mysCir. symbohc 



n Porsi/al he reach 

ed hia higheat 



as thi. 

mosl be 

1 of lesends been » 

teverendy trea 

ed. or 


wonderful sijinifican 


ed lo occur before the 


of Ih 

c npeia must be understood before 


idea of the action of Wagner's work can be gair 

Tllmd. finding himself growing old. appoinU his .on. " "■ """' 

Amforlas. as his successor. Near the Castle of Monsalvat there Uvea Kllng«,r. a Knighu who, 
Feeling himself growing old and wishing lo atone for his sins, vsinly tries to ioin the Order 
of thr- Grail, but without avail. In revenge, he consults an Evil Spirit and plots to bring 
■bout the downbll of the Knights. lo Ihis end he invokes Ihe aid of a company ol sirens. 
half women and half flowers, called flower girls, who dwell in a magic garden. One by one 
the Knights have fallen from grace because of ihe allurements of the flower maidens, until 
Am/orlas, seeking lo end these fatal enchantments, resolves to go himself, carrying the sacred 
Lance, which he is conlideni will be proof againsl the magic of the sirens. But. alasl he is 
not only defeated, but is wounded by the sacred Lance, which his enemy aeiies and turns 
against him, making a wound which nothing can heal. The unhappy Amforfas returns lo ihe 
Castle weighted wilh an eternal remorse and a perpetual agony from his wound, bul is forced 
as head priest to continue lo celebrate the Holy Rites, all the while feeling himself unworthy. 
In vain he seeks f«i and wide for a remedy for his wound and forgiveness for his sin. until 
one day in a vision hn hears an invisible voice proclaim that only a guileless fool <i.f.. one 
who is i^'norant of sin and who can resist temptation), and whom heavenly messengers will 

ppiwrfV ^"^ 


de to Monsalvat, will be 


Am/o7tas' downfall was 



ears allernalely a. a de- 

ed servant of the GraiLand. 



leir ruin all Knights who 


sed existence is a punish- 

revious existence, when as 

vdias she mocked at Christ 



SCENE— /4 Foral Ntar Moraaloai 
The liae of the cuitain shawi Gumanatu, a veteran Knight, with two noviccB. adeep. 
Trumpet calls from the Caatle awaken them, and they join in prayer, afterwaid preparing 
the bath with which Amfoiiai aeek* to heal his wound. Meuengen from the Caitle report 
thai the latest balm which he had tried failed to bring relief. Gatnemanz ia much grieved, 
and sink* down in dejection, until he ia rouaed by the approach of Kundry. who comei in 
hurriedly, dreased in aombre gaimenta and in her normal mind, but exhaugted with fatigue. 
She brings a new remedy which she had sought in diatant Arabia. When Amfortas arrive* 
with his train for a bath in the sacred lake, the new balm ia offered to him. He accepts and 
thanks the strange -looking woman for her kindness. When the procession departs the 
novices attack Kundry, calling her a sorceress, but she is defended by Gumtmanz. who aays 
she is devoted to the King but is subject to strange spells, during which ahe vanishes for 
long periods. 

under i 

Rcncvtct Iwronie. 

That of bet tins she niiy be shriven 

Seeking her ihritt by such good sctions 
As advantage sll our knighllj factioni. 
Sure she does well in worfcing thus: 

True, when s 

Then l)ioki: n 

I long have known her now; 

nut Tilurcl knew her yet ton 

When he yon caslle conHcrsIt 

He (ou 


iuM when the trouble c: 
WUdl yonder miscrran 
So sbmMfnllT did brim 

er lately, 
beyond Ibe mountain 


nacd M Ihe feet 

eBrdraKRiriK ihe 

not knowing U 

He is reproached 

can lell lillle of 

mother was called 

ry, whose atten. 

uth's Father was 

Itle his mother 

men lest he meet 

nd Panifal is a 

The tram of Amforlasagam appmaches, relurnmg 
from the lake. Gu,ntmanr invites Parsi/al to accom. 
pany them to the Castle, the thought havrng occurred 
to him that this strange youth may be the ■' guileless 


High muds the 

< holV FmiI then com 
rely "'hVcrlil ^w'lT feed Bnd ltd 
I has ffenlly laid Pariifai; arm 

Knowledge of it wi 
St^hlnli^ I know tl 

The change to the Culle Hall i* here effected by a movinB acene behind Gumanaa 
and Panffal, so that they *eein to be walking slowly along, at ArM through the forert, thei 
into a covered galleiy which aacenda to the Caatle. Thia effective device waa fint uaed a 
Bayreulh, and afteiwanl in * ' ' 



SCENE II— 7A( CaitU Hall 

The two 

suddenly find ihe 

mselves in a vast h, 

>ll. filled with a s 


ge light w 

hile invi^ 

Me bells are 

pealing. Panifal 

is dazzled and lasc 

inated by the w. 


^rful Sight, 

while he 


BtcK«d by Qumrm 

a^2. who hope« lo , 

lee signs of an aw, 


mg knowU 

:dge of hi. 

In the ha 

11 ihe Knighls are 

preparing for the 

daily riles which 


:ur before 

,he Holy 

Grail, Then 

on« of the most i 

mpteaaive scenes ir 

1 the opera takes 


:e. Theu, 

Amfortas is bi 

rought in on a cou 

preside at ihe 

mony. In 

agony of 

mind and bo. 

dy. he endeavoia 1 


aged fathc 

;r. Tilurtl, 

i, heard from 

1 the dark chapel < 

commanding him tc 


ina hear, 


pica, begii H, 

;avenlo permit hi 

m lo d.e. to end h.s 


From lh( Almiiihly O 
Th'e ^rli'alSl .tnfS.l'bl 


7Vlura/'j voice i* again heaid. urging Ainforla* to pioceed. and the 
laiiei himself from the couch and offen the prayer of conaecntion. A> 
ing ray of light atreami down from the vault above and falls on the Grail 
a great luster. The Cup ii covered and all partake of the bread and wir 
file ilowly out. During the ceremony Ponifol ha* (tood faKinated. but v 
Camemom. finally out of patience, comea up and thmata him out, uying: 

he ap« 

. which 

eked prieM 
ik. a blind, 
glow, with 
which ibey 
a«iive face. 

And' "Tl 

And M«k tlniclf, laadcr, ■ 


Ht piuktt Par^Tni and Ami Ikt 

angrUr m Mm M (*« tmrttimfatb.} 



SCENE-A:/(ngJO,'j Magic Ca,lU 
In the inner keep of a lower open above; stone steps lead up to the batllemented sum. 
nit anil down into darkness below the stage, which repreienis the rampart. Magical 

KiiNf, Lo: linw m>- niacic tow'r tmices 

ThF IJMie has come: Yon iool »hD neareih. ■.houtine like a child! 

In the bluish li^ht arises the form o( Kandry. She is heart! to utier a dreadful cry. as if 
half awakened from n deep sleep. She tries to resist him. but Klingsor ', power over her finally 
prevails. He tella her she must tempt Parsifal, who i> now approachinB the Casile of Ong»r. 

i'l T "h''" ""i'u"'"' "" 


With a Urt cry of 

links beneath the earth, while a 
magic garden filJed with wonderful 
flowers and plants rises to take its place. 
On the wall atanda Panlfal. looking 

From all sides, from the garden and 
from the palace, rush in mazy courses 
lovely damsels, lirst singly and then in 
numbers^ their dress is hastily thrown 
about them, as i( they had been sud- 
denly startled from sleep. They have 
red that several oi their lovers 
have been slain by an unknown foe. and 
seeing Pariifal. they accuse him of the 
deed. Panifal comes nearer, saying 


Let Idodneu be Bccardrd, 

/ouldit thaii conule ui lightlT 
hen win it from ub, and IfgbtfT. 

: into the groves 

ower dreiaes, mp- 

pearins like Boweri tliein*elvei. They 

peanns like Bowe 
playfuUy quarrel { 

quiet enfoyment of the i 
finally gently repulse* them. 

ir I « 

3 piny, ; 


iful flooeri. 

Ai they pu»h doter to him he 
becamei angry and tries to Bee. but hi* 
attention ii niddenly arrested as KunJrf 
calU "ParsiM, larryl" He stops in 


Psriifsl . . .i 
So once, when 

n of Kundiy now becomi 

Whn then Ihf daylight had no 
ric™"'haic-'l"liir?ic'd ih% b*JI"i 

Ich sah das Kind (I Saw the Child) 

By MarHircteMaCienauer. Contralto {In Gemian) 86364 12-inch. >3.00 

Tenderly gazing at the now attentive youth, she begins, softly : 


a cinlird of il> 


f^aitfal U gnady affected and nnk* at Kundqi'i 
feet, diatreued. She erokiacei him tendedy and trie* 
to comfort him, while he aeemi to imagine that it i* 
again his mother whote senile embTsce* he i* receiv- 
ins- Ai ahe give* him the kiaa which is lo complete 
hia subjection he awakes to a knowledge of hi* rois- 
aion, realizes Kundry't evil puipose and repulses hei 
with acorn. She pleads with him, playing 
■ympathies : 

Let mc upon Ihy breail lie wbbing. 
But for one hour together ibrabbtng 
Though forced fiom God and msn li .. 
Be yet redeenied and pardoned by ihee) 


To th? hi-fp "To'iSTf kH "* " 

If of Ihy cravinRS thou repeni. 

The solace, which !>hsll end ih* lorraw. 

Yields not thai spring from which it flowi: 

Salvation canst ihou never boirow. 

Til] thai same itpriug in ihee ahsll close. 

Fuwily, enraged by his 

refusal, she calls for help. 
Fearing that he will es. 
cape, KllngMar and the 
flower maidens rush out 
of the Casde. 

Klimciob (faiiina a lascf): 

Hsil there! Ill bsn thee with befilting gesti 
Tbe Fool shsll perish hy bla Msiter'i spcsrl 

He flinga the spear at Panffal, but an invisible force stopa 
it and it icmaina floating over his head. Pantfal graips it with 
his hand and brandishes it with a gesture of exalted laptun, 
making the sign of (he Cross with it. 

As with an earthquake 
die Gisde fall* lo ruins, (he 
garden withers up to a desert, 
the damsels become shriveled 
Bowers strewn around on the 

Kundrg sinks dovm at Par' 
tifal'tieet, while the hero, gaz- 
ing at her with compassion, 
and referring to the fioly Crail, 
where true salvation can alone 
be found, cries : 

carfois ysOt faMlf.} 



SCtNE— >i H 

g hnJiC: 

I m Ihc 


'oiinJ) of Moniahal. Al the bacl( a small ken 


Gurn^mani. now »>! aee<l m».<, >n hcrmi 
the Grail, cornea oul oF the hul and lislen 
■pparenlly lifelesa, but she revives under h; 
■oon arises an b<«9^ ™me^i^ e^y- i. e a * 

I dr«s but still wearing the tunic o( a Knight of 

He ihen goes lo a thicket and fmdi Kundrj/ 

ministrations. She is dressed as in Act I. and 

ving maid, to work. She enters the hut, pio- 

Gurnemam watches her caieFully, seeing signs 

of a change it. her. Parsifal now enters from ihe wood in complete am 
Cuinemom. not recoKnizin^ him. reminds him that no armed knight is allowed in the sacred 
premises, and especially on ihis day. Good Friday, Without saying a word, Panifal rises, 
removes his helmot, and knirl* down in silent prayer. Gumcmanz in surprise, says soflly 
to KunJry : 
CL■l.^E«AN/: _ \U\ by « iMih aye camf hf>'Mi'i 'i"!!' h,™' ""' " " "" "° To which my happy soul awakes' 

Tlic fnol v,-li„n, in anger I disrai"td, (Kwiirfry has (kr.icd ait-aj her lace.) 

)iayer. gaies calmly around. lecogniies Gurnimani, and 


Gaiiiuaunx queitionB him Mid i* canfifmed in ki« belief thmt thia it tl 
Kd«em die ana of the Gmil brotheTbood. He (elU PaTt(fal of die lad • 

Here art tbmi, in Ibc Grail't domain: 

Here mill for thee the knightly bind. 

Ah. how they need the bleiKing. 

The bleiKing that Ihou biing'st!— 

Since thai finl day in which thau came 

The mourning which tbou hcardeil Ihei.— 

The anguish— »re!y hi^ incrc»«d. 

With thc'wound that tore hia apirit. 
Deiired with reckless daring then hit death: 
No ptay'ri. no »orroi» of hit comradei 
Could move him to fulfiM hia holy ol&ce. 

The' crushed and leader-lacking band 

Here on ihe woDd«ide lone I hid mTXlf. 

For death with calmneu waiting. 

He ia on ihe point of falling, help- i^^^'< 
leaaly. GnmeriKini support* him and nl-^^^'' 
Iowa him to link down on the grany Y!^ 
knoll. KunJrn has brought a basin of 
vrater with which to iprinkle Pan(fal, 
but Guwemaia wave* hei away, aaying 
diat holy water alone muat be uaed for ( 
hia anointment 'j. 

Pantfal aaka to be guided to Am- <f&- 
fnt«M, and Gamanaiu and KunJiy buay ".' 
tbanuelvea in pTcparing him for the or- 
doal. KunJi]/ bathea hia feet and dtiea •'.. 
tbem on her hair. Pantfal aiki Gume- ' 
molt*, who by hi* pure life has become i 
worthy of thia oflice, to anoint him with ( 
the water of puribcation and the con- 
tenta of the golden vial which KunJry 
produce* from her boaom. Gumemani 
conienta. and be*towa on Patilfal the '< 
title of Ptince end King of the Grail. 
Pantfal now looks at Kundiy with deep 
compassion, and taking up aome water 
sprinkle* her head, saying ; 

Charft'citaffszauber (Good Friday 
Spell— Part I; Mein erstc* Amt 

Bs*« (Cernian) 99061 12-i 




iy n 


Charfreita^szauber (Good Friday 
Spell. Part II) Du siehst, das ist 
nicht so 

By Herbert Witherapoon. Btti 

(hQttmar,) 74U4 12-inch. »1.S0 
By Karl Jdrn. Tenor, and Jem Miiller. 
Bass l/n German) 5S061 12-inch. 1.90 

Have herf with holy rain 
Bcsnrtiiklrri firld and plai 
And ma.U' Ihtm ^low »>!> 

Thai mnrwrfool lo-day it nerd 
Kor, a, the Lord in pity man di 
And in Hi' mercy to, him bled 


KanJrji has Jowly imiaed her head aBmin. and gazea vrtt 
inoiH eyea, eameatly and cobnly be«eechiog PantfJ. 

I «i> my uarnful moijiFri wither: 
Now look tbey for forgivencu hither? — 

Thou w«p*«( — »*e! the lindacipe glowtih. 
^He liiisei her loflly <" tk, W».) 

Dialanl beUa are heard pealinBi very gmduBlly iwelling. 

The hour 

Permit, m; 

1, thr Krv, 

.0 1«. 

_ _.._ kai brought out a coal-of-mail and mande of 

the Knights of the Giail, which he and Kundry put on Parttfai. 
"■"■■""■' The landscape changes veiy gndually, as in the firs! act. 

wiinEHiiL AS ALiETi«i*! Patitfal solemnly grasps the Spear, and, with KunJry, follow! 
the conducting Carnemanz. When the wood has diaappeared and rocky entrances have pre- 
sented thetnselvea in which the three become invisible, processions of Knights in mourning 
garb are perceived in the arched passBBea. the pealitig of bells ever increasing. At last the 
whole immense hall becomes visible, just as in the lint act, only without the tablea. There 
ia a faint lighL The doora open agaiii, and from one side the Knights bear in Tllurel'i 

corpse in a coRin. From the other 

Amfertat ia carried on in his litter, pre- 
ceded by die covered shrine of the 
Gnul. The bier ia erected in the middle; 
behind it the throne with canopy where 

Amfortas' Gebet. "Mem 

Vater I" (Amfortaa' 

Prayer, "My Father") 

By Clareace Wbitchill 

{h German) 

74406 12-inch, tl.iO 

n Heavenly heighH 

T the shrine! 

I (i» a fantyim of ditfair) 

(Tiari oftH Mil drtii.) 

Rehold me!— Ihc o^tn wound behold'. 

All have ah run k back in awe aiid Amforiai Mandi alone in fea 
:iimpanied by Cumtmanz and Kundry, kaa enitred unperceived. 
etchti out the Spear, touching Amforta,' aide with the point. 

'i;hc ..n'i''lh'al "irifrk"'"' 
/Im/orfOi'counlenance ihinei with holy rapture, and he lollera w 


Which mrni to ioin (be founUln g 
WhoK puce tide in the Grail ia flaw 
Hid be no mow that shape divine; 
Uncover the Gnill Open the ahrine 


The boy> open the ahrine and Panlfal takes 
from it tlie Crail and kneela, abaorbed in its con- 
templation, lilendy praying. The Ciail glowg with 
light, and a halo of ^oTy poun down over aU. 
Ttturd, for the moment reanimated, raiaes himaelf 
in benediction in hia coffin. From the dome de- 
•cenda a white dove and hovera over Pantfal't 
head. He wavea the Crail gently to and fro before 
the upgazing Knighta. Kuitdry, looking up at Pat- 
lifal, sinka alowly to the ground, dead. An\for1<u 
and Gamemani do homage on their kneei to 

iq*t°he SaXu'iff' 
(The curtain fall 

PioccMioDil of the Knights of the Holy Grail 

By Arthur Pryot'« Band 31735 i2-inch. ti.oo 

(CturfreiUIsiauber fGood Pridsy Spell) Part I {In Gen 
By KsrI Jorn, Tenor, and Jean Muller. Basa \t*nt.t 

Charfreiussiauber (Good Friday SpeU) Part II {In German) P^"°' 
By Karl Jorn. Tenor, and Jean Muller. Baas 

suddenly ibe heavenly aplenc 
fl^nird nnri atnwed within ihr 


-■4- v.. 



by Sir Arthur Sullj 
81 American produf 

Id Squa 

Libreltoby W. S, GJlb^n: r 
Comiquc. London, April 23, 1881. 
York. September 23, 1881. It was revived at 
the American Theatre, b March, 1900. by the 
at the Lyric Theatre in New York. 



Castle Square Opera Company ; 


U'ilh the OriKinnl AmeHcn C>H 
RtGINALD Bun I HORNL a fleshly poet Wm.Whit. 

Archibald Ghosvenor. an idylKc poet 

Lady Angela. I f 

Lady Saphir, L ., I Ro»eChapdl< 

LADY ELLA. "^P""-""' maidens j^^^^^ gi^^_ 

Lady Jane, ( lAuRusta Rochi 

Patience, a dairy maid Carrie Burloi 

COLONEL CALVERLY. I | Wm. T. Cailelor 

MAJOR MURGATROYD. Officers of ihe Dragoon Guards Arthur Wilkinsoi 

Lieutenant Dunstable, I | A. Cadwalladei 

Guards, Esthetic Maidens. 

Fatience is Gilbe 

rt's famous sal 

• he most delightful o 

f all 5ull.van-3 

by Oscar W.lde and 

his imitators. 


aimed at it. and soon 


and Sullivan series, a 

for Bunlhornc. Palic 


This absurd school of estheti 

aid, appears and ridiculei 

sm, repreKnted 
: which Gilbert 
ulof the Gilbert 


Dragaon GuerJi are expected ihonly -, but ihougk the maiileiu doted upon the Dmgeont ■ 
year ago they scorn them now. The Guerdt arnve. aito Bunlheme, followed by the (aii twenty, 
who pay no atlenlion whatever to the Dragooia but follow the poet, liilening to hii latest crea- 
tion, whereupon the Dragooia leave in a rage. When alone Banlhomt confesBcs to hiinaeU 
that he i* a sham, Pallenci appear*, and the poet immediately makes love to her, but she 
is frightened and rum to Lady Angela, who telU her it is her duty to love aome one, Pallenet 
thereupon declares she will not allow the day to go by without falling in love. 

Gnuoenor, the idyllic poet, and an old playmate of Palltnce, enters, and she promptly falla 
in love with him. but he remains indifferent. Banlhomt, twined with garlands, enters, led by 
the maidens, and, unable to decide between them, puts himself up as the prize in a lottery, 
but PaHence interrupts the drawing and announces that she will be hia wife. She ia 
promptly accepted, whereupon the fickle maidens transfer iheir aSeclioni to Gnuotnor. This 
does not please Banlhomt, and he predicts that his rival shall " meet a horrible doom." 

In the opening of the second act we see a rather ancient damsel, Jant, mourning because 
of the maidens' desertion of Buntfiarne, who is content with a milkmaid. Groietnor enters, 
followed by Palitnce, who tells him that she still loves him but that her duty is toward Bun- 
Ihomt. Banlhomt enters with Jane clinging to him in spite of all his efforts to get rid of her. 
Finally, in a jealous rage at Pallince'i regard (or the fleshly poet, he exits with /one. 
Now the maidens are beginning to make advances to the Dragoons, and the poets begin to 
quarrel with each other. Banlhomt asks GrcHDenor how to make himself less attractive, and 
is told to dress himself in a more commonplace manner. When the maidens find he has 
given up esthetics they declare they will do likewise. Palitnce deserts Banthome for CrMuenor. 
the maidens fmA suitors among the Dragoom. and Jant goes over to the Dulfe, leaving 
Bunlheme lonely and disconsolate. 

The Opera Gimpany has given us a medley of the airs of this delightful opera, six of 
the most interesting numbers, in abbreviated form, being included. 

Gems from Patience 

Chorua, " Twenty Love-Sick Maidens We" — Male Chorua, "The Soldiers 
of Our Queen" — Solo, "Love is a Plaintive Song" — Solo and Cbonis, "A 
Most Intense Young Man" — Sextet, "I Hear the Soft Note" — Finale. "Oh, 
List, While We Our Love Confess." 
By the Victor Light Opera Company 31816 12-incb, •l.OO 

Hulian) (EngLuhl 



Tew by Caire and Cormon. Music by Geoiges Bizel. First production at ihe ThMire • 
Lyrique, Paris. Scpicmber 29. 1863. First London production, entitled "Leila." at Covent 
Garden, April 22. 1887 ; and as Pacaiori di PerU. May 18. 1889. Recently revived atCovent 
Garden (or Tetrazzini. First performance in America occurred at Philadelphia. August. 1893. 
in English. First New York production (two acts only I January II. 18%. at the Metropoli- 
tan Opera House, with Calv«. Revived at the Metropolitan in 1916. with Caruso. Hempel 
and <ie Luca. It is interesting to recall that Caruso and de Luca sang together in this opera 
eighteen years ago in Genoa, at the very beeinning of iheit operatic careers. 


LKII.A. a priestess Soprano 

NADIK, a pear! fisher Tenor 

ZUKGA, a chief Baritone 

NOURAB AD. high priest Bass 

Priests, Priestesses. Pearl Fishers. Women, etc. 

Sctne and Period : Ctylon ; buiiaric period. 


La PtcheBn it PttUt, one of Bizet'i earlier opera* and the fint one to achieve 
ia a work dealing with an Oriental subject, and contain* much mudc o( chai 
ity, showing traces of that dramatic force which reached 
liie charBcler of the music, lea* passionate and highly 
colored than Cajmtn, is yet equally onginal and of even 
more stn icing beauty. 

Tlie story tells of the love of two Cingalese pearl 
lishers for the priestess Leila, and of the generosity of 
the unsuccessful rival, who helps the lovers to escape 
at the coat of his own life. 


The prelude is a moat beautiful number, and con- 
sidered one of the Bnest of Bizet's instrumental 

Preludio (Prelude) 

By La Scab Orchestrs *62100 ItKinch, 10.75 
SCENE— TAe CoatI of Ctylon 

The rise of the curtain disdoae* a company of 
Cingalese pearl fishers, who. after choosing one of their 
number. Zurfa, to be their chief, are enjoying themselves 
with games and dances. Nadtt appears and Zaiga 
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, he- 

S'nning the duet, recalls the moment when the 
lends first beheld the lovely Leile. 

(ItilJsa) (FrsBsli) 

Del tempio al limitar (Au fond du temple) 


(In the Depths of the Temple) 

By Enrico Csruso and Mario Ancona (/n Ilallon) S9007 12-io«h, i 

By Edmund Clement and Marcel Joumet (In French) 76022 12-inch. 
By John McCormack and G. Mario Samnurco (llallan) 8T082 10-inch. 
By Giuseppe Acerbi and Renzo Miaolfi {In Ilallon) '68063 12-inch. 

In an impiessive strain he describe* the scene within the Temple of Brahma: 

Shr dtseendH from Ihr alia. Zi»ca; 

And. moviriB near to us A fatal love Ix'Ih our souls 

They sneak of their sudden realization of the fact that they had both fallen in love at 
sight with the priestess, ond fearing their friendship was in danger, they swoie 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 iisherman now enters and announces the arrival of the mysterious veiled lady who 
comes once s year to pray for the success of the fisheries, and whom the Ceylonese have 
adopted as theii guardian saint. She enters and begins her prayer. Nadir recognizes her 
voice and realize* that it is the prieotes* Leila, The pearl fiihers sing ■ chorus of appeal to 
Brahma for a hleasing, in which Leila join*. 


Brahma gran Dio (Divine Brahma t) 

By Lindj BrjmhilU. Stiptano, and L» Sola Chorui 

[In Italian) *b80b2 12-i 


3 <he lemple and I 


ip\t diaprnif:. Nadir. 
tBtrd by his discover 

Mill lov» tl>c maiden. He recall, th^ 
memoriM of tiis fiisl sight of her i 

Mi par d'udire ancora 

' French! 

Je crois entendre encore 
(I Hear as in a Dream) 

By Enrico Caruio. 
Tenor ih French) 

8BS80 12-inch, tiXtO | 
By Florencio Cdngcantino. 
Tenor [In Italian) 

74067 I2-iach. 

£.ejfa reappcBrs and the act cloaes with I 

her player to Brahma (or the good fortuna I 

of the filhecmen. Juil ai the curtain falb J 

a Naii, 

■ him. 


5CENE A Ruined Temple 
Aa the curtail, rise. Uila and A'otira- 
had, the high priest, are seen, they hevin{ 
BouRht shelter in the ruins of an ancienl 
Ipmple. The high prieal. in a fine air, 
reminds Leila of her oalh (o renounce love 
and marrmge and devole herself lo the 
welfare of the people. She shvs ihal sh< 
will keep her promise and tells him of s 

red her 

a held a d 


Siccome un di caduto (A Fugitive. One Day) 

By Ciuscppina Piccoletli. Soprano iPianaatcA {llalian\ *68307 12-inch. »1.23 

The hifth priex «lerr>ly recites the punishment which will overtake her should the 
prove false to her vow. '"Shame and death be thy portion !" criea the stern priest. Left 
alone, ihe miserable woman broods over her unhappy plight. Bound by an oath which she 
now regrela. and conscious of her love for Nadir, which may mean death for them both, she 
sinks down in an agony of despair. Nadir enters and asks her to fly with him, defying 
Brahma and the priests. She at l^rsl repulses him. but love is finally triumphant and the 
lovers rapturously embrace, while a fearful storm rages, unheeded, outside the ruins. 

Non hai compreso un cor fedel (You Have Not Understood) 

By Giuseppina Piccolctti. Soprano, and Ivo Ziccari. Tenor 

{Inllalianj '()80<)2 12-inch. »1.25 

'Daatii-FaaJ RmrJ—Sa pint 388- 


The lovers are surpiiteil by Nautabod, and Nadir fleci. clotely puraued by the prieata. 
He w captured and brought back, while Zarfa i> auromoned to pronounce lentence on the 
guilty lovera. Hia friendahip [oi Nadir movea him to mercy, and he aparea their livea and 
bida them fly the country. As they go, however, the high ptieat tears the veil from Leila, 
nnd when Zurga realize* thai it ia the woman NoAr has awora never to see, he is enraged 
and senlencea them both to death. 

SCENE \—Tht Camp 0/ Zurga 
Zurga ia discovered alone, brooding over the 
Impending death of hi. friend and the woman he 
loves. Hia mood of despair is interrupted by 
Lrita, who appears at the entrance to hia tenl and 
asks him to disiniu the guards and speak with 
her alone. She aska mercy for Nadi, in a dra. 

Temer non so per me (I Fear Not) 
By Emilia Corsi. Soprano 

(In Italian) •&3394 10-ioch. 10.75 

She proudly refuses to plead for her own 
life, but hegs ihal he spare the friend whom he 
loves. Zurga refuses and summons the guards 

SCENE ll-TAe Plaa of Extculion 

are led in. and are a_ __ ^, 

in the aky, and Zui 

aky, and Zurga 

fire, and bids the people fly to aave their children and eflecta. 


I llf;i 

( 7/jf 

hiWtcn from c 


All run out except Leila. Nadir and Zurga. and the high priett, who, Buipecting B plot 
hides to hear what Zurga will gay. The latter conlessea that he kindled the kre in order 
to BBVe the lovc-rs. Unlaatening lh«ir chains, he bida ihem escape, while Noarahad runa 
to warn the Indi.-ins, and Leila and Nadir, beginning ihe great Irio, voice their Kratitude. 

Terzetto finale — Fascino etereo 

By Linda Brambilb. Supranu ; Giuseppe Acerbi. Tenor : Francesco 

Cicada. Baritone (In llallani *68063 12-iRch. II. 

The lovers praise the generosity and greatnea. ol 
Zurga. wha For the sake oF Friendship has committed 
an act which may <:osl him his own life. He bids ihcm 
fly at once, and they go as the voices oF the enraged 
Indians are heard lelutning for vengeance. Nourahad 
denounces Zurga For the escape of the victima and for 
the destruction of the camp. 

•Ti-. thi- Ir.nilor who' ihrir rscapc. 

As Zurga dies a fiery glow reveals thai the forest is 
ablaze, and all prostrate themaelvea. fearing the displeasure of Brahma. The curtain falls 
as the flames envelop the stage. 

69062 12-inch. 


Del tempio it limitar iln the Depths of the Temple) | 

By Giuseppe Acerbi and Renio Minolfi *}n Uaiian) 
netto finale— Fascino etereo [68063 12-ioch, Jl.ZS 

By Linda Brambilla, Soprano; Giuseppe Acerbi. I 

Tenor ; Francesco Cicada, Baritone {In Italian 
Noa hai eompreso un cor fedel (You Have Not Under- 
stood) By Giuseppina Piccoletli. Soprano, and 
Ivo Zaccari. Tenor (/n llalior 
Brahma gran Dio (Divine Brahma \) By Linda Brambilla. 
Soprano, and La Scala Chorus [!n llaliar. 
iSiccomc un di (A Fugitive, One Day) 

\ By Giuseppina Piccoletli. Soprano l/n llaliar 

I HtTme,-S-ia I'amo By Meli, and Taceani lln llaliar. 

IPreludio iPrclude) By La Scala Orchestr 

{ Ehrea- Rachel, allot che Iddia 
I By Cino Marlmez-Palli, Tenor {In llaliar 

(Temer non so per mc (I Fear Not) 
By Emilia Corsi. Soprano iln Italian) 
Jana—Si dannalo mom By TaccanI {In Uaiian) 

"DnitU-FaaJ fltcon/— 5» aim lUL 



{Pair! Ju Breh-xeet) 



Words by Gabriel and Sylvain Saint £tienne ; music by F6licien David. First produced 
at the Tli^Atre Lsrrique, Paris, November 22, 1851. Revived at the same theatre March, 
1858, with Mme. Miolan-Carvalho ; and at the Op^ra Comique, 1883, with Emma Nevada 
as Zora. 


(With the Original Cut) 

ZORA Mile. Duez 

LORENZ, her lover Soyer 


Sailors, Brazilians, etc 

The Pearl of Brazil was David's first dramatic work, and is the story of the loves of 
Lorenx, a sailor, and Zora, a young girl found by Admiral Sahador in Brazil, and who he 
intends to educate and eventually to marry. 

They set sail from South America, but Salvador soon discovers that Zora has a lover, 
Lorenz, a young lieutenant, who has disguised himself as a sailor and is on board in order 
to be near his sweetheart A storm arises and the ship is compelled to seek shelter in a 
harbor of Brazil. The natives attack the ship and almost overpower the sailors, when 
Zora chants a hymn to the Great Spirit, and the Brazilians, recognizing their compatriot, 
make peace. In spratitude for the young girl's act; which saved the lives of all on board, 
the Admiral gives his consent to her marriage with Lorenx, 

Hie Charmant mseau is, perhaps, the most beautiful number in David's opera. It is one 
of the most famous of colorature airs, and one of which sopranos are very fond, as it exhibits 
to perfection the skill of the singers, showing to rare advantage the flexibility of the voice, 
especially in the duet with flute, with its difficult runs. 

Charmant oiseau (Thou Charming Bird) With fiute ohhhgato 

By Luisa Tetrazzini, Soprano (In French) 88318 12-inch. $3.00 

By Emma Calv^, Soprano (In French) 88087 12-inch. 3.00 

By Marie Michailo^xra, Soprano (In Russian) 61130 10- inch, 1.00 

Delightful bird of plumage glowing 

With sapphire and with ruby dyes. 

'Mid the shade his rare beauty showing 

Before our wondcrstricken eyes; 

When on the branch with blossoms trembling. 

He poises swinging gay and bright, 

His checkered pinions' gleams resembling 

A many-colored prism of light. 

How sweet is he, the Mysoli! 

When day appears his ioyful singing 
Awakes the dawn's enchanted rest; 
When evening falls his notes are ringing, 
While fiery day fades from the west. 
A-down the grove the silence doubles. 
As now his plaintive dulcet lay. 
That breathes of love's ecstatic troubles. 
From out the tulip tree dies away. 
How sweet is he, the IfTSdlit 

I Otimi •a Mum O fj't Oltfw DttiM 0*. 





Texi by W. S. Gilbert; muaic by Sit Arthur Sullivan. First produ 
mique. London, May 26, 1670. First Anierican performance occurred in 
1 was unauthorized, and was fallowed by ike Erst important producl 
isEum, in November, 1879. Successfully revived in New York in 191 1 


rt. Hon. Sir Joseph Porter. K. c. B., Fini Lord of the Admiwlt 

Captain Corcoran, Commanding ■• H. M. S. Pinafore ■" 

Ralph RaCKSTRAW, able seaman 

Dick DEADEYE, able seaman 

HII I.V BOBSTAY. boatswain's mate. 

BOR BF.CKET, carpenter's man 

Tom Tucker, midsbipmite 

Sergeant of Marines 


Tke prodnction of this little opera m>rke4 ibe tempo- 
ran retirement of epaa hoitfft in America; ita dainty music 
and the aparkling wit of it* dialogue being Braleful to a 
public which wu becoming latialed by the productioni of 
German and Fiench comixMera. Gilbeit'a iatite waa keen, 
but the wit wa> always delicate without a aingle touch of 
the coaraeneaa which frequently maired the Optra heitfft 

Pinafore haa an ineihauidble fund of this Cilbeitian 
wil; and never fails to pleaae an audience. When first 
presented in London, however, so little interest was shown 
that the Rutnagement decided to withdraw the piece, bul 
ita ultimate success was quite phenomenaL 

The story of Pinafore is so geneially known that it is 
like repeating an old. familiar tale to on Line the plot. The 
rise of the curtain shows the deck oF fHis Majesty's Ship 
Plnqfore. The Captain is in a mournful mood because his 
daughter does not favor his plan to marty her to Sltjoteph 
PeittT, and confesses thai she loves an ordinary sailor. Soon 
sfter she meets Ralph, who tells her of his love, bul is 
haughtily repulsed. In desperation he threatens to shoot 
himself, and Jaitphint then confewes that she cares for him. 
Their plans to get ashore and be married are overheard by 
Diet Utaityt, a sort of comedy villain, who threatens to 

prevent their elopemenL "' nui.» nurri.ii n utAum 

in the secoiid act LiUSt Balltrtap naively reveals her affection for the Captain, but he 
tells her he can only be her friend. This angers her, and she prophesies a change in his 
fortunea. Sir Jeteph enters and complains to the Captain that Jottphlrtt has disappointed him. 
CoraoKin tells him his daughter is probably dazzled by the ezalted station of her suitor, and 
suggests that he plead his cause on the ground that love levels all mnk. Sir Joitph accepts 
his suggestion, but only succeeds in strengthening his rival's cause, as Jottphlne becomes 
even more Grmly resolved to wed Ralph. Dick Deadeye now reveals the planned elopement, 
and the Caplain slops the couple as they are stealing away, demanding where they ore 

ling. Ralph confesses his love, which so angers Conaran that he swears. Sir Jottph over. 

mrs him and orders him to his cabin, but on being told the cause of the excitement, 
orders Ral/A also to be confined. Llllle Batttrtap, interrupting, reveals her secret and tells 
how the Copfafn and Ralph were accidentally exchanged when both were infants. Where- 
upon Slrjose^, revealing the crowning absurdity of Gilbert's plot, sends for the seaman, gives 
him command of the ship and nobly consents to his marriage with Jattphlnt. The Captain, 
who now automatically becomes a common sailor, marries the happy Lillie BatUrcap. 

Gem* from "H.M.S, Pinafore." Part I Victor Lifht Opera Co. 
Op«iuD«Ch«us, "WeSul theOcewi Blue"— Air, Rslph ind Chonii, 
"AM^n Fsir Id3«"— Sana, "Csptsin. I Am the Monuchof theSo'' 
— "I'm CaUed Little Buttercup '—'Cspuinoltlie PinsJore " — Fimle. 
Act I. "H» Fool Skmld Sump." 
Genu from "H.M.S. Pinafore," Part II Victor Light Opera Co. 
" The CdlmnI CwUin of the Pinsfoie "— " When I Wss a Lsd "— " TliE 
Meiry Maiden sndthe Tsr"— "Cuefully on Tip-Uw 9(ealLns "— " Baby 
Fsimina"— "Fsinrell. My Own "— " F« He ii an EacUihinui " 
Pinafore Selection — Part I Victor Concert Orchestra 

' n Tluee Cheer* for the Ssibr'e Blide"-"A Maiden Fur In See " 
■il the Oa«n Bine" -"I'm Called Lhde ButtMeop"-"Adroir«l'i 
What I Wu a Led" 

Pinafore Selection — Part II Victor Coaecrt Orchestra 

-"Cars^i^tr « TiiMiH Stealtaa" — "Rsfraia, Audsciov* 


35386 12-in 

Fair Moon 

By Gaorg* MaeFixbaa, Barltona 60136 lO-ia,. 





Text by Modeste Tschaikowsky, the composer's brother, taken from Puschkin's novid 
of the same name. Music by Peter Iltitsch Tschaikowsky. First production at St. PeteiB- 
burg, December, 1890; in Vienna, under Gustav Mahler, 1902; at La Scala, Milan, \905Jbi 
Berlin, 1907, with Destinn, Goetz, Griswold and Grtining. First American production at die 
Metropolitan Opera House, New York, March 5, 1910, in German, under Mahlei, widft 
Destinn, Slezak and Alma Gluck. This was the first production in America of anjr of 
Tschaikowsky *s operas, an odd (act in view of the great popularity of the composer's conceit 
music, although **£ugen Onegin" had previously been given in concert form. 


The ODUNTESS (Pioue Dame) Mezzo-Soprano 

Lisa, her granddaughter S<^rano 

PAUUNE Contralto 

Hermann, a young officer Tenor 

TOMSKY, his friend Tenor 

PRINCE jELETSiO, betrothed to Lisa 

TYme and Place : Si. Peienburg; eighieenih cenhay. 

The stoiy of "I^aue Dame** is a melodramatic one, full of superrtition and tragedy. 
The Queen of Spade» {Pique Dame), ia an elderly countess who possesses the secret of tbe 
three fateful cards which bring luck at the gaming table. Her granddaughter, Liwa^ h^ 
trothed to Prince JelUakji, is deeply in love with Hermann, a young officer, who is aeekhic a 
way to make a fortune that he may many the young girL Ltta gives her lover the key to 
her grandmother's rooms, where he goes at night in an etfort to extract from the old 
Countess the secret of the three cards. The Countess will not listen to his pleadings and 
orders him from her apartment, but when he draws his pistol in an etfort to compel ner to 
reveal to him the names of the cards, she falls dead from terror. 

The next scene shows Hermann in his barrack room. As the funeral of the GMinlett 
passes the barracks, a gust of wind blows the window open, and the ghost of the Queen c/ 
Spades appears, declaring, **Your fate is sealed 1 These are the cards — ace, seven, three. 
She vanishes, and the officer goes out to meet Lisa, who is waiting for him on the banks of 
the Neva. The young girl fails in her etfort to prevent Hemiann from carrying out his deter- 
mination to go to the gambling house, and as he leaves her she throws herself into the Neva. 
In the last act Hermann is gambling madly with the Prince. He has won on the first two 
cards, but when the third card, the queen of spades, turns up, he loses all. The spectre <^ 
the Countess appears, and Hermann, imagining she has come for his life, stabs himself. 

Tschaikowsky has written much beautiful music for this work, but the gems of the opera 
are probably the numbers here presented — the delightful duet for Lisa and Pauline in the 
second scene of Act 1, which reminds one somewhat of the lovely Tales of Hotfman "Bar- 
carolle"; the solo of Lisa in Act 111, given as she waits on the banks of the Neva for her 
lover, Hermann: and the duet from the Carnival Scene, Act 11, sung by Daphnis and Chloe in 
the little pastoral given for the amusement of the guests. 

Es dammert (It is Evening) Act I, Scene II 

By Emmy Destinn and Maria Duchdne {In German) 88520 12-inch, $3.00 

Es geht auf Mitter nacht (It is Nearly Midnight) Act III 

By Emmy Destinn, Soprano {In German) 88518 12-inch, 3J00 

O viens mon doux berger (My Dear Shepherd) Act II 

By Emmy Destinn and Maria Duchine {Intrench) 88529 12-inch, 3.00 

3r Maria Michailowa mad MflM. INigarinoff {Rasalm) 61136 10-inch« IJOO 





Text by Sir W. S, Gilbert; muaic by Sir Arthur Sullivan. The fir.t perTormuice on 
Buy Mage took place in New York, December 31, 1879. under the immeciuile aupervuion ol 
Mr. Sullivan and Mr. Gilbert, the ca.t including J. H. Ryley, S\gi,or Brocolini. Hugh Talbot. 
Frederic Gifton. BUnche Roosevelt and Alice Bametl. Produced at the Op«ra Comique, 
London. April 3. 16S0. Revived June 3. 1912. by Meura. Shubert and W. A. Brady, witb 
Eugene Cowlea. Arthur Aldiidge. George MacFarlane. De WoK Hopper. Blanche Duflield 
and Josephine Jacoby. 

MaJOR-GENERAL Stanley Baritone 

Pirate King Baa* 

Samuel, hi* lieutenant Tenor 

FREDERIC, the pirate apprentice Tenor 

Sergeant of pouce Ba™ 


1^ j..^.p ^General Stanley's daughters. ,..............--- Sopranos 


Ruth, a pinte maid-of- all- work Contralto 

Piratesi Police, etc 

TlmtaiJFtmeai Th» Ktm b laU an Om tmml rf CmmM ; Urn*, tim f n tt iil . 

Gilherl's delJKhtfull 
trll^ of F«£/t"V, appremic 
thr Piralc, of Penzanct.yf[ 
will) orphani tor the reaa 
•elve* were orpkuul 


The Pirala aie celel 
tint birthday o( FnJaic, 
piratical career, ■■ about 
•eek another occupation. 
ite." beg* him to nurry her, aiul as the ii the only woman he haa k 
;r she has avaured him that she ia "a fine figure of a ^voman," 

Shortly afterward FreJtrie meets Genera/ Siardty't daughter*, who 1 
ky shore on an outing and fall* in love with Maid, the younge*!. 1 
iel and her aiitera and propoae to marry them (the ladiea meonwlii] 
iggling with the handsome pirates t), but when their father arrives and 
n orphan, they relent and release the girla. 

In the 

Fcond act the Central, with a highly exaggerated s 

.e he ha> dec 

of h< 

ripedition (composed of brave polic 
Mabel good-bye. 

The Pirate King and Ruth arrive and ihaw Fraleric the apprentice pa| 
to the Pirala until hi* twenty-first birthday, and call attention to theii 
that as he was born in leap year on the 29th of February, he has ha 
I. and consequently is still a member of the hand until sixteen more 
d afoundl A strong seme of duty influences him to consent to reti 
serve out hi* unexpired term of something like sixty yean I He alsi 
. now that he i* a pirate once more, to tell them of the Gewral't fal 
ir vengeance. 

In an attempt to cany off the Central the pirates are captured by the p 
heir liberty on the ground that they are really English noblemen "gc 
rising to give up their piratical career they are pardoned, and this 
IB now free to mairy Mate!. 
5ix of the beat numbers from the ooera are oi—" l- 'i- -"-- '-■ 



Libretto by the compoaer and tU friend. VlBdimir Staaaoff, baaed on "Tbe Epic of th« 
Aiiny of [8<ic>" »> old hiatoriul Ruaaian chronicle, auppoaed to have been written by a 
liteniy monk in the twelfth century. Miuic by Alexander Parpbyrierich Borodin. Firal 
production at liDperial Opera Houae, St. Petenlnirs, October 2), 1B90. First American pro- 
duction in New York, December 30, 1915, with the caat given below, 


Prince Igor Sviatoslavitch Pa»uale Amato 

I^NCESS JAROSLAVNA. bla wife France* Alda 

Vladimir IGOREVITCH. hia aon Paul Althouae 


KONTCHAKOVNA. hia daughter Rora Pereni 

OVLOUR Pielro Audiuo 

SCOULA Andrea de Segurola 

EROCHKA Angelo Bada 

A Young Girl Ftaymonde Delaunoii 

Although Boiodin baa wrinen many aymphonic wotki, Prince Igor was hia only opera, 
and even that was not finished when he died in 1667, although begun twenty yeais before. 
It waa completed by the compaaer'a friends. Rimaky-KoraakoS and Clazounoff. The Italian 
veraion, written by Antonio Lega and Giulio Setti, was used in the American production. 

In the Prologue, which takea place in a square in Poutivie, Prince Igor and hia expedition 
are about to depart (or battle with an Oriental tribe. An eclipse occura. which overawes the 
people, but Iger refuses to heed the warnings of his wife and departs with his aon yiajimir, 
after entrusting the care of bis wife to his brother. Prince GaUlzky, wboae ambition it is to 
uaurp /fori place, and who bribes the rogues, Scoulo and Erochka, deaerters from /gor j 
army, to give him their support. 

Act I shows a scene of (eaating and carousing in the courtyard of Qalllda/'i house. A 
group of young giria bewail the fact that one of their number has been abducted and is kept 
a prisoner in GalUdai'i house. They aak (or her return, but the frfnce, who ia actually the 
abductor, (rightena them and they run away. Jarotimna, brooding over the abaenca of her 
husband, is appealed to by ibe young girls, but on the appearance of GatilJtlS they flee in 
terror. JanJatn* teproMcnes her brottwr, but h« defies her. Worsa troubles are in store 
for her, howew, •• a delegation of Boy ard* ap ps ar and tell ik* Atacsss that Igtr U 


wounded and a prUoner, together with hU aon, in the 
enemy's camp. Diitant flames are Been, and the people 
cry thai the enemy hag cioaced the Russian border wid 

As the curtain rises on the i 
lere P 

are prisoners. A chorus of girls is singing amona 
them Konlchokovna, daughter of Koachak, the Orienul 
chieF. 'Prince Viadimi,. who has (alien in love with 
Konlchakovna, enters and tells (he youns girl that 
Igor disapproves of his attachment to the daughter of 
his enemy, but she says that her father will consent 
to their union, feor , 

it, but when Oolour. who 

Prince /go. 
promi«.s \ 

n guard, offers him 

itchak treats 

im his freedom if he will promise never to 
in. The slaves are ordered to dance for hia 
I, and the act ends with an elaborate ballet. 
The third act shows another part of the enemy'a 
mp. where Konlchak'i triumphs over the Russian* 
e being celebrated. This act was omitted in the re- 
AUA1I) AMI Ai]ii IS viiE miNCE ^ND Cent Metropolitan production. Igor is supposed to 
riiiHi:E!is make his escape, while KonUhak orders his soldiera 

The last act shows the city walls and public square in Poutivte. /aroalaona, grieving for 
her absent husband, suddenly sees two horsemen approaching, and is overjoyed to recog- 
nize her husband and Oviour. Jarotlaana and tgot go into the citadel, while the rascals, 
Scoula and Enxhifa, who have been drinking, enter and sing a song ridiculing Igoi and prais- 
ing CalUxky. Suddenly they perceive Igar in the door of the citadel, and tremble for fear erf 
punishment. "Ring the town bell," says the resourceful 5c«i/a, and they pull the rope 
lustily. This brings the townspeople, who greet their king with much rejoicing, and the 
curtain falls on a joyful tableau. 

ICoro di donae (Chorus of the Tartar Women. Act ID 1 

,/./W,on) By Metropolian Opera Chor„,L5,33 ,o-i^^^ .l.OO 
t.^ro e Uania (Chorus of Slaves. Act 11) J 

l/n hallan) By Metropolitan Opera Chorus) 


(&/ Pi-o./oK'-ld 




T»t by Sci^br. Music by Ciacomo Mey«beei. Firal pleienlcd in PaH*. Apiil 16. 
IB49. Rmt London production July 24. I&49. Finl AmeHcan production Bt ihe New 
Oilcans Opera. April 2. 1650, First New York production November 2J, I6M. Revived 
>t tbe Manbaltan Opeti. in 1909 with d'Alvarcz. Lucu and Waller- Villa. 


1 ibi^ Prophel.choaen leaderof the Anabaptiita. Tenor 

about Dordie 

Jonas, three Anabaptist pteaehera. 


Nobles, Citizena. Peaauila. Soldiera. Pr 

Holland and Gtr 

rw^W; In 1543 

, at the tftnt 



■x'* great work is certainly 

entitled to 

be called a er 

for it is grand to 

in theme, cha 

raeter and ; 

scene.; and with 

iu brilliant 

and impra.i« 

t the time of it. 

^ wTsTmodel of its kind, as c 


demanded m. 


I Bctian, tuneful 

music and 

opportunity ii 

or ballet; 

and all these re. 

are fully me. 

with in Le 


The plot 

is based oi 

Ih century. 

which agilaled a 

, large part 

of Germany e 

md Hollan 

d. and the leade 

t of which 


nonly called John 

of Leyden. 

ACT [ 
SCENE— /I S-hMk n/DorJrcchl. Holland 
'he story fnrnishea by the llbretlist. duct 

H«lha. an orphan, 
the Count Obfrlhol. is oblig 
before marrying, and goes " 

'pidis and Btrlha into th 


i/John in Ihi Suburb! of Ley 

ilh Fidfj. /oAn'i mother 



e him It 

The Anabaplists declare that Heaven has spoken In the dream, and promise that he ahall 
t he a rulers but /oAn. thoughts turn to his beloved Bertha, and in the beautiful PaaloraU 
tells them that another and sweeter life call* to him. 


Ob, Ibcre') • *wctter empiTC, f4r. 
Whjcb lonff has been rav ffuidina «iar; 

"' i^-.-sr'* 

it kingdom. 

n tbr Uitbful 

Wfacie Bcrl 

s thatch'd 

I will f, 


and love 

Btrlha, vrho has etcaped from the castle, ncn 
asking /oAn to save her. She is concealed by h: 
Count's soldiers enter and threaten to kill Fi^ u 
delivers up the maiden. To save his mother's life h 
to yield, and sees his bride earned off to become tj 

^Fidit. ii 
of Meyerb 

Ah, mon fila 1 ( Ach. mein Sohn t) (Ah, My Son I) 

By ErDcstine Schuouan-Heink, Contralto (tn Frtnch) 80187 12-iiich, 13.00 

By Msrtfirete Ober. Contralto 

Ah, my son; nifswd be ihou: 

Thy loving mnlher lo thee wu dearer 

Than wi> Iteiiha, who cliim'd Ihy faearl! 

Ah, m* un: For thou, ■)■>. 

Thou doat give (or thy mnlber more than 

(In German] 74397 12-iach. l.SO 

Mm, leh by his motheT to bitter thoti^ts, hears the Anabaptists in the distance, and 
TMoIves to join them aa a means a( vengeance on the Count. The three conapinton 
enter and are addressed by John : 


I tliei 

The ■ 

I'h Iho yoke of lyrann] 
r land await with ardo 

1h'e"pr'ophe" who^is p 

At Ihy word ihey (hall he them 

Deilroyed in an instant. Hy Heaven, and who is found in ihcc. 

The compact is soon made and they depart, leaving some blood-stained garments to 
lead FiJi* to believe John has been slain by the Count's assassins. 
SCENE— Comp of AnabaplItU In Iht Wtalphalla Foral 
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, makea them knee) and pray for 
victory. They chant the Miserere, and John sings this noble hymn. 

Re del cielo e dei beati (Triumphal Hymn. "King of Heaven") 

By Frincesco Timaffno. Tenor {Piano ace.) iln llalian) 9500S 10-inch. »5,00 
By Antonio Paoli.lenor. and La Scala Chorui {llalianj 91080 10-inch, a.OO 
By Luigi Colaiia. Tenor t Dadk.faad-Set ». 401 ) {llalian) 16378 lO-inch. .73 


i wTll priia^The^ 

l.ik€ DaviiL Th* Hrvant. 

A voice I hearil — "Amy ihywlf. 

And lafelr on I will (uide thee." 

Praise to the OomlpateBtl 


l.el'i King and march B^ay. 

The eye of Heaven will watch over ua. 

A supreme power will guide ub! 

With songB of joy — with shoutB of glory— 

, M,,> 


Eimermg pageanrf 
roralion, pt-almg bell 
, nnd Ihe stairly Ccroni 

oronatLon March 

By Veiielk'a Italiio Band 

'aSblO 12-tnch. 11.25 
By Arthur Pryor's Band 

31503 12-inch, 1.00 

The grent symphonic match which 
i m this icene is by h 

■ in Me; 

ll is hrilliant and p 
, produccB a raarked e' 
s John psHes into ll 

.re. sh,, i> i»ad. Jcnoxving il » de>lh 
both iF he acknowledges her. She 
ally realizes the aituation. confeaae* thi 

V.s the lighi coni« to my darkened eyes. 
i\-,-|.lc, 1 have drceived /ou— 


SCENE l~The Ciypl af the Palace al Muraler 
The first scene takes place in the prison vaults beneath the palacf 
ilain ihsl John will contrive to see her. patiently awaits his coming, i 
m as an unBrateful son, then prays thai Heaven may lead him to re] 

rison Scene 

By Ernc«tiae Schumann-Heink. Contrslto (/n French) B8( 


l^Jlt then begiiu the second part of her great 

Fid*. (ioyMli): 

From that Stik ihya wbii 

cnguH him; 
Lei thy [ight pierce Ibis it 

When John enter*, Fidit denounce* the bloody 
deed* oF the Anabaptuta ant] call* on her aon to 
repent and renounce hi* folic n^ea. 

Itui Ihoii. whom the world detestt. 

Thou, whou'ffiriiind Is''re(kinK with bloodi 
Go tbou, mr ion no lonier now! 
Far from mv hetri, fir from my tye«— 
B1ood-i«tain'd. go! 
John confeaaes hi* aina and pleada for fargiTeneMk 
finally kneeling and receiving her bleuing, iuM aa a 
faithful officer enten and inform* John that the Ana- 
ihe Emperor* forces which a 

once keeper of the palace. She has resolved to hhiw up the palace and the fal*e Prophet, 
and is horrified to Icam that John a the Prophd. She denounce* him for hi* crimen 
and declaring she has no longer reason to live, stabs herself. 

John, in despair, resolves to die with his enemies, and sending away his molber, plana to 
have ihe palace set on fire, and goes to the banquet hall. 

SCENE II— TAe G«ai Hell of Iht Palact 
After the Emperor's forces have entered, crying, "Death to the Prophet," John orders 
the gates closed. An explosion occurs and the palace fall*, carrying down to death John 
and all his ei 

Thou, traitor! 
with mc; 

ICoroiution March 
I Carmen Seltdhn (Btitl) 
IFaotasie from Prophet 
I Bathtt <^ SwOU 5c/(cHon 
fRe del cielo (1 


'3S610 12-inch. I1.2S 

fRe del cielo (KlM of Heaven) By Laiffi Cobss«.Teiior\,.._. ,,_. . ,, 

i Ifmm Tta B^ Mmk~Pat1 lit Bg Pryor', BanrfT*"" >**"*• " 




Book by Counl Pcpoli ^ mua.c hy VmcEnzo Bellini, First preBenICEl at the ThMn 
lien. Pfl.U. January 25, 1835. with a famou. cast-Grisi, Rubini. Tamburioi and Ublache. 
St London producton. Kinga ThMtre. May 21. 1835, under the title o( Porilani edl Caoaliai. 
St New York pioduclion, February 3. 1844. Produced at the New Orleans Opera, 
.reh 3, 1845. Revived m l^Ob al the Manhattan Opf^ra, with Pinkert. Bonci and Arimondi. 
d in !90a with Tetraumi, Severina. Conslantlno and de Segurola. 


Lord GAUTIER Walton, Puritan Ban 

Sir GF.DRGE, Puritan Bua 

Lord Arthur TAI.EJOT, Cavalier Tenm 

Sir Richard Forth, Puritan Baritone 

SIR Bruno ROBLR TSON. Puntan Tenor 

Henrietta of Francis, widow of Charl™ I .Sapnu» 

Elvira, daughtei of Lord Walton ... , . ... Soprano 

Chorus of Puritans, Soldier, of Cnimwell. Herald, and Men-at-Arm* of Lord 
Arthur, Countrymen and Women. DamseU, Page, and Servants. 

Scene and Period ; England, near Pl^moulh. in ihc Rdgn of ChaiUs I. 

Previous to Mr. Hammerstein's revival in IW6. Purilani 
had not been given in America since the production of 
1883. with Gerster at ElBim. 

The plot is rather a conventional one: the libretto being 
one of the weakest ever written for BeUini, bul the muaic. 
some of which the Victor has recorded, is delightful and 

^^"Thrfction oceure in England in the time of the Stuartm 
during the civil war between the Royaliata and the Puritans. 
Lo'd Walton, the Puritan Governor-General, has a daughter 
Elcira. whom he wishes to marry to Richard Forth, a Puritan 
colonel, but the young gitl loves an enemy. Lord Arthur. 

ACT 1 

SCENE I— filcrior 0/ a Forlrr,, near Plymouth 
At the beginning of Act I. Forth, learning that Elvira 

.to force her into an 

md gives vent to hi. 
1 famous air. sometimes called Ah per aemfire 

To n 


■■), fro 



Bel sogno beato di pace (Blissful Dream) 
By Mattia Battiglini. Baritone 

{In Italian) 88352 12-inch, »3.00 

flrano, a Puritan officer, enters and offers Sir Richard 
command of the army. He refuses, saying that hi» dis- 
appointment in love has unfitted him (or so high an honor. 


SCENE II— Huiro-j fl«™ to Iht CoilU 
The next •cene shows Elelra's apattmein, where her uncle, Sli 
her that he has persuaded her father lo consent lo her marriBge w 

Sorgea la notte (The Night Was Growing Dark) 

By Perello dc SeguruU. 1 

[Inllaltan) *55O07 12-inch, ! 

■oldiera e 

■ now heard, and Ehirda surprise is complete when Lord Ailhur 

SCENE 111— .4 Vail Armory of Gothic Archilcclurt 

Lord Ailhur entctt, followed by pages bearing nuptial pIM' 

ts, prominent among which is a splendid while veil, soon to 

IV an important pari in the events lo come. Villagers Bnil 

iinve and (oa«t the betrothed couple, after which 

, Arlhia, Sir Geaige and LarJ Walton aing the famout 

quartet. A It e cara {Ofltn. Dearaf). 


By VeudU*> Italian Band '664Z1 IZ-iach. tU5 

Arthur now discovers that the widow d( Charla / i« in the cutle under sentence of death, 
and hit aeiue of duty toward the late Queen impeU him lo contrive her escape by conceal- 
ing her in Elolra'i veil, the guards thinking it is the bride. The eacape is icon discovered 
and Elolia, supposing that her lover has deserted her on the eve of her bridal day, becomes 
itiaane. All denounce Arthur and swear to be revenged. 
SCENE— TAc Puritan Camp 
Act II shows the camp of the Puritan forces. Sir George announces that Parliament has 
condemned Artliur lo 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) 86105 12-ii)ch. *3A>0 

By Frieda Hempel. Soprano (in Italian) BI179 10-inch. 2.00 

She recalls her first meeting with .i4r<AurBnd repeats [he vows he swore. 


)r8e tiy m vain 
n another florid 

Vien diletto (Come, Dearest, Come) 
By Frieda Htmpd. Sopno 

Oh, tc .._ _ _. 

Or in pity I diet <.H<t moad ilwnnrs.y 
Tis no dream, my Arthur, oh, mv love 
Ah, Ihou an i^inilinfi— Ihy tears thou dr 
Fond Hymen guiding. 1 miickly folioH': 
(Dandna lo:,-t<vd Richard) 
Cone to the altar; 
to calm her, but she knows them no 

58470 la-inch. •3.00 


if h(^ 

Ivira's uncle, hoping that the sight of her lover will reXore her reason, begsi/r Richa 
don the young man. Richard consent., provided he return. helpleM and in peril, bi 
lomes hearing arm« against his counlry he .hall die. Sh George agreea to thi.. and i 
lendid Sound the Trumpet they pledge themselves to (ighl totlether for their country. 

Suoni la trotnba 'Sound the Trumpet) 

By Pisquile Amato. Baritone, and Marcel Journel. Basi 

(Inllallon) 89096 12-iiich. (4-00 
This favorite duct, often sung in concert, has beet, aplly described as a " stentorian " 
number. It IS undeniedly a most vigorou. piece of declamation, and if the loyally of Sir 
' and Sir Richard can be judged by the vigor of the uiual rendilion. they are loyal 

indeed I 



find El 


SCENE->1 GarJt„ near Eloin,; 
The riK of the curiam diu^loses ^riAur. who i. Seeing 
D the castle in the hope of .eeing Eluita once more before 
omes from the caille and at the sight of Arthur her rea.c 
ire reconciled after Arthur explains that it was in the servii 
rom the ca.tle. They sing a lovely duet; 

ves England forever. She 
lenly return.. The loveri 
is Queen (hat he had fled 

Vieni fra queste braccia (Come to My Arms) 

By Maria Galvany. Soprano, and Marconi. Tenor 

</n Italiart) 89046 12- 
Forgetting iheir prcHtnt danger, they ihink only of their love and that they 

mriif e"s. s"ufe JeTiehtr 

Arthur that he thinks n 

s heard, and Elolra 

ead to hin 

laying that the Stuoria wer 

ason returns, and the lov< 

defeated and a 
. are Anally uni 


/Quartet By Ve.sella's Italian Band 

\ MtreHa Ooerlure (GoartoJ) Vtutilo'a Italian Band 

fSorgea la node By Perello de Segurola. Bass (In Ilalion) 

if Pmlta dc Segunia, Baa {In llaHan) ] 

[68471 12-inch, 11.25 
55007 12-inch, l.SO 

atdiaa) (Eiitflj«h) 


(Rap-ki^-nah dm Sat/ -hah) 


Text by Mosenthal, founded upon the Biblical mention of the visit of the Queen of Sheba 
to Solomon. Music by Goldmark. First production 1873, in Vienna. In New York Decem- 
ber 2, 1863* with Lehmann and Fischer. English version given by the National Opera Com- 
panvin 1868. Given November 29, 1689. at the Metropolitan' with Lehmann, which Was the 
last New York production until the revival in 1903, with Walker, Rappold. Knote and Van Rooy. 


King Solomon '. .>^ . . . . Baritone 

High Priest i.\ ,: i^vvCv .pass 

SULAMITH. his daughter : >: i^ .•. Soprano 

Assad, Solomon's favorite i ^^. , Tenor 

Queen of sheba >.. Me*zo-Spprano 

ASTAROTHi her slave (a-Moor) -f • ^•' Soprano 

Pri^n^Siitgers, Harpists, Bodyguards, Women of the Harem, People. 

' r - ' • 


Scene: Jerusalem and vicinity. 

Mosenthal*s story tells of the struggle of Auad, a courtier of Solomon, against fleshly 
temptation, and of his final victory which involves the sacrifice of the happiness of his 
betrothed, Sulamith. 

For this text Goldmark furnished some of the most beautiful and sensuous music in the 
entire range of opera, and it is an interesting detail that after he had finished his opera and 
had submitted it to the Imperial Opera, Vienna, it was not accepted on the ground that it 
was too "exotic**! Later, through the influence of Princess Hohenlohe, it was presented 
and vras a great success. 


The wisdom and fame of Solomon having reached even distant Arabia, the Queen of 
Sheba decides to visit him, and a favorite courtier, Auad, has been sent to meet her and es- 
cort her to the city. When Assad arrives with the Queen, his betrothed, Sulamith, is aston- 
ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses 
to Solomon that he had met a beautiful woman at Lebanon and had fallen in love with her. 
When the Queen of Sheba arrives and removes her veil, Assad is astounded to recognize in her 
the mysterious woman who had captured his senses. Involuntarily he rushes toward her, 
but she coldly repulses him and passes on with the King. 


In Act 11 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 
m3rsteriou8 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 

A lovely melody, sung at first in mezzo-voce, develops gradually until the intense and 
passionate climax is reached. 

The Queen and Assad soon meet and confess their love for each other, but are inter- 
rupted by the arrival of the night guard. 


In the next scene the Court assembles for the wedding of Sulamith and Assad, but Assad 
intuits his bride and declares his love for the Queen. He is banished from Jerusalem and 
finally dies in the anna of SttUunith, who is croanng the desert on her way to a convent. 



La Rant de Saba it on« of the (our operas which Gounod compoaed between hii Faiuf 
(1659) and Romeo ( IS67). Text by Jules Barbier and Michel CfTTi. Mu>>c by Gounod. 
First performed at ihe Operfi. Pari*. February 28. 1862. An EhbU'Ii version called /««, by 
Famie. wai given in London at the Concert Palace. August 12, IS65. First American pro- 
duction at the New Orleans Opera. January 12, 1689- 

Characten in the Opera 

King Solomon Bau 

BALKIS. Queen of Sheba Soprano 

ADONIRAM. a sculptor Tenor 

BENONI. his assistant Tenor 

PHANQR. I (Baritone 

AMRU, [workmen { Tenor 


SARAHiL, maid to the Queen Contralto 

SADOC Soprano 

FA. «c/,on ;o^« pW* /„ /.™W.m 


SCENE \—The Sludio o/Adonitan, 

The curtain rises. disclosinB the sculptor at work on an important group of statuary, 
Btnoni enters and informs him that the King desires his presence, as the Queen of Sheba ia 
expected to arrive at any moment. As Adoniram prepares to leave the studio his workmen 
demand higher wages, but he refuses them and they go out muttering threats, 

AJonlram. said to be descended irom a divine race, the "Soits of the Fire." holds in 
contempt all earthly greatness, and treats the King as the son of a shepherd. The work* 
which earned for Solomon the surname "the Wise" are supposed in reality to have been 
executed by Adoniram. 



SCENE II — Square infhni of the Temple 

The Queen arrives and is welcomed by King Solomon and the people. The Queen 
has promised to marry King Solomon, and gives him a ring. When Adoniram is presented to 
her as one of Palestine's great artists, she seems greatly impressed by the handsome 3roung 
sculptor, and begins to regret her engagement To please her Adoniram, by sorcerer's signs, 
collects a vast army of workmen from every point in the city, and his great influence alarms 
even the King himself. 


SCENE — Moulding Room of Adoniram s Studio 

King Solomon and the Queen have promised to come and see the final casting of 
Adoniram s masterpiece, and he is preparing for this event when Benoni enters hurriedly and 
reveals the plot of the vrorkmen, vrho have stopped the channels so that the melted bronze 
cannot flow. His information comes too late, and the molten macs overflows, apparently 
ruining the statue. 


SCENE — Open place on the Feiehe 

Adoniram meets the Queen of Sheba here, and she confesses her love for him. He is at 
first inclined to repel her advances, but soon falls under the spell of her fascinations and 
clasps her in his arms. He tells her that he also is of her race, the Nimrod. The faithful 
Benoni hurriedly enters in search of Adoniram, telling him that in spite of the plot of the 
workmen the moulding of his statue has been successful. 


SCENE — 7%e Great Hall of Solomon's Palace 

Adoniram is received by Solomon and the Court and proclaimed the greatest sculptor of 
the time. All leave the hall except Solomon and the Queen, who gives a sign to her maid, 
Sarahil, to bring a draught which she presents to Solomon, He soon falls aueep at the feet 
of the Queen, who takes the ring from his finger and leaves the Palace. 


SCENE— rAe Valley of Hebron 

Adoniram and the Queen have planned to fly together, and are already approaching 
the meeting place, when three of Adoniram's discontented workmen, bent on revenge, in* 
form Solomon of the secret meetings of Adoniram and the Queen, and he decrees that the 
sculptor must die. As they set out together for Jerusalem they are overtaken by the mes- 
sengers of the King, who set upon and stab Adoniram. The Queen hurries to his side and 
falls on his body, cursing his murderers and Solomon, while the dying man offers a last pro- 
testation of his love for her and expires in her arms. 

Queen of Sheba Records 
ete-tnoi ton aide (Lend Me Your Aid) 

By Enrico Caruso, Tenor {In French) 88552 12-inch, 

By Evan Williams, Tenor (In English) 64096 10-inch, 

Lend me your aid. Oh race divine, 

Fathers of old to whom I've pray'd. 

Spirits of pow'r, be your help mine, 

I^nd me your aid, Fathers of old 

To whom I've pray'd, O lend your aid! 

Oh grant that my wild dream be not vain. 

That future time shall owe to me 

A work their bards will sing in their strain, 

Tho' Chaos still an iron sea! 


From the caUlrori the molten wave 
Soon will How into its mould of sand. 
And ye, O sons of Tubal Cain, 
Fire. Oh fire my^ soul, and guide my hand! 
Lend me vour aid. On race divine. 
Fathers of old to whom I've pray'd. 
Spirits of pow'r. be your help mine, 
Lend me your aid! 


(luliio) (BBgliah) 



Text by MelostHBio; music by Moian. Fii»t 
.roduction Salzburg, April 23. I 775. The libretto 
■ the one used (or Bono's opera of the 

ALESSANORO. King of Macedonia. 
AMINTA. shepherd descencianl oE the Kings of 


of £liH 

EU5A. shephert 
TAMIRI. fugitive 

ACENOR. noble of Sidon. lovi 

friend of Aleuandro. 

daughter of the tyrant 
of Tamiri and 

shepherd. Alasundro plans thai the new king shall 
marry Tamiri. daughter of SliaUnt. but AmMa i. 
already in love with Elisa. a shepherdess, and rather 
than give her up he refuses the crown. The King. 
pleased with Aminla's fidehty, gives his consent to 
the marriage with Etisa and ealablishes the couple 
upon the throne. He also gives Tamm to her lover 
Agtnor, and promises them the next kingdom he 
■hall conquer. 

The aria L'<imera sato coslante, which Melba has 
sung (or the Victor, was a great favorite with Jenny 
Lind. The beauty of Mozart's music >s enhanced by 
the pure vocalization of Melba. and no fitter vehicle of 
expression for the composer's beautiful melody than the 
perfect vocal organ of this great singer could be imag- 
ned. The double ca" " - - . - 

The opera of " II R* Paslore " was written by 
Mozart in honor of the Archduke Maiimllian. 

the composer having been ordered to produce the 
work lor the enterlainment of the Archduke 
during his visit to SaUburg m 1775, 

The story tells ol the capture of Sidon. the 
execution of the usurper Slrolonc by Ateiiondro. 
King of Macedonia, who places on the throne the 
rightful king, Aminta. who ha. been living a. a 

and i 

and s 

. Melba'i 

provides a strong and effec 

formance of this fine air. Kubelik's 

L'amero saro costante (Aminta's Ai 
— My Love is Ever True) 

By Nellie Melba. Soprano, and Jan 

Kubelik. Violinist {In llatian) [ 

69074 12-inch. 14.00 — 



Word* and muaic Iiy Richard Wagner. Firat produced at Munich, September 22, 
Fiwtt American pfoductian January 4, 1669, with Fiacher and Alvaty. Annual pcrformi 
vvcn at the Metropohtan in recent year* with many (amou* arti*ta: Soomer, Reiaa. 
Coiitz, Burrian, Obei, Frematad. Rujradael, Witherapoon, Matzcnauer, Homer, etc 


WOTAN. (y,'4,hn) \ (Baritone 

DONNER, (0<>A»'.«r) U. iBaa* 

FROH. (F»A) j~°' iTenor 

LCXll, {Uw'.M) I iTcnor 

FASOLT. {f**.«WI) I-. , (Baa. 

ALBERKH. (ylkf-ia-H-h) 1.,.. , ,„ . iBaritone 

MIME, (M-Um |N.belu„B. (Gnome.) \j^^^^ 

FRKKA. [Frlk'^l.) I I Soprano 

FRElA, (FV-"*) !Godde.«. { Soprano 

ERDA, (Al/Mh) I IContralto 

WOCUNDE, (Kgf-W-d'A) | (Soprano 

WELLCUNDE, [ytll-ioon'-J-l,)\Nympiitof (he Rhine Soprano 

FIOSKHILDE. {Fhrn-hlll'-J-h) | IContialto 

Rhdngold ia not a "»ociety" opera. Played in complete darknesa and with no i 
miuiona during the two houn required for it. presentation, it I. a work only for real m 
lover, who understand aomelhing of the alory and appreciate Wagner'e wonderful mu* 
Thi. first part of the Ring i* an introduction to the Trilogy proper, and a full ui 
standing of it. incident, is necenary to properly appreciate the other Ring operas. 
SCENE \—Tht Bcllom of Iht Rhine 
The stage is in aemi-darknesa, representing the murky depths of the Rhine, an< 
light glimmering on the surface of the water above shows but faintly the three F 
maidens guarding the Rhinegold. 

They sing their quaint song, as they Boat about the treaaure rock : 


I dwarfiwhod- 
■xnh. oUcrven 
n^ld<^n9 and t,ii 
They Ibu 

heauty oF the 

M him and ^vndE 
clumiiy endcavora lo Cdich them. 
Suddenly, as theaun rises.thc gleam 
of ihe Rhinrgold ia seen. Albcrkh. 
dazzled by ihe splendor of this 
slow, asks what it is, and the maid, 
ens foolishly i-ifolm him (hat who- 
'ure this treasure and 

form It mlo a 
of all (he w. 
however, is ll 
nol wield iWi! 



Tid. One condil 

-Then lo. 


ih, plac 

ick. he tears the gold from 
and ftees. while from the 
__...,._. J darkness which ensues 
comes the dwarfs mocking laughter 
and ihe wailing of the maidens who 
are moaning for their lost treasure. 

SCENE W—A Maunlain Top. Shew- 
ing the CaslU ef W-ilh„lla 
During this darkness the scene 
changes and as the stage becomes 
lighter we see IValhalla. the abode 
of the gods, a wonderful castle 
built for Wolan by the giants. 
Wolan and his wife are lying asleep 
on a flowery bank, but soon wake 
and see the castle which has been 
built while they slept. Wolan is . 


. »1 the glorious sight, but the more practical 

Friclta reminds him of the price which he had 

ed to pay the giants for this godly dwell- 

■ ing; this being the surrender of Freia, godJeM 

I oi youth and beauty, H'ofon telU her that he 

:r intended lo keep his agreement, the god 

• having promised to show him a way to 

Frtia now hastily enters, closely pursued 
he giants Fasoll and Fa/nrr who call upon 
an to deliver the goddess to them as agreed. 
an repudiates his promise, saying that it 

Freh and Donne,, Fiicka'a brothers enter, 

_ also Loge. and a long argumenl ensues, Wotaa 

Anally realiiing that he must give up Freia to 

. hould we not find 

The Khcingold fair and red. 

F.ei» ii forfeit I 

(RhciDtold, Act L) 

^^^^m^^^B to (le Nihctungs- 

, ^^B^*^^^^! '-"^^ '" '^""" 

I L^^H^t.'^l!^^^^^^l Irom ihe eanh, concealine 

1 T^^^R ^^^^kI^^^^^I ^' disAppear* the *C£D£ hi 

K 1^ ^^Bb^^^^^I scene 11[— ^ft 

^HM ^^^^^^^^^^^^^S^^I ''^'> become more an 

H^V^^^^^^^^^H^^^^^^H coRipeU Mimt 

RH^I^^^I^^^^^^^H more At the hei 

^^HHH^^H^^^^^^^^^^^B he hrrating Mime for lo 
^^^HBV^^^^^^^H of making a TamMm. (K ■ 
^^^^^^■^H^^^^^^^^^l irom ihe RhiMgoU, and wl 
^^^^^^^^^^^^^^^^^^^^ lb<? power <o hecome 
^^^^^^^^^^^^^^^^^^^^^H Loge now enter on ac 

" FHEiA fcoDDEsa OF YOUTH) Rrccied by Alherichy -whs < 

hi- "Set h"w distressed ne««, and holding out tt 

Sadly ibi- (air un? niandil" tremble at hia powei. T 

flatter him, but be ia surly a 
y could have brought them here. Wolan ia angry and is about 
le crafty Logt makes him a sign to be quiet and faegiiu to taunt i4 

Atherich it so enraged that he offers lo 
bimself into any shape required lo prove 
jic o( the Tamhtim, and immediately be- 
1 huge draBon. Loge affects eilreme ler. 
which Alherich laughs and resumes his 
shape again, Tlie god then cunningly asks 
change to a toad, which shape he has no 
assumed than Lagt put* his foot on the 
id seizes the Tamhelm, thus robbing Al- 

id him and slait for the upper earth. The 

SCENE IV— Am* a 


He lay., frightful cuTM 
on the Ring, predicting that 
it will bring misery and death 
to each poneaaor until it ia 
reatored to him again, and 
then vanishes. 

Walan, who ha* paid 
little attention to his curs- 
ing, dons the Ring, guing 
at it in admiration. The 
giants now letum (or their 
pay, and demand that 
enough gold shall be piled 
•round Freia to hide her 
completely from sight This 
is done, but when all the 
gold is piled up Fafner says 
there a still one small crev- 
ice visible, and iiuists that it 
be filled with the Ring. 
Wotan reEu*u.andthe giants 

are about to seize Fivia agaia, when EiJa, the earth goddess, rises ajid deliver* her 

ap|>eal to Wotan. 

Weichc, Wotan, -weiche I (Waver, Wotan) 

By Ernestine 9chumsim-Heiak. Contralto (Wolan't response* by 

Mr. Withenpoon) (InGaman) 88093 12-inch, *S.OO 

She warns him solemnly that the Ring 
cursed and charges him to give it up. 


What ages hhsll wnrk— «n 1 showi 
The endless warlJ's All-wiM one. Erds, 

ThrM."'lhe''5ii.ghl«rs born to mc 

E'er Ihe world was made: nil I noiire 

Nilllitl/ thou fcnuw'sl froi 



to thy 

A dismal dav dawns for Ihe X.s\i: 
O render wisely Ibe ring! 
ISht bcgini In link iloul</ into thi tank. 
WniAN: A McrrI spell (peaks in Ihy w..r<l><: 
Wail and impart more wisdom. 

Pan sTa^d' p<lnd^r"l'r*ib'! "" "" * '"""* 
ISht cgmplcltly diiaffturi.) 

; Frdh and Fri, 

ouldst thou wildly do? 

ff \i ;'-d:»uoVb.d ,n cc., 

. voices o( ihe Rhine 
Tidena can be heard from 
low slill bewailing the Iosb 
their goia. 

Ulim.m.lii; R»rcst gold! 

Mj (he jwA Jfam'tf enm (A' 



Tex. by Piave. adaplcd from Viclor Hugo 8 drama U Rol . '/ImuJe. Miuic by Giuieppe 
Verdi. Fir«l produced in Venice, March M, IB5I. Firit London production at Covent 
Garden. May 14, 1833; at the /la/leni, Pani. January 19. 1857. Produced al (he New Orleana 
Opera Match 19, 1860. and in New Orleans on February 6. 1861, Patti sang in the opera for 
ihe first time- First New York production November 2. 1857. and since that lime the opera 
has seldom been absent from the American stage. A notable performance occurred Novem- 
ber 23. 1903. at the Metropolitan Opera House, when Caruso made his American d«but. 
November 4, 1912, Ruffo made his d<but in the United States at the Metropolitan Opera 
House. Philadelphia, in RigoUUo. 

RIGOLETTO, a hunchback, jestei 

Duke of Mantua, a titled pn 

CILDA, {l«f.dat,) daughter of Rl 
SPARAFUCILE, I.SBahr.ah./Bi>^hee-lif. 
MADDALENA, [MadJuUau -n-h) h 

Count Ceprano 



to the Duke Baritone 

fligate Tenor 

iolelto , , , Soprano 

') a hired assassin Bass 

is sister Contralto 

nail) Baritone 


and Period: Manlaa and Vi 

The story tells of the gay and unprincipled Duke of Manlua. who ii 
......s by his jesler. RigoUtlo. a hunchback. The father of one of the L 

Dcked by RigoUlto and launches upon him a (alhe/s awful curse, which 9 

°4nr5)!^™/"='7<. * 

oieiio ana launcnes upon mm a ramei b awrui 
:, loo. has a daughter. Gilda, unknown to the 

On his way home Rigolello mee 



1 later. The Dul(t, in the Bui*e o( a 
young aludent, hu nliesciy met GllJa, not knowing who 
•he i^ and the young girl hu fallen in love with him. 
When Rigoktla hat left the hoiue the Duj^e'i courtiers 
abduct GilJa end take her to the Palace. The father'a 
rage is terrible to witness, and he goes to the Palace, 
but loo late to save his daughter. She pleada for the 
Diute'i life, but Rigalcllo swear* to kill him. and arrange* 
with the asaaaain. Spaiafacllt. to accomplish the deed. 
The Dukf i> lured to a lonely inn by SfiarafuciU's attrac- 
tive sister. MaJdalena, end is about to be murdered 
when MaJdalcna, who haa taken a fancy to him, begs 
(or his life. SparafudU consent, provided a substitute 
■hould happen along before midnight. Giida, whom 
RigtAetto had brought hither (disguised a> a page) in 
order (hat she might witness the fickleneas of her lover, 
haa been listening to the conversation, and now resolves 
to aave the Duk'"' life at the coat of her own. She 
enters the hut. is stabbed by SpatafucHe, who deliver* 
the body to Rigoltllo according to agreement. Rigolello 
i* about to cast the body into the rivet when he hears 
the Dulfe't voice in the distance. The wretched men 
opens the tack, see* his daughter and (alia senseless on 
her body. 


SCENE I— Ballroom In iht Dui:e't Palate 

Aa a fete ia !n progresa in the ducal residence, the Dukf confide* to one of hi* 

that he is about to make a new conquest. For some months he haa seen a 3roung and 

beautiful girl et church, but knows nothing of her except that she is visited often by a 

nwn who is supposed to be her lover. The Duke then sings his first air, Queifa o tiatlla. 

(laliial (Frcaeh) 

Questa o quella Qu'une belle ('Mid the Fair Throng) 

By Enrico Caruso. Tenor (/n llalian) 87018 10-inch, *3.00 

By Florencio Conataotitto. Tenor 

{In Italian) 64069 10-inch, 1.00 
By John McCormack. Tenor 

{In Italian) 64344 10-inch, 1.00 
By Giovanni Martinelli. Tenor 

(/n llatlan) 64286 10-inch. 1.00 
By Leon Campafnola, Tenor 

{In French) '45118 lO-incb. l.OO 

This melodious number is perhapa the best of 
the Dukt'i soloB, though usually caat somewhat in 
the background by the popular La donna i mobile. 
In it the Duke announces himself as a man of pleas. 
ure. sets forth his code of morals, and boasts of his 


Not me'd'e. m)'"1ieart hoHi iway!""' 
Thoush s iweel smile one mamcnt mty 




After making Bnolhi 
the Count Ceprano, by hi 

laller'* wife, the Du^ d< 
eagerly announce* lo the 
Rigoletlo. theDu^eijcBlci 

. Ihe; 

marked attention t 
irtB. Manilla enters a 

(cr, iin lovel The co 
, a, RigoUllo 1. know, 
:i. Maniilo inti.ta ih. 
visits lo a youiiK aii"l- The I 
iigaUlto for hia cruel longu^ I 
knowlec- ' ■ 

■1 Cw'oi 


The voice of the aged Caunl Monlerone, whoMI'l 
u((hter is one of the recent victims of the Dul^ I 
now heard outside demanding admittance. HbI 
ki ^.^' I. A- ki . .1 F I < throws aside the guards who seek lo stop him. si^fl 

entering, denounces the Dultt for hii crimes. 

Ch'ioleparli ll "Will Speak to Him) 

fly Francesco Cigada. Baricone ; AriBtodemt} Sillicb. Ban : La Scala 

Chorus {InhaUanj *iiei90 12-iach. »U5 






lie buffo. 

H ih 


o terrible 

pon hit, 


e of a father— that 






d by ihi 

or he. ( 

^o h 

wn to the 


r f-r 

h.B child and 

ect for he 

r dead m 


ire th 

e sole r 



is lemov 


th^ f 

uards a 

nd the 

e change 

to the a 

eet 1 


1 of Ri 

olello I 

SCENE W—ASlfcti! RlgoUUo'il 
oppoiilc the Palace of Cou. 

has one. Rigoletlo looka a< him thoughtfully anil 
says that if he haa nef-d of his services he will 
inform him. Spo,afudU deparla and Rigoletlo 
dehver, his famous monologue. 

Monologo — Pari siamo (We Are 

By Titta Ru»o. Baritone 
By Ernesto Badini. Baritone 
He looka at the retreating form of the bravo i 
• Dtabk-Faad /fecon/— 5a nui 430. 



b men 

bj dayligbi 







nj7 IK 

' Ci 




u hi" 




life of 


der thL- D, 



and b 

rii± and 


en sk-eoin 

»i.d w 





lineh a 



I m 

«t ob 

Oh Ute ucuFEC 

• ' 

hit* 7 

M, > 

is foUy 


Bsks him nboul her 
tion and sings a patl 
pait liFe. The duet 

ihe court-yard nnd ia Btfecdonalely greeted by Cllda, wto come* 
noleH his anxiaua looks and begs him to confide in her. She 
lother, who ahe but dimly rcmembera. Rigolelto avoida her que>. 
ic air. in which he begs her lo refrain from quesliona regarding their 
ven here in two parta) then IdEIowb : 

(Recall Not 

tta Ruffo. 

Deh non parlsre al misero 
the Past) 

By Mmc. Magrini. Soprano, and Ti 

Baritone lln Italian) 69058 

By Sra. Pereira, Soprano, and 

Giuseppe Maggi. Baritone 

{In llalian'. -tiT135 lO-Inch. . 

■'Figlia! Mio padre ! " (My Daughter!) 

By FHeda Hempel. Soprano.and Pasquale Amaio, 
Baritone (/n llalian) 09082 12-inch. 14. 

My niily I: 

Sntalt not i.f one whii-n' loss to thee 
All earth can boast could ne'er reitoi 
Her antnrl (nmi mclbinks 1 ste. 
Who lov'd me. IhouKh drrorm'd and p 
I'ily, oh! Gilda; s|>are mel 

I go only to church. 

* DoatltJ'ttxJ RtaiJ—Stt m 


utelcu mrKtf 

it that th* filher I 

n tbe world ' 

Countr?, familj, | 

ftuppier I could mski 

the hou 

would bring 1 

i the b 

Glida aaya ike hoa only been to Mass each 
Sunday, but does not tell him of the student 
with whom she had exchanged fond glances. 
Rlgoletto Bummoni the maid, GioBanna, and 
questions her, beginning another tovely duet 
full of pathos. 

jnc here knoclu, you muit not open!" 
By Maria Galvany and Titta Ruffo 
He warns the maid to always cloaely guard her inistMM from 

Vetflia o donna (Safely Guard 
This Tender Blossom) 

{h Italian) 9ISOO lO-inch. «3XIO 

■hi<i to « 

One from wiiom Ihere's no concealini 
Guides me evei on my way. 

Rigolello bids his daughter a tender Farewetl and take* 
his departure. The Du^c, again dresied as a student, now 
enters, having previously purchased the silence of Glevanna. 

Gilda is alarmed, not thinking hei innocent flirtation in 
the church would lead to this, and bids him begone, but he 
a her, beginning the love duel. 

E il sol deir anima (Love is the Sun) 

By Giufcppina Huffuet and Feroutdo de Lucia 

(^ Italian) 92096 12-inch, *3.00 
By Alice Nielsen and Florencio Constaotioo 

(In Italian) 14063 12-inch. 1.S0 
By Stt, Pcreira. Soprano. *nd Franco de 

Gregorio. Tenor [Italian) *67139 lO-inch. .79 

mortal who fee: 

what tats mtj shower. 





\ ''iJt^ 



depaited. In rapturouB aoliloquy she aingi: 

Caro nome (Dearest Name) 

By Luisa Telrazzini, Soprano 
By Ma reel la Sembrich. Soprano 
By Nellie Melba. Soprano 
By GrazielU Pareto. Soprano 
By Amelita Galli-Curci. Soprano 
By Marie Michailon'a. Soprano 

Then ihe lovely air, Caro 
Carv'd iii'on niy miiinsl hira 

■Ihoil 1" mi.- an .v.T lUi.i. ' 
Ei-'ry thDilRlll to Ili» will f 
l.ifi' fnr th<'<' niniir it dfar. 
Thinf shall bf my riarlinB si 

Ijn kalian) 




(/n Haiian) 




{In Italian) 








{In Italian] 




[In Ruuian) 




Night has now fallen and the couriiera, led by Ceprano, enter, wearing masks. Rlgo- 
to returns and is much alarmed to see them in this neiRhhorKaod, but his feara 
t ihey have come (o c^rty off CcpranoS wife, as 
that lady (or some time past. He lelU 
them Liprono I palace is on the opposite side and oflers to help ihem. They insist 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 to his own balcony, giving him a ladder to hold. GilJa » seized, 
her mouth gagged with a handketchiel. and she is carried away. 

Rigotello. suddenly hnding himself alone, becomes suspicious, tears off his mask and 
finds himself at his own balcony. Frantic with (ear he rushes in. linds his daughter gone, 
and falls in a swoon as the curtain descends. 








SCENE— A HaU In the Dultt't Palate 

Panni veder le lagrime (Each Tear That Falls) 

By Etuico Cuuw. Tenor (h Italian) 88429 12-inch. M-OO 

The Dulfe, after hU tendei partinK with QiUa, in the previous act, had ■sain returned 
la the Jtiler'i haute, only to find it deieited and the young girl gone. Not knowing that 
hii courtiera had carried her off under the very noie of Rlgoldlo, he bewaila the unhappy 
hile which has robbed him of his latest conquest As we hear him ling hii pathetic huneat, 
Vre forget his real nature and almost sympathize with the unhappy lovert 

' ' been much neglected in American peifoimance* of the 

Dear maid, lach tear of Ibine that falls, N'o aid could I afford Ihcc: 

Kach «id siuh that bn^om heaving Yel. could my life tby woe> repar, 

Pining witlim !>ume dreary wall!!. Gladly eichang'd il (hould be. 

Fillt mt' Willi Erief Ihcrc's no rrlievine. N'ol e'en the angelti' bteiaed abode 

Ab! vainly didit thou cry to me. Could peace 1q me reslore. 

"Help me, dear Wallei, help!" 1( from thee apart. 

The courtiers enter and tell the Dultt that they have captured Rigolello'i mistreia, ^ 

expresses his appreciation of the adventure, not knowing they had abducted the young g. 

he had just left, and asks for particulars. They sing their chorui. Scomndo unife, 

Scorrendo unite remota via (On Mischief Bent) 

By New York Grand Open Chorus 
which gives the details of the huge joke they h. 
in the capture of his own mistress. 

{tn Italian) 64049 lO-incb. *I.OO 
: played on Rigoltllo by making him assist 

When shad! 
With timiff 

e niih ua. 

We Hid Cepranu^ m% sh 
We then desir-rf him to ho 
HI) eyes wer 
We swiftly n 

o the I 

e did 

e lad 

When Rigoietto just then cane by us. ■ And the itartled beauty bore sway! 

When die Dukt learns that QlJa is in an adioining room he joyfully goes to her, aaying 
that her fears will be soothed when she discoren he is the Walltr MalJt she lores. 

Then occurs one of the most dramatic acenos in the opera, and the greatest o pp ortunity 


Povero Rigoletto! (Poor Riffoletto !) 

By Pasqualc Amato, wiih Bada.Setli and Chorua 68340 12-incli, *3.00 

Rigoletlo'i voice is now heard outside, Mnging a carelejB air. He enlecB. affecting ii 
difference, but Icying la Jind aome clue to Gilda's whereabouts. A page enteri with a me 
use for the Duke and ihe touriiera tell him their maater cannot be disturbed. Rigotello 

lutena, his fears becoi 


Ah. .t 

infirmed, and he exclaiir 

Ah, the is there, 

His rage, now terrible to witness, is ezpiened in the second part, Corliglanl. Bll Tazxa. 

Cortigiani. vil razza dannata (Vile Race of Courtiers) 

By Pasquale Amai 
By Ticti RufTo. Baritone, and La Sci 
By Emilia Sagi-Barba. Baritone 
By Renzo Minolfi, Baritone 
He at first denounces them as abductora 

{In Italian) 88341 12-incfa. *3.00 

Chorus diallan) 92066 I2'iach. 3.00 

{in Spanish) 74161 12-inch. I.50 

U" llaiian) *16573 lO-iOch. 

id ueasains, then breaking down, asks for pity. 

Tutte le feste al tempio 
(On Every Festal Morning) 

By Laura MelUrio and 

Ernesto Badini {In Italian) 
*45O00 10-inch, tLOO 
By Giuseppina Huguet. 
Soprano (In Italian) 

•62083 10-iach. .IS 


Gilda: Thoofli not ■ word b* nld to mc. 

On ev'rjF feiU] mornini Uj heart hU mailing well did know! 

Neir to Ihe holr ■lur. I^>l nislx li« Xood beforE me, 

I uw a youth obKrvinf me. Fondly he vow'd to lov« mc. 

Beneath whoM gaze mine did falter, And I gave him vow for vow. 
RtCOLSTTO IdtspairiHgly): 
Aht that thou be ipari 

That eveiV good may light 

Thy futun all turn 
(Fo Gilda.) 
Haughtrr. come, le 
fori thee in thy a 

Piangi fanciulla 

("Weep. My Child) 

By Maris Galvaay, 
SopraDO. and Titta 
Ruffo. Baritone 

(Inllatfan) 92502 
]2-inch. *4.00 
By A. Cassani. 

Following the duet RigMlto eidaii 

No thunder from 

to tlrike thee. 
With pleasure tr 

RlgeltHo, gazing mfter Monttram, grimly uys that vensBWica will not ho long deksred. 

"■&«m«rf nMrf S mttt 430. 


Si. vendetta (Yes. My Vengeance) 

By Maria Galviny, Soprani), and TitM Ruffo. i 

By Laura MelU, 

rio and Er 

He in (um B<u«i or 

1 the Duh' 



\ti. my vcngtanrr h 

That .iv Ihc flames .> 

ath dooincd 
.w snk con« 



SCENE \—A Lonely Spot on the Ric< 

A hoose. half in ram., at one ,ide. The nf Ihe h 

rujdc inn on the ground floor ; a trohn slaircaie leads from i 

Kh. Ot, the side towards the ilteel is a door, and a low 

jse. Tht Mincio It leen in the background. Behind a ruin 

' 3 nighl. Sparafacile is in Ihe hoase. scaled iji a 

. spoken 

111 to a iofl. where alanda a i 
;all extend, iac^marA fnyr. 
i parapet: Second. Ihc foux 
able poliihing hii tell, uncon: 


La donna i mobile (Woman u Fickle) 

By Enneo Cariuo, Teaor (la llallan) 67017 lO-inch, *2.00 

By Florcncto Coiuteiitiao, Tenor (In llallan) 640r2 10-inch, l.OO 

By Giovanni Mutiaelli. Tenor (in Italian) 64382 lO-ineh, l.OO 

By Leon CimMSnoli, Tenor (/n frencA) 4S1I8 10-ineh. IJK> 

By Giuseppe Acerfai, Tenor (/n Ilalian) *62083 10-inch. .75 
Tkia familiar caiuone, beginning 

ia perhaps the best known of all the airs of the opera. Its spontaneou> melody pictures tlie 
(■y, ineiitonMble character of the young noble who thus sings of changeable womankind. 

fickle, fal» iLlogcthcr. 

liflg smile will E'er deceive 

Woman ii fickle, f.lie sltogelher. 
Moves like ■ fealher. borne on the breeie! 

At the dose of the Dulct'a song Sparafudh en- 
ter* with the wine. He knocks twice on the ceili^ 
and a young girl comes down. The Duk^ tries to 
embiace her but ahe laughingly escapes him. Now 
occurs the gteat Quartet, one of ihe most famoits 

Quartet— Bella fi^Iia dell'amore 

(Fairest Daughter of the Graces) 

By Bessie Abott. Soprano; Louise 
Homer, Con trilto: Enrico Caruso. 
Tenor: Antonio Scotii, Baritone 

[In llallan) 96O00 12-inch. »6.00 
By Marcelli Sembricb, Mme. Severina. Enrico Caruso 

and Antonio Scotti ^In Italian) 96O0I 12-inch, 6.00 

By Amelita Gslli-Curci, Flora Perini. Enrico Caruso and 

Giuseppe de Luca (In Ilalian) 95100 12-inch. 4.00 

By Lucrczia Bori. Soprano: Josephine Jacoby, Mezzo-Soprano : John 

McCormack. Tenor ; Reinald Werrcnrath, Baritone 89080 1 2-inch, 4 OO 
By Victor Opera Quartet {In llatian) •55066 IZ-inch. l.SO 

By Victor Opera Quartet lln Italian) 70073 12 inch. 1.2S 

By Ciuscppina Huguet. Emma Zaccaria. Carmelo Lanzirotti and 

Praoceaco Cicada {In llatian) *68067 12-inch. U5 

By tluguet, Zaccaria. Laosirotli and Cifada *35456 12-inch. 1.25 

By Kryl's Bohemian Band "33239 12-inch. 1.23 

By Pietro, Accordionist *3S367 12-inch. 1.39 

By Pryor'i Band •16276 ICinch. .75 

By Brown BfOf. Sutophone Sextet *182I7 lO-ineh, .75 



Among the ntunical e^ms with -which ihe score of Rigolelto Bhounds, none la « 
known i>nd u>tivet»lly admired as ihis fine number, sung by the Duke, Gllda. Maddaten 
RlgoUllo. Il iB undoublediv the most brilliant and m.>»ciai>ly of all Vcrdi'a . 
pieces, and the conlragling emotiona — the [endpr addresssa and coquetry on the one aide, 
and the heart-broken soba of Cilda and the eriea for verigeBnce of her lather on the other 
— are pictured ^ith the hand of a genius. 

The situation at the opening of the act is a most dramatic one. The Duke, gay and 
careless, is making love to MaddaUna, all unconacious that the assassin hired by RigoltHo 
u waiting for his opportunity. 

He sings, beginning the qui 

Wii'h ,i'i"c"i.^iciprwui^l"'^)OY*ri5tore 
KnrI Ihc panu.-, the panK« of unrequi 

All, \ lauEh to think' 


lo itallcr 

Rigohtla. who desires to prove to Gilda thi 
falae, bids her look through the window o 
■ scene within. The 

The slrcnjrih to punish will 

That 1 vow to every powei 

• DaJikfaai Riani-Sm pait 430. 


The DiJct now Koei to hia bedroom and m 
to Verona with bU ipeed and ke will meet her theie. . . 

UUo pey« SpttrafiidU hait hi* price, the remainder to be paid on the delivery of the 
body of the Dulc at midnight. BigoltUo goea away just an Cllda, who haa disobeyed her 
fatheri returns and tries to sec what ia going on inside the house. Sparafudle enters the 
house and Maddaltna, who has taken a fancy to the Dak^, begs her brother to q>ai« hi* 
life, delicately suggesting that he kill RjgoleUa and take the money from him. Spara- 
fadlt ia indignant and pro- 
tests that he has never yet 
failed in hia duty to his em- 
ployers. MadJaltna pleads 
with h' ■ ■ - " 

he will kill hin 

c him ai 

Dnring this dramatic scene 
a storm is raging, and in ad- 
dition to the stage effects of 
thunder and lightning Verdi 
haa the chorui humming in 
chromatic thirda to illuatiate 
the moaning of the wind. 
Thia scene is given here in a 
moat impreMive record. 

Tempesta — Somiglia un Apollo (He's Fair as Apollo) 

By Linda Brambilla, Soprano; Maria Cappiello. Mezzo-Soprano i Aristo- 

demo SiUicb. Bass: and La Seals Chorus [In Itallaa) *68I»0 l2-tach, •I.IS 
ClUa hears this terrible agreement and the broken-hearted girl resoWea to sacrifice her 
own life lo save that of her false lover. She knoclu at the door, is seized and stabbed by 
the bandit and her body wrapped in a sack. Rigohlio soon returns, pays the remainder M 
the price agreed upon, and receives the body. Sparafadlt, fearing that Rigotetto will discover 
the substitution, offers lo 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 an the body with a horrible satisfaction, saying; 

He ■» thtre. nnn'rltB! Ah. 1 must »« him: 
Nay. 'iwcre folly! 'tis hi surely: 1 feel his 

My grief 
Thy (omt 

s the voice of the Dalte 

That voice! Amlmad? What lie i 
Kn. no, no! berc I hold him! 
(Calliig to tilt kouit.i 
Ilola. lliou thief, thou bandit! 

(With ulmoi 
Mr dauihlcr 

Lassu in cielo (In Heaven Above) 

By Grasiella PareCo and TilM RuSo ;./n Italian) 92906 I2-mch, *4.00 

By Huguet and Minolfi (Doabk-Facti-S-Maa) (Italian) *6806T 12-inch. 1^5 

RicoLtm.; {KHccltna) Gilua: 

'Ti^ Cildfl' Falher, oh ask not. 

Child ai hoirow: niy anecl. look an tliy falherl DLess Ihy daughlcr and foFgive her. 

{K%ocks^j"ls-'''t^ic^' o^the dZ'of ihf kouit.) 'chUd. in pily, oh .peak ndi of dying; 

Xa answer: di'si^ir! my dau^hler: my Gildal Suy Ihou to blus me, oh leave me not iloiH. 

Oh. my dausliwr! GujiA lft€bly): 

Gild* (rmi'ii|i)T There we wail, my falher, for ih»«l 

J Ut Imr and Mil MHx'fu "■ tit ^a<'>.} 


Paraphrase de Concert iLisit) de Pachmsnn. Piani.t 74261 12-inch. ll.SO 

/Ri,oUt,o Quartet By Victor Opera Quart., ij" /;a''-)U5o«,e. .^.j^^h. ,.50 

1 Lucid Scstlrlle By I'iclor Opera Sartclte (In Italian) I 

Ch 'io le parii tl 'Will Speak Co Him) ] 

J By Cigada, SiUich and La Scala Chorus l/n Italian) Lgigo 12-ineh I 25 

iTetDpoU—Somiglia un Apollo iHc'i Fair ms Apollo; | - ■ ■ 

I By Brambilla. Cappiello. SiUich and Chorus] 

I Quartet-Bella figlia dell' amore (Faireat Daughter) 
By Huguet Zaccaria. Laniirotti and Cigada,(/«/(D;™)L . ^^ , ^^ 

LaM^ in cielo (In Heaven Abovel By Ciuieppina 

Huguet. Soprano, and RenzoMinolA. Baritone (In Italian}] 

jQuartec By Kryl's Bohemian Band\,,-,. ,- . . , ,. 

\ T,o,»,loK SfUclhn (Homt to Oor Mountain,) K«««a'j fion^l^*^** 12-mch. 1.25 

i^lVllr^r'n". ^ M By P'""^^"j 35367 12.ineh. 1.25 
I Light Cavalry Ootrturt Accordion By Pieiro Dtiro] 
IQuartet— Bella figlia dell' amore (Fairest Daughter) I 

i IVerdi) iltalian) By Huguet-Zaccarja-Lanzirotli-Cigada 35456 12-inch. 1.25 
I rn..a/ore-Mf«re« By Giacomtlli. Martinez- Palli and Cho {kalian ■ | 

JMonologo— Pari aiamo By Ernesto Badini tin ttalian)\ ...-. ,_ . . , „. 

IPiangi fanciulla By Cassani and Federici {In Italian) (*^°^^ lO-inch. I.UO 

fTutte le feste al tempio By Mellerio and Badini I In Italian, \.,„„^ ,n ■ l , «„ 

isi. vendetta By Mellerio and Badini {In Italian), *^'^'^'^ '«-"=*'■ '■*'*' 

Gems from Rigolelto By Victor Opera Co. {In English) 31686 12-inch, l.OO 

Cho™. -PLeMure CU. U.'-Solo und CSpru.. "Ciived Upon My HMrt" 

ICaro Wo™l Ducl.-'Lovc ..ihe Sun-Solo. ■'Woman i> Kickle" Quwlcl. 

■■« D.uuhler*— KLn.le 
ICortigiani vjl raxza dannata By Ren to Minolfi (In Italian')] lO-inch. .75 

I Lal^me—Fantaisieauxdivini By M. Rocca, Tenot {lnFrench<\ 

(Tutte le feste By Giuseppina Huguet Soprano (/"/'<''■<'"»] ^2063 lO-inch. .75 
I La donna e mobile By Giuseppe Acerbi. Tenor (Inllalian)l 

IRigoIetto Quartet By Arthur Pryor's Band I ,,,,, ,„ ._,l -. 

1 Peacemaker March By, Arthur Pryo,: BanJI^*'"^ 10-inch. .75 

(Rigoletto Quartet By Brown Bros. Saiophone Seitettel , . . . ., 

\ PaaionDonce (C.M,/on«l Brown Bro,. Saxophone Seitellet "'^^ ' '"-""^"- ■'» 

(E il sol deiraniraa By Pcreira and de Greflorio {In Italian}\,,,,. ,_ ., ,, 

iDeh non parlare By Pcreira and M.ggi (/n /(fl/ta-,) | *" ^ ' " lO-.neh. .75 

IComme la plume By Leon Campagnola, Tenor {In Frenc/t)) 

JQu'une belle ('Mid the Fair Throng) 45118 10-ioeh. 1.00 

I By Leon Campafnola. Tenor (/n FcencA)J 




Text by Adam Hilli Italian text byRoeai. founded on the witodeo 
in Tbho'i Gtnaalemme llberala. Music by George Frederick Handel. 

Rinaldo waa produced at a time when Italian music had become 
the fanhion in London, and the compoaer followed the plan then in 
vogue, to write the dialogue in recitative form. Tkii opera was writ, 
ten by Handel in the amazingly brief time of fourteen dayi. and &ral 
performed at Queen's Theatre, Februaiy 24, 1711. Tlie worit was put 
on to signalize the coming of Handel to London, and was a magnificent 

Croduction for that period. Only the year before the compoaer had 
sen induced to leave the Court of Hanover for that of Ejigland: and 
upon his arrival in London Mi. Aaron Hill, the enterprising manager of 
the new HaymarkeC Theatre, engaged him to supply an Italian opera- 
Hill planned WinoWo, Rossi wi . .— .- 

riedly dashed off thr 

e the Italian libretto, and Handel hur- 

Rinalda and Aimlda 

, for fifteen consecutive ntghta — an unprecedented feat for that age — i 

mounted with a splendor then quite unuaual. Among other innovations, ihi 
Armida were filled with living birda, a piece of realism hardly outdone even it 

Character* in the Opera 

Rinaldo, a knight Soprano 

ARMIDA. an enchantrcM Sopraito 

ALMWENA, Godfrey'! daughter Soprano 

ARGANTE, a Pagan king B.»a 

Godfrey, a noble Bm« 


The action lakta place In Palalint at the time of ihe Cmmilt. 

Rinaldo is a Knight Templar who loves Almlrena. daughter of Codftts. The enchantreas, 
Aimida, also loves Rinaldo, and in a jealous rage aeizes Ahnittna and conceals hei in a 
magic garden. Armlda'i lover, a Pagan King named ArganU, complicates matters by himself 
falling in love with Alnditna. Rinaldo finally rescues Almlrena, and the sorceress and her 
lover are captured and converted lo ChriBlianity. 

Among the many arias of great beauty with which the score abounds is ihe Laicla ch'h 
pianga, in which Almlnna laments her capture by the sorceress. This alriking number ia 
delivered by Schumann -Heink with great beauty of lone coloring and impressive power in 
(he most dramatic passages. The melody is a beautiful one. 

Lascia ch'io pianga (*Mid Lures ! 'Mid Pleasures !) 

By Erneitiae Schumana-Heink. Contralto {In Italian) 88189 12-inch. *3.00 

HaSl s'lofen" ro'm'''my ad him"''' 
The b1i» of Heaven: 

Uoptlen I'Unguifh 

Vsmly deprorins my freedom lestl 

Mr pain 
Bj 111 f« 



%'ords by Scribe and Dclavigne: music by Giacomo Meyerbeer. First presented at the 
Acad«mie. Paris. November 22. 1631, with Adolpbe Nourrit u the oriHiDal Aofrcrt,- in London, 
in English, .-.t D'ury Lane. 1632: in llaiian al H« Majesty 'b Theatre. May < 1847 (first eppeu- 
ance of Jenny Lindi. First American production at the Park ThealTC, New York, April 7, 
1634. Tirst Kiven a< the New Orleans Opera December 24. 1836. Revived at the Astor 
Place Theatre, December. 1851. and November 30. 1857, with Formes in the cut; 1673 given 
at the New Stadt Thealre, with ilma di Murska. 


ROUKKT, Duke of Normandy Tenor 

BER[RAM. the Unknown Bass 

Isabella. Princess of Sicily Soprano 

Alice, foater si«ler of Robert Soprano 

Knights, Courtiers. Heralds, Pilgrims. Peasants. Chaplains, Priests, Nuns, etc 

Roberl ihe Deed !■ one of 
the longest of all operas (tni- 
ham Till being somewhat 
longer), lasting four hoon 
and forty-five minutes iritMi 
given without cuts. 

Although Meyerbeer had 

^^ #111 [i^^^^H produced several operas.most' 

^^ -4' II 'll^^^^H '^ unsucceuful, it was not 

*" "' ll^^^^^ -.„,i| ,],g production <rf Robert 

_ ^- ii^^^rn l^^^HB - Diflble in 1831 that the 

r^W ^- llJ^^a^XV ^^^^^H geniuBof ihecompoierbecame 

"- lHMi*T^» ,1^^^^^ known. The opera met with 

V\,,^ J ' ~^|~~"* \'^^^^H 'C^'ly ■"^''^ ''^'^ forluneofthe 

^^^ m ^U^r 'z!^^^! scenic effects, brilliant instru. 

and its heroic and partly 

^^^rX-i' DrT^E ofNotmaniy. 
who WHS called RiAert theDtvIl 
because of his courage in 
bailie and his successes in love, is banished by his aubjeclB and goes to Sicily, where 
he continues to struggle with an Evil Spirit, which seems to lempl him lo every kind o( 
excess. Altct. his foster sister, suspects (hat his supposed friend Btrlram, is in reality this 
evil influence. At the close of Act I Robert, led on by Bertram, gambles away all his 
posaesaions, end failing lo attend the Tournament, loses the honor of a knight and greatly 
displeases the Lady hahelto. whom he loves. 

The second act shows the entrance to the Cavern of Salon, wherein a company of Evil 
Spiriia are collected, and where occurs ihe great scene for B«U<,m and the chorus of fiends. 

Valse Infernal, "Ecco una nuova preda" (I Have "Well Spread 
My Toils) 

By Marcel Journet and Chorus (/n French) 742B2 12-inch. *I.SO 

Bertram promises the Demons thai he will complete the ruin of Robert and the Rends 
rejoice at the prospect of adding another soul to their company. 


One more ninedl i 

At wbich £iiion> m 

{A tubwrantiiiu 

falls. Btrlram, 

King oVkum ingc 
Hell htrc! ■ • 

Of their intenui joy • • • the f*lt«n 
aother Kml to spiritB Kck 

To drown their remorae in beltiih roirthi 
iHruMu. CHoBna Uram tht aniim): 

Yc dcmoiK, who Hcivtn and it) Uwi defjr, 

it htati; darkitfn The sound of yout revels now mounii to the 
Iht control of Iht ilcr. 

iay.) Your voices lift high! 

r minel • • • Praise the mailer who reigns over as, 

imits inel • • • Sins aloud in luitr cboras! 

PraiK the Master, yes praise! 

Alice, who haa come to the vicinity of the cave to meet ber lover, overheara tkia iiifertuJ 
bargain and dcterminea to aave Ikini. Raterl, dojecled Over (he lo«« of hia honor and wealth, 
meela Serfrom. who promiaei that all •halt be reatored to him if he will have the courage to visit 
the ruined abbey and secure a magic branch, which can give wealth, power and immortality. 

Du rendez-vous (This is Our Meeting Place) 

By Edmond Clement and Mareel Jotirnet {In Fitndi) 76020 12-ineh. 42.00 
The next acene ahowa the ruina, where Balram invoLea the aid of the buried nuni in 
eting the downfall of Robtrl. He qxalta of the founding of the convent and of the 
la who lie buried here, and calla upon them to ariae. 
(: WboK unholy deiotlaa was offered to other 

Il'eaven's" ca°use ' b«iueathed 


lie buried the falK daughters 

King of Hell, i 

The apectrea aiia^ and 
when Rebaf appears th^ 
dance around him and lead 
him to the grave of St. 
Rctallt, where he ia ahowa 
the magic branch. Ovcrcom- 
ing hia (earsk he srasps it, and 
by its power deteala the mul- 
titude of demons who arise 
from the infernal region* to 
prevent hia escape. 

In the next scene Roiiri 
tises the branch to become 
invisible, and goes to La^ 
liaidla'i room to carry her 
off. In this scene occura the 
famous air for Isaiella, "Oh, 
Robert, My Beloved." 

Robert, O tu che adoro (Oh, Robert. My Beloved I) 

By MarKaretc M|itienauer. Metto-Soprano (llaban) 88369 12-inch, tS.OO 
She appeals to his better nature in this lovely cavatina : 

My anguish I^ou 
On thyself have i 
Ah. the ties that 

\y Iwloved! 

Thou (or wham Vd gladly perish. 
Once I receiv'd thy homage, Od thyself have mercy,' and pity on rael 

Moved by her entreaties, he yields to the promptings of his good angel and break* the 
branch, thua d eati o yi ng the spell. 

In the last act BaHxan renews his efforts to induce Rtbert to sign an eternal coatract. 
Tued of life, he is about to jrield when AUet appears and tella him of the last words of hi* 
mother, warning him aninst the FltnJ. who is in ntSlj Aatsrf a faoher. The clock strikaa 
twelve, ond the baffled Ftatd dis* .-_.-.,.., 

Prhteat waitiag (or the leformed A 

i ii'liili-the i .tt fi 1» > l doer open* •howiog the 



Libretto by Harry B. 
Chiengo, June 9, 1S90. by the 
Recently revived at the Nei 


munc by Reginald de Koven. 

ions, who sang ihe opera more than (our thi 
-dam. New York, by the de Koven Opt 



Robert of Huntington, known aa Robin Hood Tenor 

Sheriff of Nottingham Baia 

Sir guy of GISBORNE. hia ward Tenor 

Little John i f Baritone 

Will Scarlet I^, , I Ban 

ALLAN-A-DALE ['-"■"■'*» jContialto 

Friar Tuck | I Ba»» 

Lady Marian FITZWATER. aEterwardi Maid Marian Soprano 

Dame DURDEN. a widow Commho 

Annabel, her doughlet Soprano 

Villagers. Milkmaids. Outlaws, King's Foresters, Archeri and Peddlers. 

T!mt and Place .■ Nallingham, England. In ihc licelflh ctnlury. 

At the beginning of the opera a merrymaking is in progress at the marketplace in 
Nottingham. The three outlaws. LillU John. Witt Scotlfl and Friar Tuik. enter and sing of 
iheir free life in the Forest of Sherwood, and finally the handsome, dashing Reiln Hood 
appears, declaring that he i» the Eail of Huntington . and demanding that the Shttiff »hx\\ ao 
proclaim him. The SIteriff, however, protests that the youlh has been disinherited by hia 
own father, who before the birth of Robin H»(/was secretly married to a peasant girl, who 
died when her child wae an infant- The child is Sir Guy ->/ GiWne, the rightful heir to the 
earldom and [he Sherlff't ward, whom he is planning to marry to Lad^ Marion, word of the 
Crown. However, the young girl and Rohtn Hood ore already deeply in love and ex- 
change vows of eternal faith, much to the indignation of Sir Gay. Lady Marian proteats 
against her marriage to Sir Guy. hoping that on the return of the King from the Crusades she 
will be released, while Rutin Hood plans with the help of the King to prove his right to the 
earldom. The outlaws sympothiie with the poir and invite Robin Hood to join them. 
promising him he shall be their king and rule them under the Greenwood Tree, to 
which proposal Robin Hood at length agreea. 


In tile last act the daahing lung of the Dutlawi brings the mevBge 
whkK aave* Maid Marian from the hated marriage with Sir Qay, and 
the opera enda amid general rejoicinga at the triumph o( Robin HooJ 
and the gende Marian over the plotting Sheriff and his ward. 

Genu from Robin Hood— Part I 

Hb7, lor the MenT Cm 
OetoW Al«"— "Comi. I 


e Wc 

Litfht Opera Co. 

35415 12-inch. *\.2S 

Gtna from Rotln HeoJ—Parl II 
"Ho. Ho. 711*11 (oi Jollity— "Y« Bi™ i 
Azure Winmiwl'— ' AiDarer'a Sona" — "l 
Huntin* WiUCo"- "Ahl Do UnreYou 
— "'SweetheKt. My Own SwrlUieiirt" - 
"Lovt. Now Wc Never More Will Pert" 

Vlclar Light Opera Co. 
Oh, Promise Me By Louise Homer 87255 10-inch. 
/Oh. Promise Me ElsieBaker.Contraltol , -~„, 
\ In Iht Gloaming By Else Baktr.Canttalto]*^'^'''' 

{ WaJoLnVondtJ^tSrialM^S^''^''^ 10-inch. 

fOh. Promise Me 1 

\ By Harry Macdooou(h.Tenor|l6196 lO-inch, 

I 5(ftg Mt to SIttp Eldt B^r, OminUoi 

I Oh. Promise Me By Alan Turner!, ,,_„ ,„ :__i. 


|}1TS16 10-inch, *0.tS 

Dtarie Bu ElUt B<ika. Conlrallor 

(Oh. Promiae Me VliJin- 'Cdlo-Harp Venetian Trio^, 

I Silver Thrtadi Among Ihe Gold Neapolilan 

{Favorite Airs fri>m the Opera By Pryor's Bandl,,„,„ ,- . _. 

Prince of Pihtr>Seleclior, (Uder.) ^ So™.', fionJ/'**^* lO-mch. 

(Armorer's Sontf By Wilfred Glenn. BassI 

\ Till Ihe Sandi of Ihe Dttert Graa Cold By Wilfred CUnn, Bau) 





Libretto by Louis Caliei ; music by Jules Ejnile Frederic Masaenet. Firit produclion 
at the Crnnd Op^ra, Pinis. April 27. 1877; and at Co*ent Caiden, Royal Italian Opera, 
June 2fl. 1879. 


AUM. King of Lahore Tenor 

SCINDIA. hia minister Baritone 

TIMUR aprienl Bau 


SlTA . Soprano 

KALEO. confidant of the King Mezzo-Soprano 

Time and Place : India ; iht tltoenth eaOttrji, during Ihe Ineualan ef tht Mokammtdmu. 

This early work of Maraenel'a it founded upon an Indian >ubject, and deali with th« 
Muiaulman invanion. It i. noted for iu brilliant ballet, illustrative of an Indian paradiae. 

Sila, niece of the high piieet, Tirnur, is beloved hy Atim, King of Lahore. Hia rival, 
Sdndla. accuses her of profaning the Temple and she is condemned to death, but is saved 
by the King, who asks her hand in marriage. 

In the second act Alim, at war with the Mussulmans, is betrayed to the enemy by 
Sdndla. and is killed in battle, white Scindia seizes his throne and carries away Sila. 

Atim xt transported to the celestial realm of India, but is not contented, and begs the 
divinities to allow him to return to earth. His request is granted on condition that he does 
not resume his rank and returns to India when Sila dies. On his return he hnds that 
Scindia has secured the throne and forced Sila to become his wife. Alim declares himself, 
but Scindia denounces him as an impostor, Alim is obliged to flee, but Silo 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 uniteci in celestial India. 

Promesse de mon avenir (Oh. Promise of a Joy Divine) 

By Emilio de Gogorza. Baritone {In French) 86172 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 sang in the first production with great success. A portion of the fine 
translation by Dudley Buck, from the Schi.mer ■'Operatic Anthology" (Gjpyt G. Schirmer). 

^™mt K'r"E''^in™ 

"from me'Z^rt''' 


(Fneeh) (Bufliili) 



Text by Edouard Blau ; muaic by Edouanl LmIo. Firtt production at the Opfea ComiqUC. 
Pui« May 7, 1868, vnth Takzac, Bouvet, Cobalet, Foumetih Duchmmpa and Simonnet Tke 
opera made a great iuccsm antl waa awarded the AatJemle orize of three thouwnd (ranca. 
It had ita hundredth lepreaentation in Paria, May 7. 1869, and ia (till in the repertoiy o( the 
Opira Comique. Pint, and probably only American production, at the New Orteana Opera, 
January 23, 1 890, with Furit, Balleroy, Geoffioy, Roaai, Leavinaon and Beretta. 


The King 

Margaret. 1 .. , ,. 

ROZENN. / hiadauBhlera 

MYUO. aKnighl 

Prince of KARNAC, at war with the King 

People, Soldicra, Gentlemen of the Court. Ladiea, Horaemen, Relainera 

Ttm€ and Place : Armorica {Anclcal Brillanyl ; Middle Agei. 

After a life of conatant attuggle and much hard work. Lalo, at the age of sixty-five, auc- 
ceeded in having hii Le Roi d'Ya produced in Paris, where it met with much aucceai: but 
it waa only in recent years that thia compoaer'a true position in music has been recognized. 
A buat waa recently eiecled at Lille, his birthplace, and at the foot of the pedestal are repre- 
aented Razenn, Margaret and Mj/tlo. the three chief characteri in Le Roi d'Ys. which ia 
regarded in France aa the composer's best work. 

Blau'a libretto is baaed on an old legend about the flooding of the ancient Armotican 
city of Is. or, as Blau called it, " Ya." The King of Ya is at wai with hia neighbor, the Prfncc 
of Kamae, His daughtera, Margartt and Reteim, both loved a Knight. Mylio, but he is sup- 
poaed to have died in battle. The King has bargained with Kamac, propoaing that he sliall 
wed Margate, and thus end the exhausting war. The Princeaa doea not reliah the thought of 
tbia alliance, and when Mylfo proves to be atill alive ahe decide* to wed him even at the coat 
of her fathei'a kingdom. Kamac is eoraged at tha inault and challensea Mgho to a duel, 
like King agree* la gire bia other daa^ter, Raaawn, ta tha viclM. M^i» wins and MatfamI, 


furioua (i,-.: 1,. ..,.,. ..^ i|..i posscBsMp/ 

sluice Ki'K-^ ^. ' ^< I' I ■ ■■!■■ ■ ui ihe aca. When ih, 
flee lo high Bmimd, Aomoc taking (he tclvictant 
bcEin 'o tte»troy the citj 
^ulIc and precipitatea h 
Corentin Hkb from (he 

Vainement. ma bien aimee (In Vain. My Beloved) 

By Edmond Clement, Tenor (In French) 74264 12-tiicli. 

relodie (Vio(in-{n<ih-Hatp) By Neapolitan Trio) , .^, -- . . 

Pajfe/— Menue* CParadh) (Violln-'CclIo-'Plano) TolUfun rrio/''**'^ lO-inch. 

lod the cily by opening the 
ing the King and his ramity 
taking me telvictant :Vlaigaitl witti hitn. As ihey walch the floods 
d drown the inhiibitant& the Pcincen, remorseful, confeuea her 
IF into the flood. Her sacrifice saves the city, however, ■■ Saint 
and commands the waters to recede. 



{Rot^-mav^h atiJooJee^y 


Words by Barbier uid 
Can*, afler Sbal[e»peare'» 
drama. MuBic by Charla 
Gounod. Fits I produced at the 
ThmrcLyriquc. Pari., April27, 
1667. FLrst London production 
July 11.1867, First Milan pro- 
duction at La Scala, December 
14.1667. Presenled in America. 
1866. Willi Minnie Hauk. 

Some famous American 
productions occurred in IB90, 
wilh Patli, Ravelli. del Puenle 
andFabri;in 1891. with Earoe. 
(dfbutl. the de Reszkes and 
Capoul; in tB96. with Melba. 
Saleia. de Reszke and PlanQon: 
and mote recently wilh Farrnt 

Gounod s sweetly senli- 
menial setting of this sreat 
tragedy of love and death haa 
achieved a popularity second 


only to hia Faust. Some critiu have called the 
music too inaipid, but very few who have heard 
the splendid arias (or JulM will asree with thia 

JUUET, {JmJb^) daughter of Cuiulet . . Soprano 
ITEPHANO. (SW' -"*■«*) page to Romeo . . Soprano 

Gertrude, Juliet's nurse Mezzo-Soprano 

ROMEO Tenor 

Tybalt, (T«-*<i*r> Capulel's nephew Tenor 

BENVOUO. (Bfn.noA'-he-oh) \ friends of I Tenor 
MERCUTIO, (Mtr-kcK -hte-oh) I Romeo i Baritone 

Paris, (Paft-m') CapuUt's kinsman Barilone 

GRECORIO. Capulets kinsman Baritone 

CAPULET, (CflB-u-fcA') a Veronese noble Basso 

Friar Laurence Bass 

The Duke of Verona Ba«« 

Guests; Relatives and Retainers of the Capulets 
and Montagues. 

The action /u^ pla 

at Vtn,, 

Romeo and Juliet overflows with charming 
music, Gounod having written for the lovets some 
of the most emolional passages ever composed, 
and the opera has even been called "a love duet 

«ilh . 

ional i 
.other Faust, 

)uld V 

g of the story of the ill-fated Italiai 

such works.-— but it is a most beautiful si 
will always be listened to with pleasure. 

Several of the Shakespearean personages have been 
omitted from (he opera cast by (he librettists, and a new 
character, that of the page Sitphano, has been added. 
SCENE-BaWroom in Capu/el'i Wouse, Venna 
The curtain rises on a scene of festivity. Capaltl, a 
Veronese noble, is giving a masked f*[e in honor of his 
daughter /u/ti( 'j entrance into society. 

Mil is presented to the guests by her father, and 

Capulel. in a rousing air, callson his guests to make merry. 

When the guests have gone to the banquet hall, 

B behind ai 



Valse (Juliet's Waltz Song) 

By Louise Tetrazzini. Soprano 

l/n Au/iani 88302 IZ-inch, 13.00 
By Emma Eames. Soprano 

tin Frtnch) 8B0I1 12-ioch. 3,00 
By Amcliia Gilli-Curci. Soprsno 

iln French) 74512 12-inch. 1.50 
By Blanche Ami. Soprano 

(/n French\ 74151 12-inch. 1.50 
It is maintained by some critics that this waltz is loo 
showy and brilliantly effective to be sung by a modest 
young girl at her 6rst ball. However, Gounod has written 
■xty waltz of exquisite melody that most hearers are too delighted 




In Ria"" 

A* in (a 

i. dr.-: 




Jalitl i. abo 

: house o( h» 

Ut to 


y. He 
ith he 

Ihe toe 
is muct 

Sprites from f»inrUoii oldtn, 

W™fd''"ha'^%cver age"or"^<ine5s 
Threw tbeir shade o%r my biaw! 

when Romto enter*, having ventured n>B»fced i 
ipressed with the young Kirl's beauty and grace, e 

to lemaln a moment. They »ing ihe fir»l of th 
3/ which is full of airy repartee. As (he number progresse 
\o draw the youth and maiden toward each other, and the d 

Aoge adorable (Lovely Angel) 

By Geraldinc Fjrrar. Soprano. >nd Edmonil Clement. Tenor 

(InFrrnch) B842I 


TWi' haml^hiTh 

W finrd 

Thy ■ hand, g 

Saintly nalin th 
Hands tWtc ar 

noii pilgrin 

blame il n'< 
311 surdy he 

Ytsi but only for prayer: 

Then grant my pray'r, 

may else he driven, 

dear (dat, or faith 

a hot-headed member of the Capulel family, recag- 
through his mask, and threatens to kill him for 

ains Tybalt and the dancing recommences. 


SCENE-Captt/el'j Can/en; J„liet; /Spar, 

This scene is laken almost literally from Shakespear 
entrance of Grrgorio and the oervanls, which serves merely t 

Romeo, who is braving the displeasure of hi> enemies ii 
appears, and gazing at the balcony, sings his lovely serenadf 

Ah! leve toi, soleil (Arise, Fairest Sun) 

, the only variation being the 
> divide the long love duet, 
the hope of seeing Jutiel again. 

n Jadlowker, Tenor 

(hFrcnch) 76025 12-inch. »2.00 


Ht >un in hci' 

Qufnch t 

lb B feeble tig) 

And b«oi 

sh night'i dirk 

IT bond* farr tf 

By hfr b 

eauly') brillUnI 

Jutltl appear) on the balcony and Rot 
conceals himself. She spe&ka lo ihe elarg 
her new-found happiness. 


why a 

DdR Iben thy r. 

Uy love, of thcc! What roK 

we call 
By other name would imell s) 

Tbou'rt no foe, 'tis thy name I 
A long scene between the 
lov«ra is interrupted by Citgaria 
■nd some retainers, who ate 
sevching for Riunee. He hide* 
himself again, and on their do- 
]>arture the duet is resumed. 

O nuit divine, je t' im- 
plore {Night All 
Too Blessed) 


The ntc of ma 

rriage. Tl 

Ni,ht all tno West. 

■<i: 1 an 

n fearful 


Beinii in nigbt, tbii 

1 if all 1 

I dream. 

Low at Ihy frr 

That, waking, t ma 

>y find U 

>o flaltenng B»ee< 


To -bide Ihe dswn. 


follow, tbo 

'"iiVe „f n,in,; 



Speak, my dvurcSt! 


all ar.7 1 

"■RuVk w..rd. th»n 1 


TcSM Ihy wooir 

If that the faith Ih 

on plcdgi 

»l be true. 

thf wif. 

■ thon taken, 

Then t"J'mom™. "i 

ny lovi-. 

«nd a mesMg. 

; HoHCo: 

noobl 110 

Teiling^me where 


Ne fuis encore (Linger Yet a Moment) 

By Bcrthe Ct*»r and Leon Campatfaola (FnncA) *ft90B5 12-iiich. *1.S0 
By Alice Nielsen and Florcneio CoaMutlao iFmteh) 64091 lO-ineh, 1.00 


SCENE l_7!.Cd 


Nuit 4'Hyni£ii£e, O douce nuit d'amour (Oh t Bleased Nifht 

By Bcrthc C^mt. Soprtno, and L*on Cunpatfnola, Tenor 

UnFitneh) iiOM H-lnch. •UO 

Of faloommE roMB pcreDDliI, 
Holy and fTear confwiion, 
MyUerv sweet of love. 

Are found in Hcav'n ■bovel 

Uearesl Juliet, 'til Ihc Urk 
Tlie he mid of ioqih. 
JL-LIET (rrrfrjiBina Himi: 
No: -lis not yet neir day. 
'Twas no Urk pierced Ihine e 

From the pomcKranale rising 
la the nightlnsile'B note 
That she nightly suiEi there I 

Nar.''tia (he lark, alaat 
Early herald of mom; look, I 

For thee the sun's exhaled, 1 
On thy way! Stay, then, sla 

Ah, tu dia vrai (Ah. Thou Wert Right) 

By Berths C^rar, Soprano, and Leon Campmgnola. Tenor 

UnFimeh) 99068 12-iiicli. IMO 

Go I hie hence 

Arid" ti;Cur*n,i''"uFs''*'"fght. 

prieat itie tella kim ahe will dia nther than be aeparated from Romeo. The Friar tclla her 
to have patience, aa he haa a plan by which they are to be reunited. He then sivea /uftet 
a potion, coitiTnanding her to drink it when bar man^Bse with Parii m ' ' 

telU her ihs «rill go into a death-like t) 

A ahoft Intermeoo [uniliBrly known u "JuUet'i Sliunber" i 

Juliet*s Slumber 

By Victor Concert Orchettrt (Ooahb-/«d— iiK pttt447) 
n hii bride apparently dead, and flings himself on her bi 

111,- pow°"'"''Ko/ s"iX bciuly't 

111' Iliy lips, love— ind dealh'i psic 
I~ not advanced there! 

Mv l*loveri. nor 
<}l dim ninhl de 

My" everlaslm?' 


Sudilenly rememberiDB the fatal dtauKht, Aomao cries out in horror: 
SoHio: Now. happr dagger, behold thy sbath! 

AIh! I l«li«td Ihre dead, love. »nd~ ISkt iloii htriclf. Wilk c suprtm, tffort 

I drank of Ihis draught! Romto half raittt himttlf lo priveM hir.i 

{Shows thi fhial.) Roueo: 

Juliet: Hold- Hold thy hand: 

Of that draughi! It a d»ih! luLirT' 

{Taklxt the fitial.) Ah. happy moment. 

Ah! Ihou ihurl „ , . ^, J ^ . . Mr souf now with rjpiure ia (welling. 

To dunk all! Im friendly drop thou « Thus to die, love, with thee. 
'-" — (Shr lilt fall thi daoger.i 

" ■- — el 1 loYt ihee! 

Yet one 

(J hey half n 

O heav'n grant u 


IO nuit divine, je t*impIore By Bcrthe Cesir. Sopraao 1 
uul Leon CampagnoU. Tenor (I" F'"ich) [,.-., ,. .. ., ,. 
Nefui. encore By Berth* Ccar. 5M,r»no. P^OM U-Dch. »1.50 

and Leon Campagnola. Tenor (/n French)! 
INuit d-Hymiaie By Bcrthe Cesar. Soprano, 

and Leon Cimpasoola. Tenor (/" F«neAl ,,„„„ ,. ._. , ._ 
Tudi.vrai By Berthe Soprano. 1'***^^ 12-.och, l.SO 

and Leon Campafnola, Tenor (/n Fm 
I Romeo and Juliet Selection By Arthur Pryor'* Bj 

Intfoduction to Ad I, "TKb C.pulei'. Bill "— Inleriude, Acl EV— Ui^qj ,, i„„i, . -■ 
C.pulo«-.Solo.-Th«A]i«-itPin««l-BJI-r — Nup^ProcMiion f3"3* I2-inch. 1J3 
Samion anj DtMah SdtcHon (Sofnt-Sofoi) Arllmr P^r', Bondj 

By VUtor Canc«rt Orehwtral . --*<. . n_i_-i. «■ 




Text by Hugo von HoFmannBthal. Muaic fay Richard StrauM. Firat production at the 
DrewJen Royal Opera Houie. January 26. 1911, BeiUn. September. 1911. At Covent Garden. 
London. January, 1913. FInt AmFrican production at Metropolitan Opera Houae. New York. 
December 9. 1913. with the ea,l given below. Twenty-two performance6 have been given 
during (he pB*( (our eesBona. 


Princess VON WERDENBERG Frieda Hempel 

Baron Ochs of Lerchenau Otto Gorin 

OCTAVIAN Maigarete Obef 

HERR von FANINAL Hermann Weil 

Sophie Anna Case 

Marianne Leitmetzer Riia Fomia 

VaI-ZACCHI Albert Eleiu 

ANNINA Marie Mattfeld 


Major. DoMO of the Princess Pietro Audi»io 

MAJOR-DOMO of FANINAL Lambett Murphy 

The Princess" Attorney Basil Ruyadael 

Landlord Juliua Bayer 

A SINGER Car! Jorn 

THREE Orphans Sophie Braslau, Louise Cox, Rosina Van Dyck 

and Place 

I. during Ihe reign of Maria Theresa, eighleenlh century. 

Der Roaenkavalier is the third opera by Richard Sirau 
the others being Salome and Elelttra. Unlike the firsl two 
in some pari, a farce-and yet the line, have been aet to aor 

s to be produced in America, 
roducliona. this is a comedy — 
e of the most beautiful music 

The first scene opens in the palace of Princeia IVerdenhcrg. who. in the absence of 
ler husband, has been encouraging the attentions of a young gallant. Oclavian, The Princeu 
ind Oclavian are singing B love duet when footsteps are suddenly heard, and ihinking it 
s her husband returning unexpectedly, she persuades the youth to disguise himself in 
;he maid's clothes. However, the visitor proves to be her cousin. Baron Ochs. who U 
Engaged to Sofihle. the daughter of Fanlnat. a wealthy army contractor. The Baron ia in 
learch of a messenger, a " Rosen kavalier." to carry the silver lose (o Sophit. in accordance 
*ilh the custom of the lime, as a token of betrothal. The Pflnceas offers him the services of 



■ friend, Oddo'dn, which offer the Bonn accepta; 
anil adcT attemptiiig to make love to the nuid, who 
wly Btttact* him, and amnging to meet her the 

tflng evening. Ho depaiti, 

rhe action of the «econd acene takei place in the 
home of Fanlnal, who, with hii daughter, ji awaiting 
the coming of the roie bearer. Oclmlan enteri, 
bringing the ailver emblem, and he and Sophie fall 
madV in love with one another. The Bonn srrivei, 
receive* a cool welcome, and accuaea hia Roaen- 
kavaJier of alienating the affection! of Sophie, In the 
quarrel that follows the Baron ia alightly injured, and 
Uie act enda with Sophie ministering to her wounded 
fianci while secretly planning with Oclmlan to rid 
herself of the now unwelcome Bonn. 

Tlie final act show* the lilting room of a tavern, 
where the Baron has arranged to meet the supposed 
maid of the Princea. the dlBguiaed Octmian. The 
latter appeara in the maid's clolhea which he had 
worn in Act I, and aa the Baron ia beginning hia 
wooing he ia suddenly confronted by Fanlnal, who ia 
indignant at the fickleness of his daughter's suitor, 
and sends for the Commissary of Police to arrest him. 
Odaolan doffa hia feminine attire and announce* him- 
aetf as the^nnciTof 5iipAle, while the humiliated Bo run 
fleea in disgrace. 

IRo««nkavalicr Selection. Part I 
By NeuesTonkiinstler-Orchesterl 
Roseafcavalier Selection. Part II 
By Ncues Tonkiinstler-OrcheMi 

68468 la-iacb, *1J5 





It Covsm Garden 

[I by Ferdinand Lemaire ; muBic by Camille Sainl-Saens. First prodi 

Jszl, December 2, 1877. In France at Rouen. 1690. Performed 

rrl form. Scptembier 23, IS93. First American production at New Urleana. JanuaTf 

with Renaud and Mmc. Maunier. First New York production February. 1893. with 

loand Mantelli (one performance only). Revived by Oscar Hammeralein, November 

.. and again in I9H, witb Cerville^Reache. Dalmores and Dufranne. 


Cast of Characler* 

DEULAH Mezzo-Soprano 

Samson . Tenor 

High Priest of Dagon Baritone 

ABIMELECH. Satrap of Gaza First Bum 

An Old Hebrew Second Ban 

Phtustine Messenger Tenor 

chorus ol Hebrews and Philistine*. 

t. C. : Caza In Palalim 

Samion c( Dalila may be called a bibliu 
beauty and grace of this great composition 

masterpiece. The religious and militant flai 

of the Jewish nation is finely expressed 
>re or less familiar by its frequent perform- 


SCENE ,4 Puhtic Squan m Gaza 
The opera has no overture. The first scene shows a 
the city of Gaza, where a crowd of Hebrews 

ies and the profanation of their altars by the 
ks to the people and bids them lake 


The Hebrews ore cheered by Samson's words, but 
their mood soon changes when a number of Philistines 
ira. and Samton wounds Ailmtltch. The High Priest of 

It of the Temple and curses Samson. 

"'■'"'••"•'■""""' '"Sim 


From the Temple now comes Dtlilab, followed by the PrieMeases of Dagon. bearing 
flowera and singing of Spring. Delilah speaks to Somnin and invites him lo the valley where 
she dwells. He prays for strength lo resist her fascinations, but in spite of himself he is 
forced lo look at her as she dances with the maidens. As the young girls dance Dtlllah 
sings to .Samson ihe lovely Song of Spring. 

Printemps qui commence— Der Friihling erwachte 
(Delilah's Song of Spring) 

By Ernestine Schumann-Heink. Contralto ilnCcrman) 8B41 7 12-inch, *3.00 

shows by his 

and 6 


rtain falls he 

img Bi 

r, fas 

I! thai Dtlllah has shaken his 

ACT 11 

SCENE-DeWflA'j Homt in Iht VotUy of So, 
Delilah, richly attired, is awaiting the coming of Soi 
fmphov, ' - ■ • ■ ■ 

aid her 

affections, and the 

his downfall. In a fin 
Cupy'l IS95. CHiw Dhm Co. 

Amour viens aider (Love, Lend Me Thy Mi^ht) 

By LouiM Hom«r. Contralto (/» Fnnch) 8S201 13-iiicli. tS.OO 

Ev'ri'lhoughl''ot me hH'i'oald IwnLsh. Tis 1^ i?onr tE»i''f»n'"holrf hfm— 

And from his liibc hr would «wcrv<r. I'll havr hini cai>Iive at my feel! 

A(ter a scene between Ddllah and Dagon, who uigea her not to fail 
Sainton arrives, impelled by a power he cannot cesist. 

Delilah greets him tenderly, and when he bitterly leproaches himself fi 
■he sings that wonderfully beautiful aong of love and passion. 

Men coeur s'ouvre i ta voix (My Heart at Thy Sweet Voice) 

By Louise Homer. Contralto 

lln French) 8819» 12-inch, t3.00 
By Schumann- Heiak, Coatralto 

(/n German) 66J90 12-inch. 3X>0 
By Jeanne Gerville-Riache. Contralto 

(/n Fnnch) 8B184 12-inch, 3StO 
By Julia Culp, Contralto 

(/n French) 64490 lO-inch, 1.00 
By Elsie Baker, Contralto 

{InEngllih) *161»2 10-inch, .79 
By Miohele Rinaldi with Vessella's Band 

Comsf '17216 10-inch, .75 

Wic?lbVmo"rki™8"wSES'' "'*'* '' 
Bui, thil I may reioiu, that my tuia no more shower. 
Tell Ihy Iov« ■till unahakcn! 

'S'lhoii 'dean 

of n 

(f^l'i I 

Delilah now aska that Sainton confide to her the 
secret plans of the Hebrews, and when he refuses she 
calls the Philistines, who are concealed, and .Saniion is 


SCENE l—A Pri»n at Gaza 
Sightless and in chains, his locks shorn, the mighty 
Sanaon a seen slowly and painfully pushing a heavy 

— „ = -t the Philistines. Near by is a group of Hebrew captives. 

of the depths of his miseiy, Samton calls upon the Lord to pity him in his distress. 
Ottering his "poor, bruised soul" to the Almighty whose mandates he had disregarded for 
the sake of the dusky Delilah. His prayer is echoed by the woe-begone prisoners, but 
aome of them upbraid Samton for his fall. 

Vois ma misere helas I (Sore My Distress, Alasl) 

By Enrico Caruso and Metropolitan Chorus {French) 8B9S1 12-ineh. »3A)0 

And'now'l"™Ber"j^«ly'from Thy w7a"h.'"' r."a"t°u/aiaiTl,"l'or[i',"ii'H''uiihi nS Thy 

My poor bruiwd lOul to Thee now <1d 1 olTirr. Drisn liut once mm,: I.nnl. Thy iKmAe id aid. 
I who drterve but Ihr jeers of the icofFcr. WitfahoUl Thy uralh. though Thon haM 1>.-en 

SaniKin, why bait thou huraycd thy brelbrei 

Alas ; ' Israel, still in chains! 

• DmMJ'aai ftintJ—Smpm4S4. 

r.od, Mill >n Thy ■.tretiglh we confide. 
Be Thou yet our prop snd our luidr! 
Ssniian. why hsHt thou betrayed thy hrcihri- 


SCENE 11— -4 Magnificml Hall in the Temple of Dagon 
The High PricBls and Philisline^ with Delilah and the Philialine maidens, are rejoicbg 
over the downfall □( their enemiee. 
Coro y Bacanal (Chorus and Bachanal) 

By Banda Real de Alabarderos de Madrid *62660 lO-iach, *0.7S 

Thev have sent for Samson lo make sport of him. Delilah approaches him and taunta 
him with his weaknesB. He bows his head in prayer, and when they have wearied of their 
sport Samion aaka the page to lead him lo the great pillars which support the Temple. Ha 
olfers a last prayer to God for strength to overcome his enemies, then, straining at the 
pillars, he overthrows ihem. The Temple falls amid the shrieks and groans of the people. 


Pryor's Band] 

[Samson and Delilah Selection 

HMnaiThy5w«iVoic..-Aci II 35234 12-ioch. 1 

[ Romeo ..ndjulicl Selecllon (Gounod, Ayor'j Ba-d] 

ry Heart at Thy Sweet Voice— By EUie Baker (/n Engliih)i 
Manon-La„shing Song By EdUh HeUna (/n Engliih)! ' 

/My Heart at Thy Sweet Voice Comet Michele Rinaldi\ 

1 Fareoell lo the Forest (Mendebiohn) By Victor Biaa Quart , 

/Chorus and Bachanal By Band. Real deAlabardero.Uafefeo 10-inch, .75 

^16192 lO-inch, 
■17216 10-inch. 

\ Minuet from 2nd Symphony (Haydn) 
•DmtkSaaJ Rtcari—Stt atsB tl^ 

By Banda Realf 





Text by Kalbeck ; muaic by ErmonDO Wolf-Ferrari. Firat pioductioii Munich. November 
4. 1909: !n America, at tbe Metropolitan Opera Houle. March H. 1911. by Mr. Dippel'a 
Philadelphia-Chicaga Company, with While. Sammarco and Daddi. 


COUhfT Gil <aged ihirty) Baritone 

COUNTESS SUZANNt hU wife (aged twenty) Soprano 

SANTE,a lervanl (aged fifty) Acting part 

77iBe and Ptaa : A Aaalng room In PlcJmont; 1840. 

n Stanio dl Sutanna ia a playful conceit, with a vety simple little plot. Counf Cll is very 
much in love with hi* wife, but i* avetae to cigarette smoke, and Ceunleu Siuanne, who i* a 
devotee of the cigarette, takes the opportunity to smoke during her husband'* absence. 

On his return he smell* 
the smoke and queation* 
the *eTVBnt, who detiie* 
being the guilty par^. 
The Counf immediately 
conclude* that hi* beau- 
tiful wife ia receiving 
, ^^^^^^^^^^^^^ attentions from some 
wf^^^^^^^^^^^^B Piedmont gallant. Hi* 
wife's efforts to pacify 
him are unsuccessful, and 
in a huff he leave* the 
house. On his departure 
Suzanne light* a cigarette, 
but on her hu*bBnd'* 
■udden return she throws 
it intothefire. Theles^ 
Count notices the fresh 
imoke and rushes about 

■. deter 

lined tc 

to find any one, he once 

■ttemplato enjoy another 
cigarette, the CoanI peeps through the window, and seeing the smoke, rushes in triumph into 
the room. Suzanne hides the cigarette behind her. and the Counf, trying lo reach the imag- 
inary man whom the lady i* concealing, bums his hand I The secret is out, the Count for- 
give* Suzanne, Suzanne forgives (he CeunI, and husband and wife amoke a cigarette together. 
Wolf- Ferrari's music is charmingly melodious and wholly appropriate to the theme, jl 
has vivacity, color, and is reminiscent of many melodies from old and modern composers. 
Two of the best airs are offered — the charming duct of Suzanne and the Count, end the 
Vlat cod, in which Suzanne entreats her husband not to go away angiy. 

n dolce idillio (Dost Thou Remember 7) 

By Geraldine Firrsr and Pasquale Anuto (/n Aoftan) 89097 12-iaeh, *AjO0 

Via I cosi non mi lascfate (Do Not Go Like Thii) 

By Geraldine Parrar, Soprano {In Itabm) 87156 lO-inch. *2jOO 


I Soff-mih-ra h-mrt' -dav f 
music by GiDBchmo Anionio Rouini. It i» founded on Volli 
irsi pfoduced al (he Fenice TheaWe, Venice, February 3. 1823; in 
Theatre, July 15. 1624. In French, ai Saairamii, it appeared in Parta. 
lencan production occurred in New York. April 23. 1826. Firat New 
ly I. IS37. Some notable American revival* were in 1855 with Grisi 
,vith Adelina Patii as SaniramlJe; and in 1894 with Melba and Scale] ~ 

Csal of Character* 
SEMIRAMIDE, or SEMIRAMIS, Queen o( Babylon . . Soprani 
AR5ACES, comtnandei in the Anyrian army, after- 
ward the son at Ninua and heir to the throne. Conl 

Thh Ghost of Ninus 

OKOE. chief of the Magi 

.-^SSUR. a Prince of the blood royal 

AZEMA, Princess of the blood royal Sopi 

IDRENUS. of the roysl household ^ 

MlTRANES. of the royal household 

Magi. Guards. Satraps. Slaves 

Semiramide is perhaps the finest of Rossin 
operas, but although it was a grcBl success in : 
splendid overture and the brilliant Btl raggio are 
only reminders oi il which remain. 

The story is based on ihe classic subject of the murdci 
of Agamemnon by his wife, called Semiramis in the Babyloniu 
version. It is a work which The composer completed in thi 
astonishingly short time of one month, but which shows hii 




The action take 
assisted by her lov 
W™., who, in the 
and prophesies the 

s place mBabyh 
er ^««r. has m. 
second act, rise! 
Queen's downh 

.n : Simirc 
itdered h 

di." '^'" 

m/A, the Queen, 
ei husband King 
from the tomb 



By Police Band of Mi 
By Arthur Pryor's Bs 

rxico City 


12-inch. *1.29 
12-inch. 1.0O 

The Btl raggio. a favorite 

cavMina with 

all pri 

ma donnas, and 

The scene i ,s about 

.hows the Ten 

iple of Belus. 
E.n heir to the 
whom she has 


.e 'and 'has se'c". 
in love. unawB. 

etiy dele 
■e thai he 

progress. Semi- 
rmined to elect 
is in reality her 

Bel rafgio 
By Marc 


:ella Sembricl 


,. Soprano 


m of Hope! 

ilnllaliani 88141 1 

12-iach. *3M) 

lul crc whilt >%ilh 

Briff 1 d 

roppd my head. 

Overture By Police Band of Mexico Cityl,,,,, 

MorcheSUve (Op 31] Bv Arthur Pryor, Bendr^^*'^ 


MiMt (.U«'.mtA) ... 


ALUEHICH (Al.r .Ur-H'h) 


ERDA iAl/JaM) 


mcMi bcBUiihil ^ the Ring Cycle, which tel 
ful and handsome ; and BrilnnfiilJt, the 
god-like maid — unseJRah. lovely, inno- 
cent, who lindi ihe i* but a woman 
afl« all. 

Alter SitgilnJe had been caved 
(rom the wrath of IVolan by Bratmhllde 
(related in the la«t part oE WaHart). 
■he wander* through the foremt and 
dies In giving birth to the child Slegfrted, 
who is found and brought up hy Mlirit, 
the Nitlung. 

In the firsi two acuof Siegfried the 
hero is shown in hi* forest home, where 
he mends his father's *word, and with 
il slays the dragon. Having accidentally 
lasted the dragon's blood, he becomes 
able to understand the language of the 
birds, which tells him of BrOnnhildc. the 
fair maiden who sleeps on the fire- 
encircled rock. He follows the guidance 
of one of the birds, cuts through the 
spear of Wotaa, who endeavors to stop 
him, and penetrates the flames. On 
the top of the rock he beholds the 
ileeping VaUairie covered with her 
ihield. He removea the armor, and 
Brtlnnhlldt lies before him in soft, worn- 


SieKfriwl »"'! '*" D'^"" 

dn,,,. ,1,,. .wo,J in ,c-r,n. ^i\ 

:y on the frit " 
b«t into 

iF the youth, lelU him 

I was hi> mother's with 

hat he shotild leam fear. " What is this (ear >"says5/<g/>feJ, and Afi'im 


Si, J^B^^* fllBl ^M 




■l*^^fr I 

'': M 


4?% ■ ^ 


'^■' ► 

r '1 

W'' .; i 


rr : 

May' \ th"rwilien 
The marveloua bride? 

(Siejfried. A 


Dragon ullers an awiul roar, which, hov 
vou(h lauKh. The Dragon rushes upon hi 
aside and buries his faithful aword in the i 
Having HCcidentally tasted of the Drag 
hu atained hand to kia Upi. he fiada to hii 
i> able to undentand the aoni of the bird, 
into the care and aecure ^e Eling. Sttf/ried 
goea into the carem. Aflmc cornea back and, 
ia about to enter the cave when A&trkh i 

Shall criub thee, brother of mine! 

The Tarnbelm be boldi!— 


Aye. and the Ring!— 
( Wilh an tvil laughi : 


They hide ihemaelvea aa Siegfried comes iiicri 

from tKe cave with the Ring, the value of 

which he does not yet comprehend. The bird a voice is again heard 
and revealing the intended treachery ol Mime. When the dwarf 
is able, by the magic of the Ring, to read hia thoughta. Horrified to lei 
ning lo kill him, he strikes down the dwarf and throw* his corpse in 
body of the Dragon before the entrance. 

Wearied by his adventures; Siegfried rechnea under the tree and 
again. This time the songster reveals to him that Briinnhilde lies sle 
hero who ia able to reach the fire-encircled spot. 



nhilde then would be his; 
ovrly song!' SwieUsI ilelighl! 



SCENE— ^ tVllJ Region of iht Foal of a Rodfy Moutdidn 
The act openi with a long »cene brtween Erda and Walan. The god ■umniDn* hii 
eanK soddeu wife and triea to consult ker regarding the coming deliverance of the world 
through Sitg/rleJ and BrOnnhiUe. The godde™. however, ii confused and bewildered by 
Watajis eager queation* and fails to give counael. aiking only to be allowed lo return to hei 
■leep. Wotan, wearying of the struggle against fate, renounces his away 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 glowr briglnening gEsre! 

In™fire Vfll Tbaihr"'"* '" "" ' "*"" ""' 
Through fire will 1 fire to my bride! 
Oho: Oho: Aha: Abul, Gaily! Gailyi 

As the hero plunges fearlessly through the 
fire the flames gradually abate, and when he 
reaches the sleeping Brtlnnhiidc they die out 
completely. SitgftieJ approaches the uncon- 
scious maiden with awe and removes her helmet. 
He is speechless with admiration, and naively 
asks if the strange emotion which he feels can 
be fear. Finally, when he presses an ardent kiss 
on her lips she awakes and greets him joyfully 
as the hero Siegfried who is to save the wrorld. 
After a long scene in which Sleg/Hed't ardent 
wooing is gently repressed by BrOmlillde, he 
finally seizes her in his ann*. Frightened, she 
repulses him, crying: 

o be his bride, but she begs him to spare her. 

Evfif war Icfa (Deathless Was I) (Briinnhilde'a Appeal) 

By Johanna Gadski. Soprano (/n German) 88106 12-iDch. *3.00 

Dealh1r!>!> oSf t. dcath]c>^s am I. When inlo ujvvlils tli<- nalcr was roused. 

Dcaihlest to sweet ^way o( allection— The brook's glassy surface broken and Sawed, 

Hut dcalhlo! for Ihy good: Thy face .^au^t Ihuii nu motr: 

O Siegfried, faapnjest hope of the world: Nought hut ripples SA-irlinv round: 

Life of the universe! Lordliest hero! So disturb me no more, trouble me not: 

Master niB not with thy conquering might; Fair and lovelv. my lord:— 

Saw'st e'er thy face in crystal floods? O Siegfried: Sieafried' Lieht of my soul! 

Did it not gladden thy glance? Destroy not thy faithful slave! 

But the impetuous hero resumes his wooing, and love finally conquers the god-like 
ijden. She laughs in a transport of love, exdaiming: 

Past all ihsi breathe! Far hence. Walhall' loflr and vast, 

Gladly love do I glow with, Let fall thy ilruclure of stately tow'rs; 

Glsdly yield to thee blindly. Psmetl, grsndeur and pride of godil 

and throws herwlf into Skgfihi't anu m iIm curtain Mia. 


( French) ( fiafli 



Text by Oilrovaky, bused on ihe old folk-lore ule of the Snou 
NIcotai Andreyevicli Rimiky-KoTsakoff, Firal production St. Peli 
Produced at the Private Ope™. Mo.cow. 191 1. In Pari^ at the Op^r, 

SNEGOUROTCHKA, the Snow Maiden 


the ploL 

Tks opera abound* In pictureaque icenes, repiMentiiia 
Winter and Spring, anil the poetic little story i> luppoaed 
to take place in the happy country of Berendey. on unlmown 
province of an imaginary Runia, ruled by a benevolent 
old Cxar who has devoted hii life to the happineu of hi* 
people, governing hii kingdom by the law of love. 

The beautiful, unknown SntgourolclJca, daughter of old 
WMtr and the fairy Spring, ii found one cold morning bv 
■ome villagen, abandoned in the forest, and the old drunkard, 
Boi^, and hia wife. Botalycka, adopt her without knowing 
her parentage. Mlaguir, a merchant, falli in love with her, 
abandoning hia iweetheart Keapava, but SnegoarolchJ(a, u her 
name indicatea. la made of ice, and her coldneaa and Indif- 
ference diacourage all the young men who are infatuated 
with her beauty. Even the handaome ahepherd Lehl, who 
ainga auch wonderful aonga. givea up in despair and offeia 
hi* heart to Koapma. The old Czar is grieved that thia cold- 
neaa baa entered hia kingdom, and otters the hand of the 
Snam Maiden and a handsome gift besides to any one who 
can win her love. Sntgeamlthka finds it impossible to love, 
her mother, the (aiiy Spring, who invoke* the 
'era — the camatioD lending its grac 

id appeals 

(ailing in love with the handaome MUgulr. They both attend the feativnl of lovera and present 
themselves to the good Cmot as a bebtilhed counle. But, alasi at the first ki*« from her lover 
the little •nowflake melts and disappears, while Miigalr, in despair, throws himself into the liver. 
This dainty little shepherd song is the gem m the open — > tender, melodious air which 
Miss Gluck sing* exquisitely. 

Sonet of the Shepherd Lehl 

By Alma Gluck. Soprano {In Engtiih) 64209 10>inch, tl.00 



{Lah Stti-mihrf-teit^Ki 

Libretto bj' Felice Romani ; miuic by Vincenzo BeltinL Produced at the Teefto dranw, 
MiUii.Much6. laSI; Patu, October 28. IS3h and at the KiDs's Tkeatrc, Loodon, July ZSdt 
of the Mune yew. At Dniry Lane in Engli«ii, under the [taliaa title, Mmr I, IS33. Ewnt 
[t»;(ji*iii«m-j> in New York, in Engliah, at the Park Theatre. November 13, 1fi33, with BrouiJt, 
niching*, and Mr. and Mn. Wood. Fint New Orieana peiformance. January 14, 1840, 
Fint pwfonnance in Italian in New York, Pabno'i Opera Company, May 1 1, IS44. Revired 
in 1905 at the Metropolitan with CBruaa^ Sembrich and Plancon; at the Manhattan Opera, 
1909, with Telrazzini, Trenlini, ParoU and de Segurola. 


Count Rudolph, lord of the village . 

Teresa, millereu Mezzo-Soprano 

AMINA, oiphnn adopted by Tereao. betrothed to EUnno Smirano 

ELVINO, wealthy peaunt . . . Tenor 

Lisa, inn-keeper, In love with Elvino Soprano 

ove with Lin Bow 

Peasant* and Peaaani Women. 

The ictnc li laid In a Suilu Village. 
How our grandfalhera and grandmother* doted on thi* fine old opera by Bellini I In 
the 'iff* it was a novelty by a young and gifted composer; by 1BS0 it was part of every 
opera «eason and shone through a halo oF great casts — Malibron, Pasta. Jenny Lind, Geratei, 
Campanini. Gri*i — and In the '(ffa and 70's it continued to be popular. Then came the 
Wagnerian era, and the pretty little pastoral work was all but forgotten until the recent 
revival, which greatly delighted Metropolitan audience*. 
SCENE— ^ VlUagt Green 
The peaMUit* are making merry in honor of the marriage of Amina and Eldno. Llta. 
the hoatesB of the inn, enter* and give* way to bitter reflections. She also loves Elolm, and 
her jealousy finds expreaaion in a melodious air, SouitJi So Jojifal, Aleulo, a villager who 
fmaciet Liia, trie* to conaole her, but ahc repuUea him. Amlna and her friend* enter, fol> 
lowed toon atter by Elalna, and the marriaga contract I* aigned. Eiolne place* the ring oa 
hm bride't Sagtr, aad Amy ma a charmms duet, Td^ N«w Thit fiing. 


Prendi Tsnel ti dono (Take Now This Ring) 

By Maria Galvuiy and Fnnaiulo De Lucia (In llallen) 89045 la-incb, •4.00 

By Bmilio Pcrea, Tenor (In Itatlan) *62092 lO-ioeh. .7$ 

The nuptial celebration ia interruptetl by ihe aound oF horaet' hoofs, and a handaome and 

diatinguiabed itranger entera, inquire! the way to the caatle, and lesminB that it it aome 

dialance, decidea to remain at the inn. i-Ie looka around him, appearing to recognize (he 

■Cene, and ainga his air, 1^1 ravelKi. 

Vi fawiso (Aa I View These 

By PereUo de Setfurola, Bsh 
{tntlallan) *620»2 lO-inch. *0.T5 

While lhu» days doukBi can renew! 
The atranger inqulrea the reaaon for the 
(eativitiea, and ia preaented to the pretty bride, 
in whom he i> much inlereated. He telU the 
peaaanta that in his childhood he lived with 
the lord of the caatle, and now brings news 
of the lord'i only aon, who diaappeared aome 

Amiaa't mother, Ter«M. now aaya that aa 
ni|^t ia falling they muat go within, aa the 
phantom may appear. The •tmnger ia told 
that a nectre hai been often aeen of late, and 

he icoBi at the tale, but die peaaanta, in an '- 

effective chorus, describe the appearance of the gbost. 

Ah t fosco ciel t (When Daylight's Goinff) 

By La Scala Chorus {In UaUan) *62642 lO-inch, *0.r9 

TTie stranger now desirea to retire and ia ahown to his room. Amino and Eleino 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 doses with a duet by the reconciled lovers. 

SCENE— TAe Apartmtnl of the Stranger 

The guest muses that he might have done worse than stop at (his little inn — the people 
are courteous, the women pretty, and the accommodations good. Lha enters and asks if he 
is comfortable, calling him "my lord," the villagers having suspected that he is (Mad 
Rudolph. The Count, although somewhat annoyed that his identity is revealed, takes it good- 
naturedly, and even flirts a little with the buxom landlady. She coyly runs away, dropping 
her veil as she does lo. 

Amina now appears at the window, walking in her sleep. She unlatches the casement 
and steps into the room, saying in her sleep, " Elvino. dost thou remain jealous ? I love but 
thee." The Count is at tirsi astonished, but soon sees that the young glil is asleep. Just 

zed. Amim 

e Count 

1 of the 

im, and seeing Amino, 
dream, again goes through the marriage ceremony, and enti 
loves him, tinally throwing herself on the bed in a deep s 
puzzled at the situation, and finally deciding to leave the y 
room, goes out by (he window. 

Eleino and the villagers, who have been summoned by Lita, now enter and are aaton- 

iahed (o see Amino asleep in the Count's room. She wakes at the noiae, bewildered, and 

runs to Elolno, who repulses her roughly. She ia met with cold looks on every hand, and 

sinks down in despair, crying bi((erly. Rouwtg bcnelf, she begins the duet D'lin peni/era. 

* DtaUhFitJ Riofi-Sm pf 470. 

Amina and 1 eresa emei on i.i.,„.. ,,^^ ._ . 
irl's good name. Seeing Elcino, Amina makes another effort to convm< 
ue, but he reproaches her bitterly, takes the ring from her finger, and ri 

SCENE l\—A Street in the Village. Teresa's mill on the lej 
The villagers enter and inform Lisa that Ehino has transferred his affe 
nters and confirms the good news^ and they go toward the church, 
lem, cmd assures Ebrino Uiat Amina it d&a ▼ictim of a dreadful misunde 
efuses to listen to him and bids Lba follow him to the church, but the: 
upted by Teresa, who has learned of the proposed marriage, and now 
trhich she had found in the Count's room. "Deceived again,** cries Eioin 
»f these women are to be trusted. 

Rudolph assures him again that Amina is guildess, cmd Eioino desperatelj 
• the proof?** "There,** cries the Count, suddenly pointing to Amina, 
Iress comes from a window in the mill roof, carrsring a lamp. All watch 
earing to wake her lest she fall. She climbs down to the bridge over t 
tcends the stairs. The first of the two lovely airs for Amina in this act no^ 

A.h ! non credea mirarti (Could I Believe) 

By Luisa Tetrazzini, Soprano (In Italian) 8830! 

By Graziella Pareto, Soprano (in Italian) 7600: 

By Alma Gluck, Soprano (In Italian) 7426: 

Ah/ non credea is sung by the sleeper as she descends from her d 

while her lover and friends watch in terror, fearing to awaken her. It o| 

ful cantabile in the key of A minor, its pathos being fully in keeping with I 

who, being discarded by her lover and doubted bv her friends, weeps o 

love and happiness. Regarding the flowers which her lover had given 


Ah ! must ye fade, sweet flowers, But tho' no sunshine o'er 

Forsaken by sunlight and showers, These tears might yet i 

As transient as lovers emotion But estranged devotion 

That lives and withers in one short day! No mourner's tears hav 

Elvino can restrain himself no longer, cmd rushes to Amirta, who 
Elvirto on his knees before her, utters a cry of delight and falls in his an 

The opera then closes with the joyous, bird-like air. Ah I non giungt 
close to this charming work, with its graceful and tender music and peac 

Ah, non plunge (Oh« Recall Not One Earthly Son 

By Luisa Tetrazzini, Soprano (In Italian) 883 ] 

«- ^M iu .^^.mkWeh. Soorano {In Italiari) 8802 



Libretto adapted from Bonnet-Bourdelet's Hisloire de la Musique el de ses Effeii, published 
in Paris in 1715. Music by Friedrich von Flotow. First written as a lyric drama, Stradella 
was produced at the Palais Royal, Paris, in 1837, but was subsequently rewritten and 

given at Hamburg, December 30, 1844. Slight changes were made in the English version by 
unn, and the opera brought out in London, June 6^ 1846, as Alestando Stradella. Produced 
at Niblo's Garden. New York, in 1856; at Academy of Music, December 8, 1860; at the 
German Opera House on Broadway, September, 1864; at Mrs. John Wood's Olympic, 
February, 1867; revived at Thaha Theatre, 1887: at the Metropolitan Opera House, February 
4, 191 Ol with Gluck, Slezak, Goritz and Reiss. 



BASSI. a wealthy Venetian Tenor 

Leonora, his ward Soprano 

BARBARINOlj^^jj^r Tenor 

MALVOUO / " * \ Baritone 

Pupils, Peasants, etc 

Time and Place : Venice and the tHdnity of Rome ; about / 658, 

Stradella was a musician of the seventeenth century, and has been celebrated as a com- 
poser, a violinist and a harpist. He was involved in an elopement with the bride-to-be of 
a Venetian nobleman, who hired assassins to slay the musician, and this incident has served 
as a subject for Flotow*s opera. 

Stradella, having come to Venice to write an opera, takes for a pupil the ward of a rich 
Venetian. The composer falls in love with his fair pupil, and finally elopes with her. BaiMi, 
the girl's guardian, intending to marry her himself, is furious when he discovers the affair. 
Bent on revenge, he secures the services of two bandits, Maloolio and Barbarino. These 
worthies conceal themselves in the singer's home, while Stradella and Leonora are on their 
way to the church to be married. On their return the groom sings such a charming ballad 
that the bravos decide to spare his life. Basil, however, when he learns that his rival is still 
alive, calls them cowards, and by increasing the amount of the reward, induces them to con- 
sent to carry out the plot. The three conspirators go to the home of their victim to await his 
return. Stradella appears and begins to rehearse a hymn which he is to sing at church on 
the morrow. As he commences the bandits steal out to stab him, but are so affected by his 
singing of the beautiful hymn that they are overcome with repentance, and fall at his feet 
imploring forgiveness. When Leonora appears Bassl blesses their union, as the people arrive 
to pay homage to Stradella. 

35276 12-inch. $1.25 

{Stradella Overture By Ve«seUa*s Italian Band 

Morning, Noon and Night in Vienna Overture {von Supp6) 
By VeaaeUa's Italian Band, 

/Stradella Overture By Pietro, Accordionistl^^^.,. -^ .^4 . ^- 

l Brtdal Ro$e Ooeriure (La^aUie) By PMn. Accordhniar^^^^ 12.inch, 1.25 



(KoiV* HQf-ma/ut} 


T?it by Jule* Barbier. Muiic by Offenbach. Pint performance in I 
1881. First United St>(e> produclioD October 16, 1882. at Fifth AvenueT 
Crau's French Opera Cominny an their iint appearance in America. R< 
hflttan Opera Houee, New York. November 27. 1907. and by the Metrop 
pany in 191 1, with HempeU Boh. Fremstad. de Sesurola, Ruyadael and f 


The Poet Hoffman 

NlCLAUi hU friend 

OLYMHA, GIUUETTAI the vatioua ladies with whom Hoffman (all 

ANTONIA, STELLA, / in love 

DaP^^O 1 hi. opponent.. (Theae three rftle. are u«,ally .i 
MIRACLE. I by Ae art.*) 

Luther, i 


SCENE— /n/erfor oftht Martin Lulha, a German inn 
Thia inlToduclory scene occurs in Nuremberg at Lulher's lavern 
raort. Hoffman, ihe favorite of nil, enter, with hi. friend NlcMa, and 

making. In response to calls for a song, Hoffman 

sings (he Ballad o/ KUlniach. 

Legende de Kleinzacfa (Legend of 


By Leon Beyle. Tenor, and Choru) 

InFrrnch) '69111 10-inch, 10.7 
He [hen volunteers to [elate his three love afleir 

HofftZn begins by aaying "The name of my first wi 
Olympifl.'' the curtain falls. When il rises, the fin 
tale of Hoffman i. seen in actual performance. 


SCENE— y4 Phyiicion-, Room. 
Spalanzani. a wealthy man 

figure of a young girl which he 
tending It is his daughter. Hoffm 
upon him. and during Spalanzani' 
discovers Olampia. and falls in lov 
lo lake his eyes from the doll-lik 
figure, he expresses his inlatuatioi 

C'estelle ('TisShe!) 

By Charles Dal mores. Tenor 
UnFr^nch) 87089 

. for 

alls O/jimpro, pre- 
1 and McAo/oj call 
absence, Hoffman 
at sight. Unable 
perfection of the 
in a beautiful air. 


inch. *2.00 
friend from 
fool of himself, but Hoffman, owing to the 

• Doailt-FactJ Kictri—S^ pa^ 4 


magic glauo Spatanianl haa induced him to wear, lees only a lovely woman instead of ■._ 
•ulomaton. Oti/m/iia ii presented to the sueats, who marvel at her accomplishment*, although 
she preserves a fixed immobility of countenance and her gestures are decidedly automatic 
Howevet. with the magic spectacles he has been beguiled into purchasing from the lascally 
SpatanzanI, Hoffman can see nothing wrong with the lady, who, on being wound up, can move 
■tiffly, and spealc a few words. She can sing, too — sing most charmingly^ and the poet com- 
pletely loses his heart. This graceful walti, sung by the doll, is an exceedingly brilliant num- 
ber. In the cadenia an amusing bit of by-play occurs when the clockwork runs down and 
the voice begins to fail. The winding-up is quickly attended to, and the song is resumed. 

Doll Sontf — Lea oiseaux dans la charmille 

By Mabel Garrison, Soprano 

(In French) 744B2 12-inch, 1I.90 
By Lucctte KorsofF. Soprano 

{In French) *6»lll lO-ineh. .75 

However, Hoffman is undeceived when he dances with the figure 
and she begins to fall to pieces before his astonished eyes. 
ACT [] 
SCENE-/n Vtnict. a Room in a Palact on Ihc Grand Canal 
This adventure concerns the Lady Outitlla. who resides in 
Venice. Among her many friends are Htrmann and Nathaniel, and 
the latter, fearing the power of the lovely coquette, tries to gel 
Htrmann away, but he insists that he is proof against her fascina- 
tions. Daperlulto, the real lover of the lady, hearing this boast, 
induces GiulMta to try her arts on the young man. She suc- 
ceeds, and Hoffman, madly in love, challenges Qiuliclla; protector, 
SchUmil. and kills him in a duel. Hoffman rushes back to his 
charmer's residence only to Rnd that she has Hed with her chosen 

s that 

• DtiAle-Faad RtcurJ—. 


Barcarolle— Belle Nuit (Oh, Night of Love) 

By Geraldine Farrir aad Antonio Scotti (/n French) 67901 

By Ainu Cluck and Louiie Homer 

By John McCormack aad Fritz KreUler 

By Maud Powell. Violiniit 

By Victor Concert Orcheitra 

By Lucy Marsh and Marguerite Dunlap 

By Mr. and Mri. Wheeler 

By the Victor Orcheitra 
^^^ By the Vienna Quartet 

flB This popular Offenbach 

Xa Venetian scene and afte 

'I^L, the best known exampli 

.... ..0-iDch, *3.00 

(In Frateh) 67202 lO-itieh. 2.00 

{In Engllih) 87245 lO-inch. 2AM 

64457 lO-iDch, 1.00 

■17311 10>ineh. .75 

(In EngUih) 60096 lO-inch. .79 

tInEnglhhj *16e27 lO-inch, .79 

9333 lO-inch. .60 

5794 10-ineh. .60 

>ber. which U 

'iirdi aa an inatrumenlar inlerniezzf), 
of the banarollt. Aa the name impli 
chant used by the Venetian gondoliera. 

and it* dreamy melancholy luggcitathecalm of a perfect moonlight night 
O Ni(ht of Love 

Rcaulfous niaht, O night of love. Far away where we may yearn, 

Smile Ihou on out enifiantmenl; For time doth ne>r miirn. 

Radiint night, with stars ahove. Sweet lephyrs aglow. 

O beauteous righl of lovel Shed on us thy cartsses— 

Fleeting time dolh ne'er return Night of love, O night of lov«: 

In thia act ia alio the air aung by Dapertullo, the •waggering. garru- 
lous Venetian bravo, to the sparkling diamond, which he says never yet 
failed to tempt a woman. 

Air de Dspertutto (Dapertutto*s Air) 

ByMarcalJournecBu* (/rAwkA) 74109 12-llleh. *I.SO 
•D>aUhFaa< /I«Md-&>*^ 476. 




SCENE -/n Munich at the Hon 
re ol Hoffman mtloaucea ua < 

and Hqffm, 
«1f u ' 

who know: 
alK. and sh<^ diE! 

ot the poor girl's afflii 

an humble Germ. 
iption. She is forbidden li 
' ' ' ily. ucg 
iilerally i 

y of .he fan 

Romance -Elle a fui (The Dove Has Floivn) 

By Lucrezia Bari. Soprino {In Frrnch) 88S25 12-ineIi. >3.M<fl 

The palhetic air sung by ihe unfonunale young singer, ^nlonla. whose life !■ finoily 1 

BBCtificed to het an. " 


SCENE— Some aj j^ct I. Ihe variout characleii In jome peiithn oi al end 0/ Acl 

The epilogue shows again ihe tavern ol the prologue, wheie Hoffman is Bppstenlly' 1 

jusi concluding his third tale. Having tried three Icindu ol love— the love that is inspired 1 

by mere beauty, the sensuous love, and the affection that springs from the heart — he sajrc J 

he has learned his lesson, and will henceforth devote himself to art. (he only mistress wW | 

will prove faithful. He bids farewell lo another of his flames. Slella. 

as the curtain falls is left «lone. dreaming, while the Muse appears and bids' him (oiro» her. ] 


I Gems from Tales of Hoffman By Victor Opera Company 
ChorM., "Out Good Ho.l* Solo, "Soni of OlympiV-Choiu., 
"HeiirHJmHi>Tii]»Di>do»"—5oLo. "Ah, Now Within My Hun 
-B.t«rollr, ■'Of.. Nlihl Di-ine'— Cliorw "See She Dmm."— 
Firude. "FillUpOiirClu>«" 
Cent) from Mlgnon Bjj K(c(of Ughl Opera Company 

iBaictralit—H'ailx tFor Dandngj By Victor MU^ury Band! 
1 Pauing of Salome— Walti By Viclor Mililary Band) 

IBircarolle By Victor Concert Orchestral , ,_ 

. l-i D.. \/:.i.. f 1 iT_l.....r' ' ■' 

>39337 12-inch. *U5 

3»383 12-inch. 1.25 

II 10-inch. 


Ctnalltria Ruilicana—lnUrmezio By Viclor Concert Orchttlraj ' ' 

(Barcarolle— Oh. Nieht of Love By Mr.and Mrs. ^Wheeler) ,..,-, ,_ ._ , _, 

\ Falimlxa Sdeclion \«,n Suppi) By PryoT-> Band]^''^^^ lO-mch. .79 
IDoll Song By Lucettc Korsoff. Soprano (In Frtnch)\ . . 

lUaendedeKleiniach By Leon Beyle and Chorus (F^ncA)!***'" iO-mA. .75 

/Venetian Scene with "Barcarolle" Vessella's Italian Bandl_..-, ,, . , , -. 

\ Slaconic Dance {Dvofdk) By Veaelia, llaiiar, Band^'^'^^^ 12-inch. 1^5 

m\m E 

WB :: .^ 


ft • '''■:*■ ' ■ 


^Hr- • . ifr*»— - fci- 




Wordi and muiic by Richard Wagner. Firil premenled at the Royal Opera, Dreaden, 
October 20. 1645: at the Optra, Puis. March 13. 1661. First London production at Covenl 
Garden, in Italian. May 6. 1876. Firit American production at the Metropolitan Opera 
Houw. April 4. 1B59, in German. Pint Italian production at the New Orleans Opera in 1877. 

Hermann. Landgrave o( Tkuringia 


Wolfram von Eschenbach. 




reinmar von ZWETER. 
Elizabeth. Niece of the Landgrave 


A Young Shepherd 

Four Noble Page* Sopiai 

Chranu of Thuringian Nobles and Kuiahti, Ladies, Elder and Younger 
Pilgrinu, and Sirm^ Nalada. I^rmplu and Bacchantes. 

Seait mJ PutoJ ! VldnOgpfEbmadi: hgbiiJiit tf Ai liMmiUli eailaq/. 




Y people who like 

> the 

not care /or Wagner's Ring Operas, 
iheir Teutonic myths and legends, and their long Btid aome. 
times undeniably teaious scenes. But TannhOuitr. with ils 
poatry, romance and passion, and above all its characters; 
■who are real human heln({s and not mytierlous mythological 
Rods, goddesses and heroes, appeals strongly to everyone. 

To show the wonderful vogue of this work, it is esli. 
mated that more than one thousand performances o( the opera 
lake place annually throughout the world; and in Ger- 
many during the decnde 1901-1910 it was given 3.243 times. 

The story is quite Familiar, but the chief evenU wiU be 
noted here in brief. It tells of conflict between two kinds 
of love^ true love of the highest human kind as distin- 
Buished from mere aensuouB passion; and relates how the 
higher and purer love triumphed in the end. 

TannhdiiKT. a knight and minstrel, in an evil moment. 
succumbs to the wiles of [^rnuj and dwells for a year in 
■ he Venusberg. Tiring of these monotonous delights, he 
leaves the goddess and returns to his home, where he ia 
warmly received and lold that the fair EiUohflh. niece of 
(he Landgrave, still mourns for him. He is urged to com- 
pete in the Tournament of Song not far distant, the prize 
The theme of the contest is The Nature of Love, and when 
evil influence of the Venusberg is apparent when he delivei 
of passion. Outraged by this insuh the minstrels draw ihi 

ing ti 

lis, Bi.d wher 

to atejcrf ro^iiif itSanCirg. 


being the hand of Eliiabeth. 

TannhHuatr'i turn arrive* the 
rs a wild and profane eulogy 
ir swords to slay him. Com- 

of PilgrlmB paaa on their way 
icl we see Eliiabeth. weary and 

watching for the Pilgriin* to 


EiUahtih ti Dvercame with disappointment and 
(»bly relurna to her home. 

TannhHusei now appeals, in a wretched 
plight, on his way lo re-enter the Hill of Venus. 
He telU Wolfram that he appealed to the Pope 
for pardon, but was told thai his redemption 
WB» as impoMible b> that the Pope's staff should 
put forth leaves. iVol/ram'i remonBttancea are 
in vain, and Tannhdmer is about to invoke the 
goddess, when a chant is heard and the Pilgrinu 
appear, announcing that the Pope's Btaff had 
blossomed as a sign that the sinner was ior- 
- " " ■ the 

mourners pass with the body of Eliiatelh, who, 
overeome by her bitter disappoinlmenl, had 
suddenly passed a^vay. 

Overture— Part I 

By Arthur Pryor'i Bind 

313H3 13-inch. ll.OO 

Overture— Part II 

By Arthur Pryor's Band 

313B3 12-ineh. 1.00 

*|>68205 12-iiich, 1.29 




i, with its sombre opening chocua, its weicd music of the Venus ( 
and the final return of the penitents, when the chant is accompanied by a striking vs 
for clarinets, is one of the greatest works of Wagner. It has become quite familiar 
frequent repetitions in orchestra and military band concerts, and no concert piece is 

The overture depicts the struggle between good and evil, and as Liszt has sail 
poem on the same subject as the opera and equally comprehensive. 

The sombre religious motive appears first: 

with its rising tide of sensual sounds. This motive continues with terrible persistence, lead- 
ing into Tannhdater'i hymn to yaiut, 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 hjrmn of triumph. 



SCENE l—Tlte Hill Bf ya»u—Nympla. Slnm. NalaJi and Bacchanta Jancing or rtcUnInt 
The riiins o[ ike curtain dUdoKi Vtnui reclining on a couch gazinK tenderly at 
TannhHattr, who i> in a dejected altitude. The goddeis aiks him why he ia melancholy, 
and be tetla her he ia weary of pleaaure and would tee the earth again. She reprove* him 

Whai: art thou tvar-niiK? Why IhcK vain Till by mc thou wert consoled? 

lamenting^? My mWlrcl. come, Icl not thy h*rp be ulcnli 

ihv slave! 
how Ihy heart wis Of fove sing only, for I 

He rouaea himaelf and alnga the /Va<*c to ^enin, but it i* a forced effort, and throwinB 
down hia harp he exclaima : 

For earth Tin yMrning. _ To slrite or glory fotlh I, go. 

Til d^eedom'^l'mSst'wio or'd'e— "" "''"'"*■ N™moie' i" bondase'^^U f^igh:* 

Foi Ircrdom I can ill defy; Ob queen, beloved goddess, let me fly! 

ytnua in a rage, then lella him to go if be will, hut predicla bii return and diaappeara 
with all her train, while ihe acene inatanlly changea. 

SCENE II-.4 Vall^ 
Taimhaaiet suddenly Anda hiroaelf in a beautiful valley neat (he Wartburg. On the 
peaceful scene there break in the notes of a ihepherd's pipe, and tinlding sheep bella 
aound from the heights. A company of Pilgrims pass, singing their chant, while the little 
atiepherd pause* in hia lay, and begs them utter a prayer for him in Rome. 

Shepherd's Son^ and Pilgrims* Chorus 

fPftrt I By Gcrtrud Runtfe and Xebe Quartet! Aa«ai i? i-^l. »\ ia 


Pilgrims' Chorus 

By Pryot's Band 
By Pryor"s B»nd 
By Victor Brass Qiur 
By Victor Male Chorg 

I fail 

31160 12-uicb, 

'ItSSr 10-inch. 

*in33 lO-inch. 

(Engllih) '17963 lO-iach, 

I Kink bencBlh the burden! 

and delighted (o see that it i* the long lost Henry, 
brolher knight. They question him, but he give* cv 
icpliea. The Knights urge him to return with them 
speak the name of Elizahlh, Wolfram telling him that 
beloved by the Landgrmc'i fair niece. 




■ priie 

ought 11 



The wondroui iign. 
'i»fiil hour 

'd "of" ('o"5 'maidi 
ror an. when thou in Kom nadti leit ui 
Her heart wsi elosed Id joy and song, 
Of her aweel jiresence sbe bereft uf. 

Ob! ninsirFl hoI<L %Tuni ind''reil Ihee. 
Once nirjTc awoke the joyous ttrain! 


lAdujer joyfully comenta to return and promisei to 

in the forthcoming Toumnmenl of Song, the prize 

for which i> to be the hand of E/fzaie(A, The remainder of 

the hunting train of the LanJgravt now arrivea, and a« 

Tannhaiatr ii being greeted by his friends, the curtain falU. 


SCENE— Tht Great Halt In tht War&ufg 
EtUahelh enters, full of joy over the return of TannAduier. 
and greets the Hall in a noble song. 

Dich. teure Halle (Hail, Hall of Song) 

By Johanna Gadski (Gemion) 880ST 12-inch. •3.00 
By Louise Voigt (German) •68*73 12-inch. 1.25 

Hut now the flame of hope is lightecl. 
Thy vault shall rins with glorious war: 

Tarmhduser enters and kneels at the feet of Bizabelh, who in 
blushing confusion bids him rise. 

Verzeiht. wenn ich nicht "tveias (Forgive, I 
Scarcely Know What I am Saying) 

By Johanna Gsdski (Cemran) 86442 12-in.. fS.OO 

*Doatlc-/aaJ Rtafi—Sct ptft 4B7. 


With tliat fnnkneas wkich •eenu duracterutic of WagnBr'i heroine*, tb« yoiins gjll 
makes no aecrel of her paitiBlity for the Knight, and a long acene between the lo*«ta 
Muueit interrupted by the entrance of the LaaJgravt, who greeu Taimheuter cordially and 
welcome* him to the cooteat. 

The Knight* and Ladies now a*»emble to the ilTBin* of ihe nobis Fal Marth. 

Fest Msrch 

By SouM*j Band 31423 12-inch, *I.OO 

By Souu'i Band iDoutk-/aaJ—&m page 487) 16514 10-ioch, .79 

When the company i* aeated, the Landgraec riae* and makes ihe addreu of welcome. 

Minitreli sMcmbled here. I give rou greeiing 
Full ofl witbin theie Willi your lays hav< 

In Ytiltd wiMlom. or In mirthful mcaiures 
They ever gladdened every [ist'ning heart. 
And though the swoid of Btrift was 1od«i 

TherIfo?i' K'«"now 'ihe 
Kay, whal is love? by w 

The lender graces o^ the homcslead. Ilim shall the Prince-^s Rive the prii 

The faith in whal is good and gracious— lie may demand the faiie^t guerdon 

For these you fought with word and voice; I vouch that H-hai-oc-cr he ask is i 

'^■- -need of praise for this is due. Up. then. aroH'C yr-sing, oh. ga 

Allune your haip-. to love— great is Ihe ' 
Ere ye begin, let all rei-eive our thanki! 
Hail! Ilaill Lord of Thuringia! 


Wolframs Ansprache (Wolfram's Eulogy of Love) 

By Otto Goriti. Biritone {In Caman) 14215 la-iach. I1.50 

ception ol love, which he deacribe* aa pure and ethereal com- 

,la! spring. 

My heart w%% lunk in prayerful boly cfrcam^ 

ProRi whose unfalhomed depthi all jay doih 
The lender halm in whi<;h all grief is healed. 
Or'r«»hT> trguM^ th^m'willi^wild"^™! 



iihed and cage 




'h.;. k^' 



□Id Ihe 

not niad 


I, now jumpa tt 

for jgy. and knawt no meanire. 
•e-> rulflilmenl » its ,.le3«>re! 

At thia definition oF love, atrange For luch an occa- 
sion. BiUntf. a hotheaded Knight, riaea and challenge* 
TannhSuser, who excitedly retorts thai auch a grim woll 
as Bllerolf can Liow nothing of the delights of love! He 
then, in wild exultation, aingi his blaaphemoua Praist of 

Elizahtlh throws her 
Tannhaaier, who stands a 
hia life in a touching plea. 

Zuruck. von ihm ! (Away from Him !) 

By Johanna CadslLi. Soprioo (/n Gtn 

: lliroiigh me > 
who hath fallen 


It la 111 

The Landgraiie pronounces judgment and declares Tannhduier banished, suggesting that 
he join the band of Pilgriina about to start for Rome. In (he distance is heard the Pilgrima* 
chant, and the strains seem to bring the ernng knight to hia senses. He criea: "To RMuet" 
and dashes from the hall. 



SCENE— TAe yall^ Unealh ih Warikurt 
As ihe curuin rites ElUabtth is seen kneeling at thi 
down by the path, and observing her, sadly nolicet hi 
of his own hopel«u love. The song of lh< 
Pilgrims is heard in the distance, and Eli 
Ixlh eagerly rises and scans the appioachi 
band, TannhHuitr is nol among them, a 
the despairing maiden kneela again at the 
shrine, and ofiera her prayer to the Virgin. 

Elisabeth's Gebet (Elizabeth's 

By Geraldine Farrar. Soprano 
Un Gttmoni 88053 12-iach, t3.00 
By Emmy Dcscinn. Soprano 
(/n German) 68466 12-inc 
By Elizabeth Wheeler. Soprano 
{In English) -35096 12-inch. ] 
This prayer of the sainted Elizaic. 
one of the most beautiful and touchini 
the masters compositions. -He will returr 
no morel" cries the unhappy girl, and faih 
on her knees. 

c ilJt a ShHne 

e in prayer. Wolfrar, 


Oh. blcsMd \*irEin. bear my prayert 
Tbou star of glovy. look on me: 
Here in the dust I bend before thee 

efore thv bl 

Si Si;'- 

remains for a long [ime m prayeriut ra] 
she slowly rises she glances ai Wot/ra, 

pproaching. She bids him by gesture n 
to her. but he asks that he may cscc 

she thanks him from 

she has 

> Hea 

1 high purpose to fulfill; 
accompany or follow her n 
ds the height and diaapp> 

wishes him 
She slowly as. 
gradually from 

IVolfram gazes sadly after her for a long time 
then seat* himself at the fool of the hilU begins tc 
play upon his harp, and finally sing* the noble anc 
beautiful ode to the evening star. 

• DouikJ'tiUlitHrJ—SH »af 467. 


O du mein holder Abendstera (The Evening Star) 

e Cogor 

By Emili 

By Mi 

By Mi 

By Reinald' I 

By Alan Turner. Baritone 

By Victor Sorlin. 'Ccllut 

Wilh KlowfnB h*ar 
Crcct licr wiicn shi 
Wlicn parting froii 
Slic rises lo an an} 

TannAdujff now Bppeam, weorins 
Pilgrim-, drew, his face pale and dr 
■upporting himself wilh difficulty by 
• »taff. Wolfiam Ereeu him wilh 
luiTU ihat he im atill unforgiven end I 
•olved to re-enler ihe Venuibeig. 

inhappy TannAduier tella of the Aipc ' 

(/n German) 88154 
|/n French) 91067 
(/n Germo-it T4006 
[In Geimen) '3S160 
{InEngll'h) "174*6 

:h. »3,00 

10-inch. 2.aO . 

12-inch, I.SO 1 

12-iach. 1^5 1 

10-inch. .75 i 

lith sdorins. 
»U'ni bclU wen 

iVolfiam. In horror, urge! him to remain, but TannhHuur TtSuta ^Mil Wolf rar . 

: name of Elltatelh. The unhappy man, in audden repentance, sinka to his kneel, vrhila 
the distance is seen the miiutrela bearing the body of Elizabeth, who hu suddenly psMed 


■WW. Ai the proceMJon spproacbea, a eompuiy of Pilgrimi return and annotince that the 
•tan of the Pope had put forth green leavei m a aisn that TannhUniB waa pardoned. 

The Mintlrd. supported hy Wolfram, gaze* on the aaindy face of the dead ElizaUlh, 
then expires, while the Pilgrima and miiiitreU with great emotion eiclaim; 
The Lotd IIim»1{ now thy bondage halh riven — 
Go, enter in witb the bleil in Ilia Heaven! 

/Elizabeth'! Prayt 
\ A Night In Verde 

{Lied tind Chor der Pilger Runge and Qt (/nGeniian;),-^.- 

Lied und Chor der Pilger (Part II) Ruotfe and Nebe Qtj'"'^''* 
fO du mein holder Abeodstern By Reinald Weircnrithl-.,,:^, 

1 Trtae Ueht—Ach. udt i,!', magUch dam Ei«ll Muench. Tenotr''^^ 
/Overture— Part I By L» Seala Orcheatral , --_, 

^Overture— Part II By La ScaU Orcheitrar*^"* 

(Selection from the Opera By Arthur Pryor'» Bandi,.,,, 

\ Madame Baltafiy StUction, No. 2 By Arthur Ayor'j Bom/r'^^' 

JFeat March By Sou»*f Bandl,..,. 

t La MaruillalK- National Air of France &, Souu,', BanJr°^^* 

(The Evening Star By Victor Sorlin. 'CellUtl, -ai ■> 

\ Lail Ro» ofSamme, Bu Elizabeth Whteier. ^pro™/""*** 

rie Evening Star {In Engllih) By Alan Turnerl, _ . . , 

neRcwry (/Vm/n) By Alan Tamar'^**' 

fPiltfrinu' Chorus By Pryor'a Bandl,,.-. 

\ Lohaigrin-Om ddlt noKK [In ItaUan) By U Scala Chonur*"'^^ 
IPUgrinu' Chorut By Victor Bra» Quartctj , -, -_ 

\ Don Carloi-^Grand March (.ycrdl) By Sauta't BanJr^^^^ 

fPilffrinu' Chorus (In Engllih) By Victor Male Chorus) , -.. - 

\ Trooatore—AmHl CAofUJ (.In EnglUh) By VlOor Male CAorui/"*"^ 

rDieh.teure Halle (Hail. Hall of Song) Uuise Voigt (GErnianjV,- ... 
\FreiKhalz.Lel,e,Ul>e.frommeWel» B], Loaiu Volgt (Gernian)/*""'* 
(Fantasia on Tannhauser (Dream of Wagner) Pryor** Band' 

Pwlude. Act II— Ail r, . ^.. , .. 

hauKc. Act [[ Boet 
I Reminliccnca of Vt 












or TutaiSttna 



) iht Opfra Comique, 
been given in nearly eveiy music capital of Europe, 
25. 1908, at the Manhattan Opera Huuae, New York. 

Thais, actress and coi 
ATHANAEU a Cenobi 
NlCIAS, a weahhy Al( 
PALEMON. an aged C( 
ALBINE. an abb. 
Crobylj; I , 

, Jslav. 


Monki, Nuni 

and Plact : Altxandric 
eariji Cfiriil 

sman of wonderful beauty and a 

into the rishteous path, is the lubject of this lyric ope 
of Alhanod to Pa/nucio, who is a young and handsut. 

•f holy men, called Cenobilei, in the de«ert of Thebei. 
ACT 1 

SCENE I— The Camp of tht Cenotila near Iht Nllt 
At the opening of the opera Athanatl has juat re- 
lumed from Alexandria, haunted by the atoiy of the 
famous courtesan. Thah. whom he feels it his duly t* 
save. Against the advice of the head Cenobite, 
Paltmon, he calls his brother monks together and an. 
nounces his intention of reluming to Alexandria to 
convert the courtesan to the higher life. 

SCENE W—Thf Hoa,e of Nicla> at Alexandria 
Athanatl attnea and is warmly greeted by Niclai, 
who knew the monk years beFore. The traveler telU 
his old friend he has come to the capital to teacb 
Thah the belter life, bul Nlciai only laughs at him 
and scoffs al the idea. However, he has his slava 
dress ihe monk in rich robes, and when Thata arrive! 
she is soon curious about the handsome strangei, 
whose severe demeanor arouses her interesl. The 
monk tells her he has come to Alexandria lo leach 
'erlasting. but she says 

' belie' 

In hor 

1 Ihe 

y and h 

I which i, 


ACT 11 

SCENE l-rAatf Apartmen. 


and higher love and the life lo come. 
TTiali ia at Brat frightened and then 
defnnt, but Alhanad declares that she 
will yet repenU and that he will await 

SCENE 11—^ Sireel in Alexandria 

The next icene 

dawn, where Thah i 

renounce, her life oE 

him she will follow 

/^"e'r palace- /Vfcio, now ap- 
pears with his joyous companions, sing- 
ing and dancing, [n the midst of the 
revelry they discover Thalsia her sombre 
sannenu, atid becoming infuriated over 
her departuTCp and the firing oE her 
house, threaten to hang Aihanaet. Nidai. 
s of the situB. 

tion. dLv< 

gold coins amon^ 

9 (oilov 


which follows Thali and Alha- 

ACT in 
SCENE i—A Dacrt Oa,h 

■x\y supports her. Saint Alkint and the While Sliltn 
come to meet them, and the monk delivers 
Thah over to them to remain with them till the 
end of life. Thatl is happy with a great spiritual 
peace, but Alhanad. who has grown to love her 
with an earthly love, is troubled at the thought of 
parting with her forever. 

SCENE 11— TAe Cznohilt,- Camp 

Alhanatl, returned lo his retreat, no longer 

finds there the peace of former days, and endures 

menial torture, continually thinking of Thah. He 

haa a vision in which she appears to him first as 

ind then as a nun dying in the 


and t 

if Thais. 
SCENE \\l—Th<t Can, 
Than, V 


I of Ihc WhlW Sill. 

> the 

rn with repentance and penance, ia 
looked upon bb a dymg saint by the White Sisters. 
Alhanatl arrives, and in a frenzy of love implore* 
Thais to return to the earthly life, but she has a 
vision of heavenly bliss and is deaf to his entreat- 
ies. She sees heaven open before her and hears 
tb« tuitle of angels wings and dies with a glow of 
happiness on her face. Alhanatl bereft of his 
hith sod liis love falls to die Biound in despair. 


Voill done ta terrible eitt (That Awful City I 
Behold) By Clarence Wbitebill. Baritone 

{In French) 74364 12-inch. »1.50 
D'acqua asperfimi (With Holy Water 
Anoint Mel By Mme. Janai. Sopraoo. 
aod Mattia Battislini, Baritone 

tin llathn) 88333 12-inch. 3.00 
Intermezio iMeditation Religieuse) 
By Maud Powell. Violinist 

74135 12-inch. l.SO 
By Fritz Kreisler. Violinist 

74182 12-inch. 1.50 
By Mi9cha El man. Violinist 

74341 I2-iDch. l.SO 
[Meditation (/>.lrm.c»o Rtliglcusc) ) 
I By Howard Rallay. Violinist 35147 

Lohengrin Stteclion (Wagner) 12-in.. 1.25 

\ By Pryor'sBand] 

IMeditation {Intenntzio Religiaise) ] 
By Maximilian Pilier. Violinutl3530«i 
Humortn/ur (Deofdl;) |12-in., 1.25 

By Maitmlllan PlUei, Viollnial] 

Texl by lllica ond Ciacosa atttr Sardou's drama. Music by Giecomo Puccini. Fital 
produced at the Conslanzi Theatre Rome. January 14. 1900. Rrsl London production at 
Covent Garden. July 12. 1900. Given in Constantinople and Madrid in 1900. During 1901. 
brought out in OdeMa. January Ut: Li.bon. January 29th: Santiago, July 29lh: Cairo, Novem- 
ber 26(h- First in Germany at Dresden. October 2 1 . 1902 : in France, at Paris, October 1 3, 
1903 (in French), ani! October 31. 1904. in Italian. Given at Budapest. May 10. 1906: Berhn. 
January. 1907: Vienna. October 26. 1909, First proiiuciion in the Americas at Bueno. Aires, 
June 16. 1900; in the United Slates, February 4. 1901. at the Metropolitan, the cast including 
Temina. Cremonini. and Cilibert. Also produced in English by Henry W. Savage. 
The opera has become a fixture in [he American opera repertoire, and more than fifty 
performances have been given at the Metropolitan since 1909. besides (hose by the Chicago 

FLORIA TOSCA. iFhh-.fa.ah Tai,-.kah> a celebrated singer Soprano 

Mario CAVARADOSSI, i\UK-rfr-ol> Cm-a-nhJou-itt a painter Tenor 

Baron SCABPIA. i5co/.t«-o*J chief of the police Baritone 

CESARE ANGELOTTI, (S«.i,.Sr-.aH Ahn-nLM-lrrl Bass 

A Sacristan Baritone 

SPOLETTA. (.Sfio-M^oh) a police agent Tenor 

SCIARRQNE. ■ gendarme BaM 

Judge, Cardinal. Officer. Sergeant, Soldiers. Police Agents. Ladin, Nobles. Citizens. 

Sant and Ptriod : Remt, }um, 1800. 


The Story 

the most populai, 
probably hoMa jii 
opcia-goers. 1 he ■ 
of Puccini's flkill ii 
and voice elTecla ' 
tetpreting both the 

cmi» fifth opera, and by far 
next lo Mme, Butterfly, which 
rst place in the affections of 
opeia ie a lemarkable example 

The ploi it ei' 

3omy and in 

tensely tragic, fol- 

sely the Saidou melodra 

lis and highly dm, 

matic situationa. 

^ork has neilhei in 

: first scene occu> 

., where ihepaint. 

beautiful Floria Totco. a bu 


While awailiuK 

^^^^BnF ll^^^^^l 

her, he contemplates the 

Magdalene he is Bt 1 

work on. the face being 

that of the ui 

beauty who had frequently prayed at •■■ 


Suddenly a political r 

efugee. Angti wno 

has )US1 escaped from th 

c elk .pp^, ,«. 

ogniies hifi friend CaM-oA 

once. The painter gives 

him food and sends 

her curiosity, and when she sees the likeness on the eaael. 

■he IS jealous. He soothes her, and after her depart- 

ure hurries out to guide AngetoUl, a cannon shot from 



Scarpia and his police enter in search of the prisoner. 

who has been traced to the church. Caoaradoul u lui. 

peeled as an accomplice, and Scarpla. who is secretly 

in love with Totca, plans his ruin, with a view lo removing 

^^^^B fv^^^l 

from his path a dangerous rival. 

^^^^H / ^^^^1 

In the second act Scarpia. putting into execution hia 


schemes, orders Mario's arrest, and when the painter 

is brought in, sends for Toxa and contrives that she 

shall hear the cries of her lover as he is being tortured 

to induce him to reveal Ang-^tanr, hiding place. UnaUe 

to endure Marios agony, she tells Scarpla where the 

refugee is concealed. Mario in sent to prison, and Scarpla 

tells Ta>ca that unless she looks with favor on him, her 

lover shall die within an hour. To save his life the 

safety the next day. A mock execution is phuined by 

Scarpla, who writes out a pass for the lovers. As he 


give, it to TWa, she stabs him and runs to Marie with 
the release. 


In Act III the mock execution takes place as planned. 

but through Scarpia'a treachery, it proves to be a real 


one. and Marfc is killed. Tosca afterwards throws herself 

from the caatle parapet as they attempt to arrert her 


lor Sca;p<a'j murder. 



aCESE—lnUrier rf (Ac CAunA of Si. AnJna 
Mario CmaradouL iha pMOter, enten the church, where ho hu been at work on a 
Ai he uneovera the portnit. the Sututan. who ii auiilinB Mario, is lurpriaed 
1 face of the paintinB the unknown beauty whom he had noticad 

of late in the church. Motto 

■milingly confeuea (hat while 
•he had prayed he had stolen 
her likenea* for his Madonna. 
Then taking out a miniature 
of hia betrothed. Totca, he 
■inga a lovely ait in which he 
compares her dark beauty 
with the fair treaaea and blue 
e}res of the unknown worahip- 
per. calling it " a atrange but 

piiaoner. Mario, in reapooae to hia friend's appeal for aaiiit- 
ance, hastily cloaca the outer door, and conceala Angdoill 
in the chapel, iual aa Toica'a voice ia heard impatiently 
demand in 8 admittance. 

He aJmita her. but ia anxious and ill al eaae. fearing 
to intruat even Tosca with ao dangeroua a secret, but ahe 
notice* hia preoccupation and iaaomewhatpiqued because 
he i« not aa attentive aa usual. She is at first jealous and 
aaks him if he ia thinking of another woman : but soon re- 
pents, and in ibe charming love scene which follows en- 
deavors to smooth his brow by planning an excursion (or 
the morrow. 

She aings of the delights of the propoaed viait to the 
villa, and the romantic forest where they will wander and 
forget the cares and troubles of their professional life. 

He listens but seems absent-minded, and she con- 
tinues her recilal of the yoytel their secluded little retreat 
among the hills. Mario says she is an enchantress, and 
in a duet they exchange anew their vowa of love. 

Totca now perceives the Madonna and recognizes the 
fece as that of the AUaoantl, sister of Angeloltl. Her jeal- 
ousy revives, and she declares that Mario has fallen in love 
with the blue ;^es. Begitmins another duet, he swears 
that none but Tosco'i eyes are Deautiful to him. 

Math promises to meM her at tha atua door that 
erening^ and she bids hor iarta a taDder wwwdl and 

Recondita armonia 
(Strange Harmony) 

By Enrico Caruso, 

Tenor {In Italian) 
87043 10-ineh. MJX> 
By Giovinni Martinelli, 

Tenor (In llaliatii 

64420 lO-inch. IJOO 

His I 

musmgs I.. _ 

rupted by the hurried ei 
of a man in prison garb, pant- 
ing with fear and fatigue, 
whom Mario recognizes a* an 
old friend, ^^ngefofU, a politictd 


Angflolli esc a I 
whcrs he wi\ 
te»B (tlla that 


of the 

chapel and bi. 
: path lo the vill 
, ahot irom the loi 

He i3 na sooner gooe ihar. the Sacristan and choir 
enter. Followed soon after by Scorpio and his police, who 
have traced AngelolH to ihe church. The Allaoanli':, 
Fan and Mario's empty basket are found in the 
chap.^1. and when the Sacristan Bays it should conlain 
the painter's lunch. Scarpia suspects Mario of aiding the 

''""'r™cD now returns, still doubling her lover, and 
Sc<,rpip. divining the slate of affairs, decides to add 
fuel to the flame of jealousy. He appcoacheB her 
respectfully and smgs hia hr*t air, Dioinc Toxia. 

Tosca Divi 

By Gusi^ 

(Divine Tosca!) 

Te Deum 

By PitqiuJe Amato, Baritoae. and Metropolitan 

Opera Chorus </n Jlallan) 68489 I2-iDch. *3.00 
By GiuRCppe Mani. Basi. and L» Scala Chorus 

ilnllatlan) *550O8 IZ-iach. 1.30 
The act doses with a Tt Daim. sung in celebration of the de- 
feat of Bonaparte, and the scene at the fall of the curtain i« a 
most impressive one, (he solemn strains of the service sounding 
through the church, while Scarpla Icneels, apparently in rever- 
ence, but secretly plotting hia diabolical crimes. 

md a 

ted. a 



carpia'a Apailmen, 
'. Scarpio is shov. 

n the Farnac Palace 
at his supper, rescleas 
ice, who have been 

; r«c<.'i> voice in the 

'o and Angelolli. Hearii 
nents of the Queen below, where sh 

nd> her a note saying he has news of her lover. He U 
r. she will come for Morio'i sake, and sure that his pUns 
jcceed. He then sings his celebrated soliloquy. Scarpla 

m 1 He prefers taking what he desires by force, then when 
ed he is ready for further conquest. This, in short, is his 
— God has created divers wines and many types of beauty 
— tie prefers to enjoy as many of them as possible I 
SfUMAKCo A, -SL.NKPiA Mono is brought in by the police.who report that /lnff«/oH( can- 

not be found. Scarpla ii furious, and tries to force Mario to reveal the hiding place of 
the fugitive; but he refuses to speak, and is ordered into the torture chamber adjoining. 
Tosca comes in answer to Scarpla'a summons and is told that Mario is being tortured into 
B confession. Unable to bear the sound of his sroans, she reveals the hiding place of 

* Deuhk-FactJ Ficonl—Stc ^ofi 498. 




&arpfa, in triumph, orden tbe (orture to ceue. but tendi Ma;fe to priaon. tellinB 
bun he muat die. TVuco tries to go with him but ia (orced to re 
Then begins the great acene o( the opera, which Scaipla 
begma by offering to releaK Mario. She acomfully aaki 
bim hia price, and he propooea ihnt ToMca ahall accept hia 
•ttentioiu in order to aave her lover'a liie. He then ainga hia 
famoua Centaliilt. 

Cantsbile Scarpia (Scarpia's Air) (Venal, 
My Enemies Call Me) i 

By Antonio Scotti. Baritone SS122 12.inch. *S.OO I 
By Titta Ruffo. Baritone 

(In Italian) B7220 10-inch, 2.0O \ 

Gia mi strug^ea (You Have Scorned Me) 

(Lui Part of Ciaubili) 

By Erneaio Badini (/n Italian) 4501b 10-in.. tl.OO 
He tells her that he has long loved her and had sworn to 
poaaeaa her. She scorns him. but when he tells her that Maria 
shall die and exults in his power, her spirit is broken, and weep- 
ing For shame, she sings that loveliest and moat pathetic of ^^qt 
•irs, yiitl d'arit. 

Vissi d'arte e d'amor (Love and Muaic) 

By Nellie Melba, Soprano {In Italian) 8807S 

By Geraldine Parrar, Soprano (In llatlan) 88192 

By Emmy Destinn. Soprano (In llabon) 88487 

By Lucille MarccU. Soprano (In llatlan) 76018 

By Frances Aids, Soprsoo iln Italian] 74400 

By MaHa BTonioni, Soprano (In Italian) 45017 

The unhappv woman aalca what she ha* done that Heaven should forsake hei. Scarpla, 

who ia 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. Scarfia u overjoyed, and when she insists that Mario shall be set fi 


a asreed that afteT this preteodc 

DO, Mario shall hare hi* liberty, but Tasea 

cap« fram the conairy torlbem bo^ Whili Sf wfl* ia writing the doctt- 

ca conlhve* to •ecure the divser fri 
her anci then take her in hii BTnu. i 

hti !..._ 

the Icin he detired. In a 
piolongcd anci highly dra- 
matic acene she takes the 
paper from Scarpia 'i dead 
fingers, then washes 
hands in a howl on 
table, places the two 
dies at the dead n 
head and the cross oi. 

(A lenact of Son Angclo 
Caatlt, oulalde the ftton 
cell 0/ GiMirai^isf. I'' 
0/ Rome bj/ nighl) 


Mario it brought out from hU cell, is 
■hawn the afficial death waicant, and told 
he has but one houi to live. He asks per- 

given paper and pen. He begins to WTite. 
but engrossed with memoiies of the pait, 
Buaei and sings passionately of his 

E iucevan le atelle 


Le ciel luisait d'etoiles (The 
Stars W^ere Brightly 


By Enrico Caruso. Tenor 

(Inllatian) B7044 lO-inch, *2.00 
By Rjccardo Martin. Tenor 

(Inllatian) B705O 10-inch. 2.00 
By Leon Camps gnola. Tenor 

{French) '45122 10-inch. 1.00 
By Franco de Gregorio, Tenor 

(Inllalian) "4S017 lO-ioch, 1.00 
By Giovanni Martinelli 

Tenor (In Italian) 

64393 lO-inch, I.OO 
By Paul Althouse. Tcnor 

(Inllatian) '45055 10-inch, 

feeling the b 
tragical imp< 


y of 

their former meetings on stailight nights ir 

loss of life and all that he holds dear, the voice rises in passages 
as the air proceeds. The regret, the grief and the hopelessness 
d with intense pathos, the closing portion of the air effectivf 

'Doatb-Fmil Rttord—Sm pt 


T«>c„ now rntrr^. snd joyfuliy t.^llmg Mario l.<r U tc be (rrr, >}>awii Ixm tlie i^ic conduct 
tellbg him how she had killed Scorpi'a. He gues at her with com pass ion and regieta that 
such beautiful hands should be compelled lo foul themselves with a scoundrel's blood. 

dolci mani (Oh. Gentle Hands) 

By Franco deGrefiorio. Tenor {!n Itatian] 67134 lO-inch. lO.IS 

She explains thai a mock execution has been arranged, and mstrucla him to fall down 
when the volley is Hred. In a lovely duet they leioke in their hopes for the future. 

Amaro sol per te m'era il morire (The Bittemeas of Death) 

By Elena Rusicowika and Egidio CuneBo (/n Italian) 88274 12-ioeh, 13.00 
By I. Sollohub, Soprano, and L. Botta. Teaor (/n llallan) 67 1 34 lO-inch. .71 
Trionfa di nuova speme (A Ne'w World) 

By Elena Ruszcowaki and Egidio Cuneeo {In llallan) 67069 10-inch. *2.00 

The soldier, now enter, the shola are i^red and MaHo falls as if dead. Tcuco wait, till 
the firing party is gone, whispering to her lover to lie still. "Now, Mario, all h tafe, " aha 
cries, but is aatounded 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. 

SfioUlla and soldiers now come running in and announce the murder of Scarpla ; bat 
when they attempt to arrest Toica she leaps from the castle wall and is killed. 


ITe Deum— Finale to Act I Maggi and Chorus [In Italian] 

lPreludio-/4«o /// By Italian Orches 

jCii mi struggea By Eraeato Badini. Baritone {In liali 

1 Manon Lacaal—Donna non vidl mat EgiJio Cantgo (In liaUa<,){ 
(Vissi d'arte e d'amor Maria Broozoni, Soprano [In //"/''"lU .,-, . ,« :„„», 
IE lucevan le stelle By De Gregorio. Tenor [In /(oftont T^"' ' lO-incn. 
IE lucevan 1e stelle By Paul Altho use. Tenor (In Ilallan)\,.„,. ,„ . . 
1 Pagllacci—Vaii U giabba By Paal Atthoatt. Tenor (In Italian) i*^"'"' '""*•="• 
ITosca Divina By Berl-Resky, Baritone (In Italian}],,. ., ,„ . . 
\ Prtghhra-Alla mrntt cor^u«, {Tosli) Btrl-Rahf (In llallan) i^*"^*^ 10-mch. 
fO dolei mani By Franco de Gregorio. Tenor (/n /(aftan)i, _, _ , ,. . „. 
lAmaroao! By I. Sollohub and L. Botta (/n /toftan)/*"'* '0-""='"- 
rLeciclluiaaitd*itoiles By Leon Campagnola, Tenor (Fr«ncA)l .- ,-- ,. . „. 
I Bohtnie—Ah. Miml Bg Uan Campagnola. Tenor (In FitnJ,)!*^*^^ IW-mcu. 



2-inch. *1.S0 
4^016 10-inch. 1.00 



{Lah rMA-MMA-JaW .. . 


Text by Piave, founded on Dumai' " Lsdy oE the Camelias," but the period is changed to 
the time of Louis XIV. Score by Giuseppe Verdi. First presented in Venice, March 6. 1853 ; 
London. May 24. 1836; Paris, in French. December 6. 1836; in Italian. October 27. 1664. 
First American production December 3, 1856, with Brignoli and La Grange. Recent pro. 
ductions at the Metropolilan with Caruso, Melba. Tetrazzini. Lipkowska, McCormack and 
Sammarco. Many notable productions in America in recent years, among the most recent 
being the Metropolitan production of 1905, for Caruso and Sembrich ; that of I908(d*butof 
Amato) and 1909 (dfbul of Lipkowska): the HammerMein revivals for Tetrazzini and Metba; 
and the recent Metropohtan production with Hempel. 

Characters of the Opera 

VtOLETTA VaLEHY. a courtesan Soprano 

Flora, friend of Violetta Mezzo-Soprano 

ANNINA. confidante of VioletU Soproao 

Alfredo GERMONT, lover of Violetta Tenor 

GIORGIO GERMONT, hU father Baritone 

GASTONE, Viscount of Letorieres Tenor 

Baron DOUPHOU a rival of Alfred Baritone 

Doctor GRENVIL. b physician Bbm 

QUSEPPE. servant to VioletU Tenor 

Chorus of Ladies and Gentlemen, friends of Violetta and Flora. j 

Mute Personages: Matadors, Picadors, Gypaie*. Servants, Masks, etc. ' 

I^M^ Scmt and Period ; Parli and aiVlreiu, ahoul the gear 1700. 

^^^1 SOD 


VerdT* La TnYiata ia baieJ upon a well-known play bj Alexandre Dumas, La iXMM 
«ec cancAw, familiar in its dramatic form aa CanllU. It ia one of the moat beautiful woriis 
of its daaa, and ii full of lovely melodieai while the itory of the unfortunate VloltHa haa 
cauaed many teara to be shed by aympathetic liatenere. 

The opera met with but indifferent lucceai at its Grat 
production. Several ludicroua incidenta arouaed the 
laughter of the audience, the climax being reached when 
the yioielta (Mme. Douatelli), who happened to be very 
•tout, declaimed in feeble accents that ahe waa dying <rf 
conaumptionl Thia was too much for the Venetian aenae 
of humor, and the house exploded with mirth, utterly 
spoiling the final acene. 

The opera waa then reviaed, eighteenth century cos- 
tume* and settings being substituted for the modem onea 

The niot, being quite familiar, will be but briefly 
sketched here. VloltHa, a courtesan of Paria, is holding 
a brilliant revel in her home. Among the gueata is a 
young man from Provence, Alfnd. who is in love with 
yiolella, and after much perauaaion, the spoiled beauty 
agrees to leave her gay life and retire with him to an 
humble apartment near Paris. After a few brief monlha 
of hsppineas, the lovers are discovered hy Alfrtd't father, 
who pleads with yiolella to relesae his son from hi* 
pTomiaes. She yields for his sake, and resumes her for< 
mer life in Paris. AlfrcJ, not knowing the real cauae of 
her desertion, aeclu her out and publicly insults her. 
Too late he diacovera the aacriflce vlolella haa made, and 
ALLi-cumci AS vionTTA whctt he rBtums, full of remorse, he finds her dying of 

consumption, and ahe expires in his arms. 

Prelude to Act I 

By La Scala Orcheatra 
By VeaaeUa*a Italiaa Band 

SCENE— DniuiffV-rooni In Iht Hoate of Vlolella 
A gav revel la in progress at the house of Vii^eHa, and the act opens with a Uvely 
chorua, tollowed by a rousing drinking song, given by Alfred, in which ylolctla joina. 

(Ii«li.n) (Gsnnui) 

Libiam nei iieti calici Auf, schlurfet in durstiffen Zutfen 
(A Bumper We'll Drain) 

By Alma Gluck, Soprano; Enrico Caruso. Tenor: sod 

Metropolitan Opers Chorua U" Italian) 67511 lO-inch. 13.00 

By Adelaide Andrejewa. Soprano: Otto Msrsk. Tenor : 

and Chorus (/n Gennan) '4S08B 10-inch. 1.00 

By Scalfaro. Soprano: de Greeorio. Tenor: and Chorus 

(In Italian) '68445 12-inch. 1.2S 
By Amelia Rizzini, Soprauo: Emilio Peres. Tenor : and 

La Scala Chonit {In Italian) '62415 10-ioch. .7S 

AtFWEO: Vl. 

e a1°iiE Bhould I. 

The uri-M- 
Its (Talfi: 

L- flyma- 

That make niiht so chnrful and Rnilini 
In this channinB paradise, bstuillns. 
Tbst scarcely wc beed tbc day. 




Un di felice (Rapturous Moment) 

By Marie A. Michiilowa. Soprano, and A. M. Dividow. 

Tenor (In Russian) bU38 10-iach. I 

By Emma Treniini, Soprano, and Gino Martinez- Pa tti. 

Tenor i/n /lolton) ♦62067 lO-ineh, 

Alfred now bids her a lender farewell and takes his depariure, and yiolella «n« 
great air. one of ihe mosi brilliant of all coloiature numbers. 

f Ah. fors' e lui (The One of Whom I Dreamed) 
1 Sempre libera (The Round of Pleasure) 

By Luisa Tctraiiini. Soprati 
By Marcella Scmbricfi. Sopra: 
By Nellie Melba. Soprano 
By Frieda Herapel. Soprano 
By Lucy Marsh. Soprano 
By Ciuaeppina Huguei. Sopri 
By GiuBcppina HuBuet. Sopra 
I Part III 

{In llalion) 68293 12-inch. *3.( 

I/n halian) 68018 12-inch. 3.( 

l/n Italian) 88064 12-inch. 3.( 

|/n halian) 68471 12-incb. 3.( 

{In Halian) 70094 12-inch. 1.: 

(In Italian] '62084 lO-inch. .! 
3 Lara. Tenor 

ijn halian) '■62084 lO-inoh. .i 
it finding herielf tl 

p nllhin my beart ai 
norlal yet bath moye 
lisdain it, 
t fmpty follies Ibat 

. ■ e plainlive air. .. 
■nd give* herielf up (o t)ie spell of awakening love: 
Ah, was il hr my hearl fcielold. when in ilic 

tkrong of pleature. 
Oft have I joy'd tg shadow forth one whom 

alone I'd treasure. 
He «ho with watchful tendernEM guarded my 

Sirrmnl ™y"way with flowtrs. 

n>e animated laat movement follows, as ihe 
ppy woman shakes oft the illusion and once 
: vowa lo devote her life to pleasure. 

What folly! what iollyl 

Kor me Ihcre'i no retunung! 

In rv'ry fierce and wild dehihl. 

I'll Mccp my ttme and die! 

I'll fulfill the round of pleasure. 

Toying, toying from flower to flower, 

of rosy joy. 

Ever fresh deliBhis I'll borrow. 

I will banish all annoy 1 ">-" 


SCENE— Mferfor of a Coanlry Haaie near Paris 

Alfred enters and soliloquizes upon his new-found happiness. 

iLFBED- I-efl for me her rich. 

Three months have already flown Vet now contented in 

Since my belov'd Viglilta She forgets all lor m. 

• DoBUf.faBi/fln>nf-&>Mfc5f». 


He dien sings his Dei miei boUentI, a lovdy air, in which he speaks of his wild srouth, 
and die peace and happiness which have come to him dirough his love for Violetta, 

Dei miei bollenti spiriti (Wild My Dream) 

By Aristodemo Giortfini {In Italian) 76011 12-inch, $2.00 

By Giovanni Martinelli (In Italian) 74518 12-inch, 1.50 

By Alberto Anudi {In Italian) '*'633l4 10-inch, .75 

Alfkeo: When low she whisper'd: "Live for me, on 
Fever'd and wild my dream of youth, earth I love but thee," 

No star on high to guide me, Ah, since that brijg^ht, that blessed day. 

She shone on me with ray benign. In Heaven, *mid joys celestial, 

And trouble fled away! In Heaven I seem to be! 

Alfred learns from Violeita'i faithful maid that she has been obliged to sell her jewels 
for their support. He is much ashamed and leaves for Paris to secure some money. 

Violetta returns and is surprised at Alfred's sudden departure. A visitor is announced, 
who proves to be Germont, the father of Alfred. He has been greatly distressed at his son's 
entanglement, and comes to beg Violetta to release the young man from his promises. She 
is much moved, and her bearing makes a favorable impression on Germont, especially when 
he learns that she has sold her property for Alfred's sake. 

Pura siccome un angelo (Pure as an Angel) 

By Battatflioli and Badini {In Italian) '*'45001 

By Renzo Minolfi, Baritone {In Italian) '*'62415 

10-inch, $1.00 
10-inch, .75 

Non sapete (Ah, You Kno^w Not) 

By Giulia Battaglioli, Soprano, and Ernesto Badini, Baritone 

{In Italian) *45028 lO-inch, $1.00 

In this air Germont pleads for his own daughter, whose engagement to a youth of 
Provence will be broken if Alfred 6oee not return home. Violetta at first refuses, saying 
that her love for Alfred is above all other considerations, but she finally yields, agreeing to 
leave Alfred forever. They sing a melodious duet : 

alia giovine (Say to Thy Daughter) 

By Maria Galvany and Titta Ruffo {In Italian) 92503 12-ineh, $4.00 

By Frieda Hempel and Pasquale Amato {In Italian) 89079 12-inch, 4.00 


Say to this child of thine, young, pure and lovely, 
Thou hast a victim found, whose lite of sadness 
Had but one single ray of rapture and gladness. 
Which she will yield to her, then gladly die. 


Weep on, thou hapless one. 

Weep on; I witness thy trial 

In what I ask of thy self-denial. 

Bear up, thou noble heart, triumph is nigh. 

Imponte (No^w Command Me) 

By Frieda Hempel and Pasquale Amato {In Italian) 89081 12-inch, $4.00 

This is a continuation of the scene between Violetta and Germont. Violetta has decided 
to sacrifice herself for the sake of Alfred's future, and says to Germont courageously : 


Now, command me — but how shall I pro- 


Say you do not love him. 


He'll not believe mc. 

Well, leave him. 

Violetta : 

He will follow. 

Germont (pucsied)' 
Well, then- 

Violktta (suddenlv thinking of a plan): 

Embrace me, embradb me as thine own child — 
'Twill give me strength. iThey embrace.) 

He soon shall be restored, though broken- 

Do you wait in the garden and console him. 

(She Points to the garden and sits dozen to 
tvrite. ) 

What will you do, my child? 


Nay, ask me not; 

I fear you would oppose me I 

Generous woman I How can I e'er repay thee? 

Violetta {turning piteously to Germont) : 
I shall die, but my memory 
He'll have no cause to curse. 
This bitter sacrifice 
I make for the sake of my lover. 
But ever whilst I live 
None else shall have my heart I 




No. generoui anc, thou 
Rul live to be rewarded 

n Ihy deeds will be 

Of thy mosi lovmg huit: 
Thou'st done a noble deed. 
And acled well thy part. 

ViOLB. .. 

Peihap* I 


hou be hippr 


--, - 'ppyi 

{OtrmcM toil OKI.) 

Gemwnf expreuei hia gradtude, embn 
Violella and depnrta, while the unhappy V 
Alfrtd oF her dectalon and reluma to Pari*. 

When the young man retuma he ia drirea to Atitpaat hf 
VloUlta 't note, and repuUea hia father, who pleada irith ItUM 
to return. Gtrmont then ainga hia moat beautiful number, dM 
Dl Pnotma. 

Di Provenza il mar (Thy Home in Fair 

By G. Mario Sammarco. Bar itanc 

UnllaOan) 88314 12>iaoh. fSJM 
By Pa«qusl< Amato. Baritone 

(lallallan) 884T4 12-inch. 5.00 
By Erneato Badioi (Ilallm) *45001 lO-ineh, 1.00 
In thU touching appeal he aalu hia aon to ratuni to Urn 
home in Provenco and to hia (ather'a heatt. 

From thy naliTe niany cl. 
What itranie fate caui'd 
Oh. reneTnEer in thy vac 
■■■ le Jot that wifta for 

AU tl 

AffrtJ refuaea to yield to hia (ather'a flam, ukd departa for Paria in aearch of VblwUm. 

SCENE 11—^ RlcMji FantithtJ SiJim la FJen'i Palace. On iht Right a Gaming TMa 

Ai the curtain riaea FUra and her frienda are diacuaaing the aeparation of the loren 
and Fiata aays ahe eipecta Vkd^la will aoon arrive with the Baron. Alfred entera, Mud 
remarking with aaaumed indifierence that he knowa nothing of Vhtldta't whereabouliv 
begina to gamble and wina heavily. 

The Baron appeara, accompanied by Violttia, who ia agitated at the Nght of AVttd, 
but he pretenda not to aee her and cHallenBea the Baroa to a game, again winning Inraa 
amounta. Supper is announced and all leave the room except VloleOa and AtfieS, wCo 
linger behind, fie chargea her with her faUeneaa, and. in furtherance of the promiae 
made to Germanl, ahe pretenda to him that ahe lovea the Baron. Alfrtd then loaea alT coanl 
over himself, and throwing open the doors, he calla to the gueata to re-enter. 

Queata donna conoscete (Know Ye All This 'Woman ?) 

By Alberto Amadi. Tenor {InllaUan) *63314 10-inch. «a75 

Pointing to yioltlla, Alfred criea wildly; 

1. blindly, biiely, wielchedly. Thai here I pay the debt! 

This to aeeepl, condeKendel 
and completes the insult by throwing at her feet the money he had just won. 

At Uiia moment AlfnJ't father, CtrmonI, enters and ia horrified at the acene wbick 
Gonfronta him. Then fdlow* the aplendid finale, one of the greateat of Verdi's coocaned 

Alfredo, di questo core (Alfred. Thou Kno^'est Not) 

By Giuaeppina Htiniet, Soprano: G. Plni-Corai, Tenor; Eraeato Badini. 

Baritone; andChorua (/nAo/fon) 56392 12-inch, fl.00 



nd liorri 
Alfredo. ,1 


May Heaven in pity tnen apare tnee remorie; 

(Gtrmont got! oft Alfred, tube U 
almoil in a Halt tf lollaptt. Tht faixling 
"'^Ittta is ltd away by hir friiadi, and Iht 


{ytaUUa'i apaibntnt. Sht fi adetp on a txHich) 

Prelude to Act III 

By OrehcMre Symphonique 

COKSTANTIBO AS •17661 lO-Ulch. »0.I5 

jtCT II. SCENE II Aa the curtun riaea the doctor's knock is heard, and Dt. 

Craad, VMMa'i phydcian, entera and attenda hia patient 
afterwarda telling the maid that ahe baa not Icnig to live. Left alone, Vloltlla read* 
again • letter (he haa received from GamenI, 

' ' Thoa hasl ktpl ifty pmmiu. The duel toal( place and the Baron icoi looanded, hat h 
bapnelng. Alfndo It In /onign countrlei. Your loaifict hat beat revealed lo him by me, and ht 
ititt refma lo J/oa for paidon, Haale lo recover ; Ihou detercelh a bright falare. " — Geimonl. 

" Aloa, it ia too lale." ahe exclaima, and singa her beautiful ana patbelic "Farewell." 

Addio del passato (Farewell to the Bright Visions) 

By Lucrezia Bori, Soprano 
By Alice Nielsen. Soprano 
By Marie Mjcbailowa. Soprano 

Already tbe coses Ihat di 

The love of Alfredo H losi 
Thai cheer'd me when fair 

(.Inllatlan) BTITS 10-incb. t2XM 
(In llallaa) 64068 10-inch. l.OO 
[In KuuJan) 61 1 78 10-ioch, 1.00 

8 of life will looB 
Ihii modal form 

Mreda: „. _. 

and Vhlelta, forgetting ber illnesa, plans with Alfred to lea 
a melodious duet ; 

Vaxigi o cara (Far from Gay Paris) 

By Lucrecia Bori. Soprano, sod John McCormack. Tenor 

[In kalian) 88453 12-incb, 13.00 

By Alice Mldsen and Florencio Coastaadno 

(In Italian) 7407S 12-inch. 1.50 

By Amelia Riziini, Soprano, and Emilio Perea. Tenor 

{In Italian) *62067 IClneh. .r5 

By Caaini and dc Oretforio (/" HaUan) 68449 13-iiuili, 1.25 


I TrooatOK SeUclion By Pryo,; 

I Alfredo, di quota core By Hufuet, Piai'Corsi and Badinil, 
I ftui, fi/aj-0 dolct volulla By Qriii and Ura tin llotianM' 

Gems from ■■TravUM"— Part I Victor Opera Co. 

Choiiu. " Driokini Song "—Duct. " I'hc One o( Whom i D'eirnfd " 
lAt,. fan' t l-li—Sa\o. ''^Thy Home in F«i ProTence " tDI Piooiniai 
" 11 Fulfill ihr Round of n«.u>c" (Stnuirc /(At™( - Chorui ' 

oE \ 

I from "Traviai 

t II 

r Opera Co. 

'35433 12-inch. 

M.¥ He 1m -— ..... 

-Solo. "Fucwell Id the Bri.Kl VUion." 
m G« P.rL. ■■ IPorigl rorol—Choru.. 



(/fJJtol— Du. 
fSon npete (Ah. You Know Not) By Battaglioli and Badini ^ 
( Monon—Qaaoila By Qtisepplna HagatI l/n Ualian\\ 

iDi Provenia (In Fair Provence) Ernesto Badini i/n /(o/iDni\ 
iPura siccome un anffelo By Dattaglioli and Badini iln Ilaltm 
JAh. forj" i lui By Giuseppina Huguet \lnllatian\\ 

iSemprc libera By Huguel and Lara {In Ilalian\i 

lUn di feliee. eterea By Trenlini and Martin«-Pattil . 

IPariji o cara Amelia Riiiini and Eroilio Peres l/n Italian^r^^^' 
)Traviata— Entr'acte— Prelude to Act III Oreh.Symphoniqael , _, , , 
I Co/omit, La-Enir acle (GoenoJ] Orchairt Symphomqu^r^'"" 

(Prelude VesjelU'. Italian Bandl , ,„. 

I A!dp-Preludc Vatdla; Ilalian Band^"^^ 

angclo By Renzo Minolfi (/n /(o/ian)l . , . , , 


— BiEsioi. Perea and Chorui (/n , 

lueimieibollenttspiriti By Alberto Amadi {In Ilalian)\ , ,„ i„„i. 

iQuealadonnaeonoacete By Alberto Amadi (/„ //a/Ziinl/''^^'* lO-inch. 

ITrinklied By Andrejewa. Marak and Chorus (^" Ce™«'n)lj«noa in .....h inn 

1 CaoaUtria Ruiticana-Trinklied Matok and Choiut (/n Cemwn)/**"*"' »"-'««''• '-O" 

/Libiamneilicticalici— By9calfaro.deGregorioandCho.{/fa/'anil,au« 11 :__k 1 1 

IPsrifi o cara By Casini and de Gresorio (/n Ao/lon)/**"'**' la-wel. 1-3 


<Tri,- -ial,„ «>„J, 



Wordi and mu.ic by Richa.d Wagner, the plot being derived from an old Celtic poem 
oF the same name, written by GottFried of SlraBbuTK. who RouriBhed in the thirteenlh 
century— though Wagner has changed the narrative aufficienily lo make it his own. Trfitan 
in one of the most popuU of legendary heroes and ha> been treated of by numerou. 
writeri. among them TennyKin. Matthew Arnold and Swinburne. 

Wagncr'a Trialan unJ Isolde was first presented in Munich. June 10, 1865. First London 
production June 20. 1682. First American performance in New York. December I. IfiSC^ 
with Lehmann, Brandt and Fi«;het. Produced at the New Orleans Opera December 21. 1895. 
Some notable American productions occurred in 1895 with Sucher, Alvary, Brema and 
Fischer i in 18% with the de Reszkes, Nordica and Brema; in 1901 with Tern ina and Van 
Dyck; and in 1910 with Homer. Fremstad, Knote and Van Rooy, this being Custav Mabler'a 
American dibut. 

always be bou 
Tn>lan, a ComUh knight, has a quarrel with 
Montd. an [riiih cbieflain who had been «e<» to collect 
tribute, and k-IU him; and after the custom of the 
lime, sends back his head, which is given to his af- 
fianced, an Irish princess. IkUc. Triilan himsirlf had 
received a daneeroua wound which fails to heal, and 
he resolves to assume the name of Tanlrii and seek the 
BBsistHnce of hoUc. who is famed for her knowledge of 
the an of healing. Isolde, however, recogniiea him by 
a notch in his sword, which fits exactiy a piece of metal 
she had extracted from the head of MotM. She plans 
<o kill him. but f^Dt. In love instead, while he merely 
sees in her a good wiU for his uncle, King Mark- 

Preludio (Prelude) 

By La Scab Orchestra 68210 12-iach, fl.25 

The hrat act shows the deck of the ship which is 
conveying Isolde and Tristan lo Cornwall, she having 
accepted King Marlt'i proposal, made through his 


nephew. During the voyage, howerer, tha refiual of TVUon (b He 
her, the exultation of the lailon over the killing of UorM (whiek 
(reed Comwall from iti lubjection to IioUc't toyml (Uhw). and A^ 
testation of the loveleu marriase she ia about to caobact, iahuMtm 
the I^Tinceu, and she reaolvea to die and drag TrUlan down to JmA 
with her. She tella TriMian ahe ia aware of hii crime in Ullnic hm 
lover, and demandi vengeance. He admiti her right to kill Un aad 
offers his sword, but >he bids her maid, BrangBnt. prepare two ca|N 
oi poison from her casket. Brangtine, unwilling to aee hel miMMi 
die. secretly substitute* for the poison a love podon, the oCact of 
which is immediate, and the lovers sink into each other's anm jort 
as the ship approaches the shore and the King arrives to claim hi* bndn. 
Act II takea place in the garden outside Iiaide't chambor. Tk* 
King has gone on a hunting expedition, but BrengOnt (eara that it Im 
merely a ruse, and thinks the King's courtier, MM, ausped* dia 
true slate of affairs. BrengUnt then confesses that aba intentimallr 
substituted the philtre for the poisoned cup intended (or TrMi. 

<I fDlty! 

Thai I f 

of thai p 


: then thy death! 
''of t 

ork hu contrived t) 

This umfessioi 

... I meets with but faint reproachea from Inldt. who i 
wholly to the intoxication of the potion, and aings with growing sulfation : 

Dein '^txV. ? (Thy Act ?) 
By Johaoas Gadski, Soprano 

(/n Cennan) 8816S la-ioelt. »XNI 

"Ah look again: it haib the ararf of dawn, ihc star? art flii-hcd wiih crLni'O". and Ihe 
iky holds >aim' new lighi I know not!" <Tri«tan and [soldt— Act 11) 


obI for Tristan' I coming by ex- 

sues, inierrupfed by the mum 

Mark billerly rep roach u his 

RefuHmg to heed Brangdnt's warning, holilc Rive 
tinguishlng ihe torch. He appears, and a long love 
of the King, who ■uTpriaot the 1ov«r> in a fond < 
nephew, and Melol. shouting "treason." stabs Tritlai 

The third act shows Tristan dying of the wound at his castie 
has been carried by his laithFul servant, Kumnat, who has sent i 
■he alone can cure his mailer's wound by means of her healing arts. 

Despairing of her coming. Tristan in his delirium tears off his bandages and is at tlic 
point of death when Itolde arrives, and dies in her arma. King Mark and Kis couttiera, 
closely pursuing Isolde, now arrive and are attacked by Kurvrnal. who kills Melot and is 
himself slain by Mark's soldiers. Mark, seeing THslan dead and Isoldt senseless on his 
body, repents his rage and gives way to griej. /sotJe revives, and when she realizes dial 
Tristan is dead, her grief bursts forth in the heattieoding Ijiut-Dialh moUDe: 

Then she sings this wondrous death song, so full of touching sadness and inexpreHible 

sweetness, and expires upon his body. 

Isoldes Liebestod (Isolde's Love-Death) 

By Johanna Gadski. [In Ctrman) 8t)OSe 12-inch, »3.00 

By Victor Herbert's Orchcstrs (Daiii^-faaJ—SK hloa) 55041 la-inch. 1.50 
By La Scab Orchcttra (.lAvUc-facnJ—SoL Uou) 6BZ10 12-iach, US 


^ ss 

d tofily he ii t.niillng; 

*v,fllinB, >ll things telirnB, 


g breathing win IheBlT 

'[l;:«ga»r-s ' armi upei Triilon't 
^n</.v. /•rofound imoiioii a«d orirf 

.o^...,,.., ^. .„■....,.- " hlrssim/'o'H 'h4' dtad° Curtai 


/Isolde's Liebestod (Icoldc** Love Death) By Herbert's Orch\-,n., ,_ - _i „ 
\ Treumc (Dreams) (Wagner) By Ulclor HcrierlS Orche,lrar'^°*^ 

/Prelude By U Seals Orchestral.--,- ,, j„„i, , 

?;«>!de'. Love.D«th By L. Orchestraf*®^'" 12-in«li. 



(&; Tnh-aih-KiK-'tl; 


Words by SalvBtore Cannnanaro. the iitDiy being suggcBted by a Spanish dTama of the 
ume name. Music by Giuseppe Verdi, Produced at the Tealco Apollo, Rome, January 19, 
1633: at the TUaite da llaliaa. Pari., December 23, 1854; at the Opiia. Paris, M 
Le Trouvire, January 12. 1857; at Covent Garden, London, May 17, 1855; in Engllih oa Tht 
Gypiy'i Vtagtanct, Drury Lane, Match 24, 1836. First New Yoik production, in Italian, ApTil 
30. 1833. with Brignoli, SteRanone. Amodio and Ve.tvali. First Philadelphia production «t 
the Walnut Street Theatre. January 14, 1856. and at the Academy of Music February 25, 
IB57. Produced at the New Orleans Opera April 13. )837. A German version was given 
at the Metropolitan Opera House in 1689. Some notable revivals occurred in 1906 with 
Caruao. Eamea and Homer; and again, in 1914. with Destinn. Ober, Marlinelli, Amato and 


LEONORA,(i,«e-o*.ni.A'.roA)anobteladyoflheCourtof an Aragon Princess. Soprano 

AZUCENA, (Ahi-iiotKhau-nah) a wandering BiKayan gypsy Mezzo-Soprano 

Inez, l&'.«i) attendant ol Leonora Soprano 

MANRICO, (Man-«'.^A) a young chiehain under the Prince of Biacay, 

of mysterious birth, end in reality a brother o( Count di Luna Tenor 

Count DJ Luna, (a* L»'.imA) a powerful young noble ot the Prince 

of Arragon Baritone 

FERRANDO. a captain of the guard and under di Luna Bass 

RUiZ. a aoldier in Msnrico's service . Tenor 

AN OLD Gypsy Baritone 

Also a Messenger, a Jailer, Soldiers, Nuns, Gypsies Attendants, etc. 

Scene and PtHod; Biicay and Aragoa ; middle ef the fifteenth century. 



SCENE l—VtMhilt la AHeftria Palact 
Aa befits a tragic work, // TVoMlorv opena in an atmotphere of ramaiice and myiteiy. 
The retainen of Court! Jl Luna await the arrival of their muter, and to beguile the time F*r- 
rondo relates the history of the Coiint*a childhood and the loaa of hia brother, 

Abbietta zin^ara (Sv'arthy and Threatening) 

By Torres de Luna and La Scala Chorus {In Italian) *62416 lO-incb. fO.rS 
The brother, aa an infant, came under the evil eye of a witch, who was seized and con- 
demned to the stake. This witch had a dBUghtei, who determined to avenge her mother's 
fate, with the result that the Count's younger son disappeared ; and after the witch's burning 
there was discovered upon the pile of charred emben the bones of a child. This stoiy is 
told in the Abtletta to a fierce rhsrthmical tune, expressing all ahades of horror. 

of fori 

and aiTcction. 

. which 

is mingled with the comments 
of the listenefB. who tell of the 
reputed appearance of the 
witch in ghostly shape. 

Suir orlo dei tetti 
(As a Vampire You 
May See Her) 

By 'Torres de Luna. 

Bass, and La Scala 


"Ibbii 10-inch. 10.75 

To the voice of the narra- 
tor is added the awe-stricken 
whispers of the chorus, which 
afterwards awe 11 into a cry 
of fierce denunciation. The 
foreboding bell and an instru- 

Ha.chir,R the young..r (or hi,. «ift i.roULtion 

A good aaiiK found cinplurmcnt. 

One morning, Sb Ihc dawn'i RrM rays were 

Of he" da?£'"'^niy''i;r!!^i.* slrange'*"»"m1>!)1. 

<>'™"hl' babe ski>t.ii.g— with fierce looki 

bending.'d she upon him. black deed* inlcndingt 
Horror profound Kiud thi- nurse ai that 

dark vision: 
And Itac dark intruder wsl soon exprlkd. 
Soon Ihey found tht child was failing. 
Coming darkneu spnall'd him. 
The hiK't dark .per «ilhra11'd him! 
(.-)« aPCfur hoTrifrd.) 

Sought Ihey the gyns-y, on all nLdci luroing, 
Sci/d and condcmn^rfhcr to death bv burnmjt. 
One child, aci-urscd. left shr rctnnining. 
Quick to avi'nge her, no means dixUining. 
Thun ^br Dec<ininlislK-d hrr dark rctributioni 
l,u<t was the Count'- rhitil; xrareb unavailing: 
Hut nn thp site of Ihe halt'* execution 
They founii. 'mill llie embrrx. 



twelve, and > 

» of "Cur 

SCENE U — The GatJeni of Ihi Palaa 
The Tair Leonora now appears with her faithful ct>mpuiii>n, Inez. She confidee lo /we 
hci inleiest in the unknown knight whom she hod fir« Been M the Touitiament. 

Tacea la notte placida (Peaceful Was the Nighti 

By Lui»a Tetnizini, Soprano (Inllaliant B8420 12-inch, tS.OO 

By Edith Helena. Soprano (In Engluh) '35214 12-iiich. I.2S 

By Lucia Crestani. Soprano {In Italian) '16655 10-inch. .7S 

In tliis wistful air, lO unlike the weird music preceding it, she speak* of the Troubadour 

frho serenadea her, and of tbe feelingi which have been inspired in her hreaat by his aong. 



In t 

i Ihril 

ho» bright! Itrtathing to Heav'n an ramcsl prayV, 

-r 'htd b 

tr liahl. My htarl with deep roy (illiiiB. 
around: i l»rd a v<,l.-r oA L/ard bcWe. 

r. My lotiit-lovcd knigbllj Truubadour! 

the hou 

ae jual as the Count, who is also wooing the fair Leetnra, lip. 

ir. lo w 

Deserto sulla terra (Naught on Earth is Left Me) 

By Nicola Zerola. Tenor ■Inllalian) 64172 lO-inch. »1.00 

In this beauliiu! serenade, one of the gems ok the opera, the Tmuba- 
ings of his lonely life and the one hope that lemains to him. 

The Couni ia Riled with 
uve in sons, and when Ltono. 
.( di Luna hMiKs in a storm i 

pon tl 

. bo,h 

I her lover, the angei 

Dt geloso amor sprezzato (Now My Vengeance) 

By Maria Bcrnjcchi. Soprano: Luigi Colaiia,Tenor; Ernesto 

Caronna, Baritone [In Italian) *16e08 10-ineh, »0.7S 

Manrico defiea him and ihey agree lo fighl to the death. Leonora 

which inapiicB ihe rivals, and after the powerful and exciting irio they 


ACT n 


SCENE 1 - A Gupij, Camp In the Biscay Mom 



We are now ,n the gvp« mor, 

ling, as ihe 


ay before the daw 

n. the men ate beainnin« 

;o work, and in this, the famou 

■ Anolt Cheru!. ihey hsmmei 

r as ihey ■ 


La zingarella (Anvil Chorus) 

By La Seal a Chorus 

(In Italian) 




By Victo 

r Orchestra 


10- inch. 


By Victo 

.r Male Chorus 

(In Engli,h) 




By Victo 

r Male Chorus 





The swmgin 

ring of blows on 

the anvil 

1. and Ihe 


raices of the me 

n and the sound of ihe hammei 

ra make a truly ij 


musical picture. 

Lays by her gBrmfnIs of sorro* and vr. 
Rmi'e up, to labor! 

0^-FacidRta,rJ—Sapata526 aniS27. 


Axaetna. (he OTiyi who now mppetm, pTorea to be none 
other than the witch's daushter ipotcn of in the 6rH act. In 
the highly dramatic (Ong allotted to her she relate* to ManHce 
the dreadful alory of the death of her mother, who had been 
burned at the stake as a witch by the father of the preaent 
CHInf dl Lima. 

Stride la vampa (Fierce Flames Are Soaring) 

By Louiie Homer, Contralto 

(/n Italian) 67033 10-iaeh. M.OO 
By Margiretc Ober, Contralto 

(InllaUan) 64506 10-inch. IXW 
By Lina Mileri, Contralto 

{In Italian) *16eoe 10-inch, .75 

In the aria she mentally iivea again through the acene of 
her mother's execution, each horrible detail of which ii 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 ao grim a recital. 


\Vhilt, oVr 


I prrs! 

Rpbfd ii 

eflf Cling, with wild, uneartbly 
of flame curt. aKcndlni Is 

Queationed by Manrlca, Arucena tells him the atory 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 freiLiy she had 
destroyed her own infant, 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 of emotion that her tale has excited. 

Condotta eirera in ceppi (In Chains to Her Doom They Dragfed 

By Lina Mileri. Contralto (In Italian) *39176 12-inch. (I.2S 

The story has set Manrico thinking, "If your son perished." he asks, "whose child am 

1?" But the gypsy, with a born instinct for dissimulation, avoids the question, still claiming 

him as her son. She reminds him of the almost (stal wounds received in an attack from the 

Counf Jl Luna and his men, from which she had nursed him back to life. 

To n 


n<'1d of bslllc 

Mai regifendo all'aspro assalto (At My Mercy Lay the Foe) 

By Louise Homer and Enrico Caruso (In Italian^ B90A9 12-inch. t4.00 

By Clotilde Esposito and Luitfi Colatta {In Italian) ■16950 lO-inch, .79 

In the opening strain of this air, Manrfco tells of his single combat with the Counf. in which 

by an irresistible impulse, after felling his antagonist to earth, he spared the noble's life^ 

The voice of the^gypqr dien bids him never auin to allow their enetny to escape, but to 

' ' ' r the denth-blow. ManHto'i sUry of the dual ia eapressed by ■ 



of ihe duel. 
SCENE II Tht Cloi 

.r, „f a 


" II balen. 

II balen del suo sorriso (The Tempest of the Heart) 

By Emilio de Gogorzi, Baritone {In Italian] B8175 

By Giuseppe De Luci. Baritone (In Italian) bibbB 

By Francesco Cigjda, Baritone (h Italian) * 1661 2 

By Alan Turner. Baritone {In English] 'IbSai 

This solo almost wins iKe Count our sympalhy, in spile of ourselves, so ge 
felt an expresaion of the tender paasion it ia. 

[n this 
to the fortunes of the Count . 
and Uonora. She, believing 
Ihe Troubadour la hnve been 
killed, presumably in e recent 
duel with his rival, has deter, 
mined to enter a convent. Dl 
Luna appears in front of the 
convent with the intention of 
carrying her away before the 
ihflll hav 

> his fan 


iitT beai 

The convent bell is heard tolling as a aignal for the final i 
nun. The Coun(. in ■ burst of passion, declares ihey must seize 

Per me ora fatale (This Passion That Inspires 

By Ernesto Caronna and La Scala Chorus (In llallan) 
This declaration is expressed in a vigorous air. 


*I6814 lO-inch. *0.75 

The Cow 

ind his retainers conceal iher 

! the 

s Ihe 

Ah ! se Terror t'ingombra ("Mid the Shades of Error) 

By Francesco Cicada and La Scala Chorus (/n Italian) *16S50 10-inch, *0.7S 
The women sing of 
place of concealment th< 

Oh. daughter of Eve, shilL close o 
Then will Ihou know that life 
Is but a shadow, a fleeting dieam 
Yes. like the pasting of a shadow 
Arc all our eailhly hopes! 

and worldly ihoughl 


n dolh Huvcn, contending 

Aa the nuiu appear, conducting the penilent, the r 

ruth out and aeize Ltonora. n> ii^^^^^W J 

The calculations of dl Luna ore once more upaet, for just as ^HMaHflB^ 

he interrupts the ceremony. Manrico unexpectedly appear*. ^^^^^^^^^^K 

Ltvnora, overjoyed to find her lover still living, begins the great trio. ^^^^^K^ . ^^H 

E deggio e posso crederlo (Blessed Vision) ^^^^■j^^ft 

By Grisi.Saofiorsi, Cifada and Chorus ^^^^^^I^^^^H 

(In Italian) *3M76 12-iach, 11.23 ^^^^K^^H 

Leanota foregoes her religious vows, and the lovers, for the ^^^^^^k^^^^B 

lime united, make their e*cape. to the chagrin of the baffled ^^^^^^B! ^^^^ft 

Count, while his men are defeated hy Manrtce'a followers. H^^^V^ ^^^^ 


SCENE l—Tht Cunp o/ A Lano 

Squilli e che^gi la ttomba (Soldiers* Chorus) ' "" " "*"'"' 

By New York Grand Opera Chorua (/n Italian) 640SO 10-inch. *1,00 

Act III opens with the choTvis of Jl Luna 't men — called the SoUlea ' Cfxmu. 

Now [el the trumpet in war tonrs reiounding. 
Call to aima, with courage bold, wi^'ll maich 

Hajjlv. to-morrow, our proud foes confounding 
On their walla shall our banners be planted. 
.Vt-'cr ninre brilliant were prospect victorioui 
Than the hopes which our hearts now elate. 
Thence, weTl gather renown, bright and glo- 

ilun°a'rand booty for us there awail. 

Gtomi poveri vivea (In Despair I Seek My Son) 

By Ida Mameli. Soprano; Renzo Minol&.Banlone: Cciare Preve, 

Baritone; La Scala Chorus (/n llalianj *35177 12-ioch. (1.23 

A scouting party from the Count's troops have fallen in with Azucena. and now bring 
hei to the Counf as a possible spy. Inquiries as to her past immediately connect her with 
the episode of the Giunf'i childhood, and Fenonde declares her to be the murderess of 
<A Luna'i lost brother, j4zucena in her extremity, cries out the name of Afonr/ca, and the Counf, 
finding she claims the Troabadear as her son, vows upon her a double vengeance, and she ia 
bound and dragged away. The gypsy's pleading, the CounI 'i threatening anger and triuropha 
with the accompanying chorus, combine to malie a moving and dramatic eniemilt, 
SCENE II— Manrieo'. CulU 
The scene changes to the castle wherein Manrtco and Ltonora are at last enjoying a brief 
honeymoon, though in expectation of an attack from the baffled Counf dl Luna. Here Man- 
rfcD sings a tender farewell to his beloved ere he departs to repel his rival's assault. 

Ah, si ben mio (The Vows We Fondly Plighted) 

By Enrico Canuo, Tenor (/n /fa&nn} B8121 12-inch, tSJtO 

By Giovanni Martinelli. Tenor (tnltaUm) 74439 12-iaeh, UO 

By Gior^ MalcMl. Tenor (/n ttaUan) *16609 10-inch, ,73 

*~MUwrf Rtaui-Sm ptfH 526 vJ527. 


L tH hopcfi 
it our Iffe 

But, if. upaa the fhtil mhc 

Of dcslinT impending. 

I'm doom'd ■moDI the lUin lo Ml. 

'Gainst hoalilc (rms conlendinf. 

In life's lut hour, wilh fiintioe breUlb 

My Ihoughlii will turn lo \btt. 

PtecciUng thct lo Ifcivrn, wilt deitb 

s» soon departs, for ihe news cornea t 
captured Azaiena. and are piling up faggots BTOUnd 
which she is to be burnt. Maddened at the appioach. 
upon onr whom he believ« to be his mother, Monrico 


: <o this 

ial fire 

Di quella pira (Tremble, Ye Tyrants) 

By Francesco Tamafno. Tenor 

„„, >lnllaban] 95006 lO-JDcfa, »5.00 

ii-eiAS AS ^l^^B^cn ^^ Enrico Caruio. Tenor 

{in Kelh .) 8T001 lO-inch, Z.OO 

By Giovanni Maninelli. Teaor (In llalh \) 64909 lO-inch. IjOO 

By Nicola Zerola. Tenor {In llaliu,i) 64170 lO-inch. l.OO 

By Giovanni ValU. and La Scala Cboru* [In Italian) '16809 lO-incb, .75 

[t ia led up la by a very powerful introductory passage, and the high notes at the end, 

delivered in robust tonea, never iail of their effect. 

- ",«iAAaJ/irairJ—Sc KWr 527. 




» " ■^^ 


i'~-"fcil IL ■ 

i> - tf^ "^^ 19 






::^£^>tt^ \' ^s-^A^H 



m MaJK'~%^ NnX^b^^B 

UBril^' V^l 


i2^2MB^i^^*t£I-, ~^^mt^OJ^MU 


The Death of Leonora 



The lael act bring! us oulsidc thi 
JlLuna'i men, and thir syspy. 


ioro/Ihe Palact of AliaffHa 
idc the polace o( Aliafaia. whcrem Manrico. defeated by 
confined in the dungeons, 
iga the plaii ' 

Hither Leonora ha* wended her 

D amor sull ah rosee (Love, Fly on Rosy Pinions) 

By Luiia Tecraizini. Soprano i/n Ilaliani 86426 

By Emmy DcBtina. Sopnno I/n Italian) 88557 

By Lucia Crcjuni. Soprano ([n Italian) "IbBlO 

leiodioui Eir reveals her grief for ihe sorrows which she 



In ptiy ai4 m*. my 



Cdnule hit iplHl fiilinB. 
Aroundl bini, comfort hrrtlhini 


V comes Verdj'i most famous operatic scene, the great Mitererc. 

Miserere (I Have Sighed to Rest Me) 

By Enrico Caruso. Tenor: Frances Alda, Soprano: 

Chorus of the Melropolilan Opera l/n llaHan) 

By Deatina ind Martinelli </n Italian) 

By Olive Kline. Soprano: Harry Macdonough, 

Tenor: and Victor Chorus (/n Englhh) 

By Ida Giacomelii, Soprano : Cino Martinez -Patti. 

Tenor: U Sola Chorus (In Italian) 

By Stevenson. Macdonough and Chorus Un EngliM 

By Arthur Pryor and Emile Keneke (Tron>bone-Comeli 

By Walter Rogers and Arthur Pryor (Corn;!- Trombone) 

Leonora » terror-stricken at the solemn tolling of a deep-tc 

chorus of priests chantmg (or the soul ol a doomed prisoner. 

■39443 12-inch, 
■35456 12-inch. 

Pray Ifaal peace may attend a soul dtparling. 
Whither no care or thought of earth can 

LmS 'up^biyond 'ia life^delusionf hglfovr. 
Then follows on impressive series of chords in t 
orchestra, leading to a sobbing lament of Ltomrra. 

s of i 

I darken 

In upon this there breaks the beautiful ait of the 
Ttoahadoar, sung within the prison, followed by n joyful 
cry of devotion from his beloved. 

rnts. first given separately, are next combined and heard together, forming '' 
scene of touching beauty, for which the opera of It Trovalore will ever b^ 

The entrance of di Luna brings from Leonora a prayer for mercy for the prisoner. Thi 
appeal is unheeded, or rather it appears to increase the triumph which belong* to the Counl'$ 
vengeance. The appeal of the unhappy woman and the fierce joy of the gratified noble are 
powerfully expressed in this magniiicent duel. 

*Doahk-Fiiai Rtcerd—See mh 527. 


Mira d*acerbe lagrime (Oh« Let My Tears Implore Thee) 

By Johanna GacUki, Soprano, and Paaquale Amato, Baritone 

(In Italian) 89069 12-inch, $4J00 
By Maria Bernacchi and Ernesto Caronna (In Italian) * 168 10 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 LurM *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 Johanna Gadski, Soprano, and Pasquale Amato. Baritone 

(In Italian) 89070 12-inch. $4.00 

By Antfela de Angelis and Francesco Cigada 

(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 II— rAe Prison Cell of Manrico 

Yet a third duet — the famous Home to Otr Mountains, The scene has changed to die 
prison interior, where Azucena and Manrico are together, and the gypsy, with the second- 
sight of her race, predicts her approaching end. This familiar duet is considered by many 
to be the gem of Verdi's opera. 

Ai nostri monti (Home to Our Mountains) 

By Louise Homer, Contralto, and Enrico Caruso, Tenor 

(In Italian) 89018 12-ineh, $4.00 

By Ernestine Schumann-Heink and Enrico Caruso 

(In Italian) 89060 12-inch, 4.00 

By Vessella's Italian Band *35239 12-inch, 1^5 

By Marffuerite Dunlap and Harry Macdonough 

(In English) ^35443 12-inch, 1.25 

By Clotilde Esposito and Luiffi Colazza {In Italian) ''^ 168 11 10-inch, .75 

By Corinne Morgan and Harry Macdonough 

(In English) * 16407 10-inch. .75 

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. 

Mankico: Azi'cena: 

If any love remains in thy bosom. Yes, I am Rrief-worn and f«in 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 

blumber. Rouse me I its horrors may then depart. 


Rest thee, oh mother! I'll watch o'er thee. 
Sleep may restore sweet i)cace to thy heart. 

A fierce and avenging gypsy no longer, but a broken woman whose consuming passions 
of remorse and revenge have died away, she dreams of the happy days gone by. 

AzucFKA (drraming) : 

Home to our mountains, let us return, love, Azucena: 

There in thy young days peace had its reign: O sing and wake now thy sweet lute's soft 

There shall thy song fall on my slumbers. numoers. 

There shall thy lute, make me joyous again. Lull me to rest, charm my sorrows away. 

Manrico: Both: 

Rest thee, my mother, kneeling beside thee, t m1i / me \ , _ _... • 

I will pour rirth my troubadour Uy. ^'"" t thee / *** '*"' 

^DoukkJ^meeJ Rseori—Sst p^527. 





lelf. H,. 

< Uanora of bell 

•cene, bringing Man 
'oyed when the prifto 
which is lo iiim d« 

Ha quest' infame (Thou Hast Sold Thyself) 

By Ida GUcomeUi. Saprano: Lioa Mileri. Contralto; Gino 

Martinez-Palti. Tenor l,ln Ilatian) »35IZr 12-inch. «1JS5 

Here Acaccna. who carea nothing for hia poaaion, counaels flight. Thia gives the elc. 

ments oF ihe closing trio: Manrico') reprotuhea, Lecnora't ineffectual pToIeataliona, and the 

gypsy 'a voice through all, ainging dreamily of hei* mounlain home. With these minglt»l 

voices dying away into aoft hormoniea the muaical portion of the opera dravra to a close. 

ISancr'd a 

Leonora, -who had already taken the poiaon, now sinks dying e 
pleada forgiveness as he learns the truth. Dl Luna now enters, and 
■etf cheated of his promised bride, onjets the Tnatadoar to instar 
taken out by the guards and beheaded. 

At the moment of hia death, the gypsy awakes, and not sreing Manfho, lealiti! 
he has gone to hia eiecutiott. She draga the Count to the window and erica to him: 
have killed your brother 1" Dl Lana utiera a wild cry of remofae and falls senaeleas 
ctirtain slowly deacends. 

'i feet, and he 
It finding him- 
nn. ManHco is 

Genu from "Trovitore" 

"Soldiers' Chorus"— Solo, ■Tremble, Ye TyranU" (» qadla p/ra)— Solo, 
" Tempest of the Heart " (W balen) — Duet, " Home to Our Mountains "^Solo, 
•■ I Have Sighd to Rest Me "—Ensemble. " Miserere " 

By Victor Opera Company {In Engllih) 31888 12-iach, ll.OO 

ICondotta ell'era in ceppi (In Chains to Her Doom) 
By Lina Mileri. Concralto {In Ilaliat 
E deegio e poaso crcdcrlo (Oh. Blessed Viaion) 
By Griai.Saneiorgi, Cit;ada and Chorus (/n Italian) 
IGiorni poveri vivea (In Deipair I Seek My Son) 
Ida Ma m el i. Soprano: Renzo Minolfi. Baritone: Cl . . 
Preve. Baritone: La Scala Cboru* (In Italian) , 

Ha quest' infame lAh. Thou Hast Sold Thyself) 
Ida Giacomelli, Soprano: Lina Mileri. Contralto: < 
Martinei-Patti. Tenor {In 

[Trovatore Selection By Arthur Pryor's Band 

n. Act 111-' 


1— "At Thy Mirty." Act II 
Traeiala Selection ^ Arthur Pryor'i Band 

(Di geloso amor sprezzato (Now My Vengeance) 
By Bernacchi. Colazia and Caronna {In Italian) 
Stride la vampa (Fierce Flames Are Soaring) 
By Lina Mileri. Contralto {In Ilallan) 
IAbbietta lingara (Swarthy and Threatening) By Torres 
dc Luna. Basa. and La Scale Chorus (/" Italian) 

Sull' orlo dei tetti (As a Vampire You May See Her) 
By Torres de Luna and La Scila Chorus {In Italian) 
• D«iNi-FaaJ Rxoni—Ste otta tit. 

3SI76 12-inch, 1.2S 




1 2-inch. 1 .29 

16606 10-inch, 

62416 10-inch, 


Tmcea Im notte (Peaceful Wat the Night) By Edith ] 

Helena, Soprano (/n £n^AjA)>35214 

Luda — MaJ Scene By EAlh Helena, Soprano {In Engllah)] 

Still' orlo dei tetti de Luna and La Scala Chorua (In Italian)] 
Tacea la notte placida (Peaceful Was the Night) [ 16655 

By Lucia Crestani, Soprano (In Italian)} 

Mai reggendo airaspro aaaalto (At My Mercy Lay the ^ 

Foe) By Clotilde Eaposito and Luigi Colazza (In Italian) I « 
Ahl ae V error t* ingomhra (*Mid the Shade* of Error) [^^^^^ 

By Francesco Cigada and Chorua (In Italian)} 

[11 balen del auo aorriso (The Tempest of the Heart) ] 

By Franceaco Cigada, Baritone (In Italian) 1 1 68 1 2 
Martha — Porter Song Qjf Carlo3 Frandaco (In Italian) j 

fPer me ora fatale By Ernesto Caronna. Baritone (In ^'<'''<">)\i6ai4 
L Pagliacd— Opening Chorus, Son qua La Scala Chorua (In Italian) / * ^° * ♦ 

Ah. si ben mio (The Vows We Fondly Plighted) , 

By Georgio Malesci, Tenor ^(In Italian) 
Di quella pira (Tremble Ye Tyrants) By Giovanni 
Valis. Tenor, and La Scala Chorus -(/b Italian) ^ 

D*amor suil ali rosee By Lucia Crestani. Soprano (In Italian) ] 
Mira d*acerbe lagrime (Oh, Let 'My Tears Implore Thee) [ 168 10 
By Maria Bernacchi and Ernesto Caronna (In Italian) J 

IVivral contende il giublio (Oh, Joy, He*s Saved) 
By Angela de Angelis and Francesco Cigada (In Italian) 
Ai nostri monti (Home to Our Mountains) By Clotilde 
Esposito, Soprano, and Luigi Colazza, Tenor (In Italian) ^ 

Di geloso amor sprezzato (Now^ My Vengeance) 1 

By Bernacchi, Colazza and Caronna (In Italian) V62418 
La zingarella (Anvil Chorus) La Scala Chorus (In Italian) ] 

{Anvil Chorus Victor Male Chorus (In Engli3h)\ 

TannhHuser — Pilgrims ' Chorus Victor Male Chorus (In English)} 

/Anvil Chorus Victor Male Chorus (In E"8lf*h)\^j^2A 

\ Sarraon and Delilah — Spring Flowers Women's Chorus (In English)! 

I Anvil Chorus 

\ Forge in the Forest (Michaelis) 

Home to Our Mountains By Corinne Morgan, 

Contralto, and Harry Macdonough, Tenor (In English) ^16407 
Bohemian Girl — Heart Bow *d Damn By Alan Turner (In English) 

{Home to Our Mountains By Vessella*s Italian Band\^^^^^ 

Rigoldto—Qvartd (Verdi) By KryVs Bohemian Bandr^"^^^ 

Miserere By Olive Kline, Soprano ; Harry Macdonough, 

Tenor : and Victor Chorus (In English) 

Home to Our Mountains By Marguerite Duniap, 

Contralto, and Harry Macdonough, Tenor 

Miserere By Giacomelli, Martinez-Patti and Chorus 

(In Italian) 
Rigoletto — Quartd By Hugud, Zaccaria, Lanzirotti and 

Cigada (In Italian). 

fMiserere By Stevenson and Macdonough (In English) \ 

\ I Would That Afy Looe By Steoenson and Macdonough] 

jMiserere By Pryor and Keneke ( Tromhone- Cornet) \ | ^o 7 « 

\ Spring Song (Mendelssohn) By Victor String Qaartetf * ''^ ' * 

{Miserere By Rogers and Pryor (Come/- Trombone) 1 . ^ -g^ 

Chant sans paroles (Tachaik^josky) Ssf Vienna Siring Qaariei) 

By Alan Turner (In English) I , ^it^ , 
SpAlanTtmm (In EngliMh)r^^^^ 




Victor Orchestral. -231 
Arihur Pryor *s Band} 

12-inch. $1^5 
10-inch, .75 

10-inch, .75 

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

16809 10-inch, .75 

10-inch, .75 

16811 10-inch, .75 

10-inch, .75 

10- inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 
12-inch, 1.25 

35443 12-inch, 1.25 

35456 12.inch, 1.25 


rempest of the Heart 
C ai ms n - Toreador Song 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 



Text by B. Bunge ; muiic by Vic- 
tor NcmIct. Fint pnxluction Leip- 
DC 18S4. PrcMtnlcil at the Metropol- 
itBn Opera HouM^ New York, Novem- 
ber 23. 1867, with Robinion sad 
I I II ^m ^m ^^H FiKber, and revived there in 1889. 

'V /^a ^M V ^^Pl Civen at the Harlem Opem Houm, 

" ' ' ' " "^^ ^^ t^^^i November, 1890; by the Emma juch 

Opera Company. 

^^^_^ Charaeten 

4 '^A^^Bu ^^^ Baron von Sckgnau . . Ban 

_t .mJ^^^^^K Maria, his daughter ,...,. Soprano 

Count Wildenstejn Ban 

DAMIAN, aon of the Count Tenor 

Werner Kirchofer . 

KONRADIN, foot ■ " " 

tt^J^^^^ Thne aoJ Plaix : HtUdheg and S^ 
klngen 1 KDenleeniA cBihiiy. 

Neaaler has taken Scheflel's poem 

and built the charming little metrical 

romance into an operatic production. 

The ilory tells of a young itudent of 

"" Heidelberg. fK.mer Kirchoftr. who. 

'ersity (or aerenading an Engliah prii 

' S»kkii 

where the ] 

on the. 

1 due 

IVimtr reachea th< 





later b 

Bawn K>n Scho 

■hall m 


cled a1 



the bu 

gler fro 

m the 





t the C«,f,(«j of tVlldc 
a, from the insult* of the rabble, and 
leler in the cattle of Maria's father, the 
W^m^and Mario fall in love with each 
eady been planned that the young girl 
the son of the Cour-I of Wildtn,ldn. who 
castle shortly. The CounJejj surprises 
to Maria, and the Baron angrily orders 
castle. As Wemcr is departing, the 
rebel against the Baron and attack the 
er, gathering the besieged forcei 
gether. succeeds in driving off the asssilanls. In the m 
time, Damian and his father hove arrived, and during the 
flict the young man shows himself to be a coward. Count 
Wlldcnslcin happily recogniles iVtmtr as his long lost soi 
^vho had been stolen as a child by gypsies, and the Baror 
reconciled, gives the Trumptler of SScltirtgin his daughti 
Maria (or a bride. 

A record of the best known air from this populs 
German opera has been made by Mr. Goriti. 

Es hat nicht soUen sein (It Was Not 
So to Be) 

By Otto Goritz, Baritone 

74212 I2-uieli, (LSO 




Text by Scribe and Duveyrivr. Music by Verdi. FirsI given at the Acadindt, Paii^ 
June 13. 1655. Fitut performance in Italy al Parma. Tt,ilio Rtglo. Dfcsmber Z6. 1855. A 
revised version was given at La Sco la. Milan, in 1656, as Gimanna dl Guzman ; mA axHaplem, 

fcIUBry. 1837. under the title of BalllJe dl Tutenna. The first London produclioD was at 
uryLane, 1869. with Tietiens, Monginl and Vialelti. The work was pTewnted in New 
York at the Academy of Music. November 7. 185Q, with Calson, Bri^oli and Ferri, and re- 
vived there in November. 1866. 



ARRIGO, a Sieiiion officer 

DLiCHESSE HELeNE, a prisoner 

John of PROQDA. a Sicilian conspirator. . 

. . Baritone 
. .Soprano 

Verdi's Sicilian Vrsprti followed ihe composer's Ttaolala and was written for the Put* 
Optra, being produced there June 13. 1855. It is a brilliant work, but hai never been 
popular, and much wonder has often been expiessed that Verdi, in writing for the French 
■lage. should have selected to inappropriate a subject as the Sicilian massBcre of the 

But the young composer could hardly help himself, as the libretto was offered to him 
by the great Scribe, then in the height of his glory. The French, however, kindly over* 
looked the plot and welcomed the composer's line music most generously. 

The scene is laid in Sicily at the time of the French invasion, and tells of the slaughter 
of the French at vespers, Easter Monday 1282. This maswcre was caused by the 
Viceroy's brutal attitude toward the Sicilians. 

Afrigo IS in love with Hilina. and the plot turns on his attempt to rescue her. He i* 
afterward discovered to be the son of the Viceroy. 

The most interesting number in the opera is H^Une's air. given here by Mme. 

Merce, dilette amiche (Thanks, Beloved Companions) 

By Luisi Teiroziini. Soprano (In Italian, 88504 IZ-inch. •SJKt 

Pur Xhtar dfliahtlul flow'ry. 
Your friendly gift but tytiifici. 

Your own sw«t gtn'rous doWr*. 
Oh, welcome, dur tltisnce. 

Which love for mv i» making. 
Since ye around mt mine ihc wT«ih', 

Mr w>i7«st Ibanlo shaking. 
Sicilun monnUins cUd with vincB, 

A. splendid day shsll dawn. 
Too long these awful feuds have raged. 

Hate's hesrt-corruptina spswn, 
Thic^day that brings my festal rite, 

■• 'nve, my •■— • fieala fait. 





Text and muuc: by RJcKaid WsHTie-. Completed in 1856. but not given until June 25. 
I8?0, Bt Munich. First London production, in Engli.h. at Covenl GBrden. October 16. IB9i. 
First New York production at the Academy oi Music April 2. 1877. with Mme. Pappenheim. 
Canlna. Li.tner. Bischoff, Blum and PreuBser. Not heard again in New Yotlt until January 
30. 1885. when Di. Uopold revived the work at the Metropolitan, with Brandt, 
Schott and Malerna. Since that time the work has seldom been absent (rom the Metro- 
politan, the latest production being that of 1915. with Kurt, Gadski. Matzenauer. Berger. 
Ruysdael and Braun. Among the artists who have appeared in the opera during the past 
thirty years may be mentioned the following: as 5«g/''"'' — Frematad. Ternina, Nordica. 
Motena. Saltzmann- Stevens. Osbom-Hannah : as firitnnMi/c -Ternina. Gadski. Watker. 
Lefflet-Buickhard. Matienauer. Notdiea. Litvinne. Weidt ; fl« 5/egmur,J— Burrian. Burgstaller. 
Dalmores. Urlus, Kraus; as l^ofan— Van Rooy. GHawold, Whitehill, Feinhals and Coritz. 


SlEGMUND (Z«g'-m«.nd) , - - Tenor 

HUNDING (Hoontf-lnti BaM 

WOTAN (p-oA'jflAn) . . Banlone 

51EGUNDE (Zcn-lln'-d'h) -Soprano 

BrONNHILDE (S/w.i-iil/'-J'Aj Soprano 

FRiCKA (Fillr'-ah) . ... Soprroo 

Valkyries — Gerhilda. Onlinda. Valtrauta, Sverlcita. Helmvisa. Siesruiw, 
Crimgerda, Rouviu. 

Brunnhilde Desrint ■ Wounded Wairiar to Walhalla 


IVaHan a the aecond in the aerica of 
t^c~Aramaa compoamB the Nitidiing Ring, 
m(Mt opera- Eoeraperhkpa tho moM 

m(Mt opera- Eoereperb 

^u* and pleuing. The ■ 

ful and compelling, the dtuationa hy tain 
thrilliDg and pathetic while the gloriotu miuie 
written by the matter to accompany the ad- 
^ venture* of hia mythical penonagea ia eaaity 
I underMood and appreciated by the averaga 

IVolan haa been warned by ErJa, th« 
/ 1 Earth Goidttt, that if A&trich regaina the Ainf 
J the goda muat periah. Brooding over thi* 
' impending fate, Welan deacenda to eaith and 
wedi the goddeaa: thit union reaulting in nin* 
■plendid daughtera, the IValkOrr, who are to 
aid in the aalvation of the god*. Riding fordi 
each day among the tumult and the atrifa 
which prevail on the eaith ai a reault of the 
Cune of the Iting, they cany to tValhatta, on 
their flying horaea, the braveat of the wanion 
who faU in battle. Theae revived heioea keep 
themaelvea ready to defend IVeth^Ia from the 
NUidanft,' But in order to regain the Rin^ 
a brave hero ia neceaaaiy, who ahall be free from the univeraal curae and who can take it 
from Fafntr, now changed into a dragon the better to guard the treaaure. With thia in mind 
ICoian visitt the earth again and wed* a mortal who bear* him twins, Slcgmund and Slt^itJe. 
While theae children are quite young, the brutal HunJing finds their cottage, buma it, kill* 
the mother and carries off Slegllndt, whom he afterward forces to become hia bride. 

The father and aon return and swear vengeance on Handing. IVolan (Icnown as Vohe 
on earth) returns to WalhaUa, leaving the young Sitgmund to fight alone and become a self- 
reliant hero. This is the situation when the action begins. 

(Walkure. Aci III.) 


SCENE 1-/ 

ntaior of Handing-, Hul in th-: 

Forat- a U 

irgt Tree rita through iht Roof 

The p, 

elude rep>M«n(. a feaclul 

foieal. in ihe midal ol which 

a«pn«oJ .ui 

sh« in exhausted, and falls 

by Ihe fire. 

Sleglinde gives him icfrcsh- 

,c.ion. While thev are eon. 

▼ersing, Handing enlcis, and aftec queg. 

mortal enen 

,y. He Bay^ "Thou .hall 

shelter tro 

I the 

■»-morrow thou „._ 

room, bidding Sieglinde prepare h 
ng drink. Sh^ does bo but puti 
ai it lo make him sleep soundly, and re- 
»."ns lo Siegmund. unatle to control h« 
eieat in the mysterious youth who has 
strangely affected het. 

Then occurs (he lovely LidiaUed. the 
n of this beautiful first act. 

egmunds Liebeslied [Sief 
jnund's Love Song) 

By Riccirdo Martin. Tenor 
iGerman) 88276 12-io., »3.00 
By George Hamlin. Tenor 
iCtrman) 74111 12-in.. I.SO 
By Paul Althouse. Tenor 

{Grman) '45076 10-in., 1.00 
By Tollefsen Trio ■ Violin-'Celh- 

Fiano: *I7749 lO-in., .75 ,..^«.. ..n ,~i, >rt..>,u,u— alt . 

The hut. which ha. been in semi-darkness, is suddenly illumined by the 
open of the great door at the back, and without can be seen the beauty of ill 
night after the storm. The full moon shines in upon them, so that they see i?a< 
eiearly for the first time. Sifgmund. in ecstosy, thapaodiies Spring and Love : 

bench, and continue 

tEc stout.81 doors L i» clEsving, 

Which, ilubbom and strong, once htld us from 

To »i«i liii sisirr swiftly he flies; 

Thut Love Ibe tpriiig hiLh illuicd. 

Within Dur bnsoms Love lay asleep 

That BO* lauRh* dhi to the licht 

The bride snJ Ihc liner » freed by Ihs 

With frenlle sceptre' 

Winter and storm 


'Daaik-FxtJ Recatd—Sf page 54 1 . 

bway he tulelh the Destroyed the walls that held 
me as bis strengtb U^iUd arVLovrand Ipring" 


of the SwOTd- 

atnuBCT had vuddenly appeared and 
tbruat into the trunk of the tree a magic 
•word which ihould belong only to him 
who could take it ouL The ctnngcr had 
•ecretly told SlcgUnde that no one but 
Sttgimmd would have power to remove it. 
Siegmund riae* eagerly, and goioa to 
the tree withdraws the iword with a 
mighty effort. The reunited brother and 
mtsr embrace each other and agree to 
By fmn the power of Handlnt- The 
curtain (alU n they poM out into the 

The love Kenea between Sitglindt 
and Slegmund should be considered in 
their allegorical and poetical sense, and 
not judged by modem ethical standards. 
Wagner intended this episode to repiesent 
the union of Love and Spring. 

SCENE \—A Wild and Rodat P<-' 
Walan and his Favorite VaOmU 

dau^ler, BrOnnhiUe, ere discovered in 

The VaUtyrSt eagerly prepares For her flight, and sings her Famous Baltlt Cry. 

I Ho. yo. to. ho t (Briinnhilde's BaRle 

By Johanna Gadski, Soprano 

(In German) 87O03 lO-iocfa. tZ.OO 

Some idea of the difficult nature oF this famoua 

Bailie Crg may be had from these ' 


and (he iiuiiU (hat SlegmunJ be puniihed. 
Wolan proteiUlhat thia Inie love romance ihoulil 
not be intcTfeied with, hut the wrathful wife 
remindt him that the whole difficulty U but 
the result of hii own inhdelity. and he is finally 
forced loiwearlhal Sftymuni/ shall be puniaked. 

Frtcka then triumphantly calU to BrOnn- 
hlldt that fVotan haa further inilnictiona for her. | 
BrUnnhtlde finds het father in deep deiection. 
and when she quealiona him he confides to her 
hi* effort! to find a hero who Bhall haniah the 
curie, but say* his quest has been in vain. 
He bids her see that victory goes lo Handing. 
She protests, but he sternly commands obe- 
dience and leaves het. 

Slegmund and Sicgllndt now appear, fleeing 
from the wrath of Handing. SiegUndt'i strength I 
haa failed her, and she falls down exhausted. 
Brannhildc comes to (he lovers and tells Siegmund \ 
he must die. He scorns her prophecy and saya 
his sword will not fail him. Handing't voice is 
now heard, and in a sudden wave of sympathy 
Brdnnhilde resolves to defend the young lovers, 

Slegmund rushes (o meet Handing, and 
amid flashes of lightning the warriors can be 
seen in deadly combat, while BrUnnMdt is visi- 
ble flying above Siegmund and protecting him. 
IVelon. seeing the situation, then appears and 
causes SlegmanJ to fall by his opponent's aword, 
but also strikes down Handing. ^^^^^^ 

BrOnnMde retreats in terror from her ^ 

father's wra(h. and runs to protect Sicglinde. She lifu the helpless T 
and (hey disappear. 

SCENE \—The Summit of a Rockil Mountain 

The ac( opens with the wonderful Aide ^ the Valla/rla, one of the most si 
the maater'a eompoaitioni. 



Ride of the Valkyries 

By VeneUm'i Italiui Band 

*39369 la-ineh Hai 
By La Scak Orcheitra 

*6a693 lO-ineh. .79 
In the Ridt of (Ac VaVairttt Wasner 
pictuiea the wild and wailike natuie of 
the *' vrarrior maida." It U one of the 
moat tremendoua compoaitioiu ia ex- 
Utence. The wild ahouU of the god. 
deaaea aa they nde theit winsed ateeda 
throush the air to the Rock. Otc wsiUke 
eiiea of Brilnnhllde and the neighing of 
the war horsea are aplendidly portrayed. 
The Valki^u aee BrllnnhlUt flying 
toward them, evidently in great diitreaa. 
She alight! and aaka her aiaters to ahield 
her from the wrath of Wolan, who i« 
riding in pursuit ; but they dare not 

Brannhildt then bida Sl^llndt Bee 
alone, telling her that ihe ia destined to 
bear a aon who shall be the hero Siegfried. 

Fort denn eile (Fly Then Swiftly) 

By Margarete Matzenauer, Contralto 

C/n Caman) 07102 lO-inch. *a.OO 

me hishcM hero of worlds hidest 

[She froducfi llit piecrl //I SiramuKd't 
from KHdrr hit brcajirhit and linndt 
IB Sirgliiidr.l 

-.•clr>f€i in blorib IJrioi 
ronrj up from Ihe fco. 
of iliundrr li;>i.i»-i :: 

irOnnhllde it 

Dare jre to veil her from Watan'i icnnance? 
(Branuhildi comit ant fnm tkt front.) 


: Ivioltnlly lUTlltdl: 

writ'M met Thmc aim I divine! 

Kann'd. liT^radrd fTDm thy b 

He then tsll* her thai (he mud be put in a deep aleep. 
•nd (hall be wakened by the firal idbd who paaaea. She 
plead* with him in a beautiful appeal. 

Brtinnhildes Bitte (Brtinnhilde's Appeal) 

By Johanna Gadsici, Soprano 

{In Cemian) 68183 12-lncb. •3.00 

That it ahould r. 
O <|wak. father 

fte, but make to me clear 
;uel firrnneu compela thee (a 

be won only by a sreat hero who car 
brave the flomea wiA which ihe ia lo b( 

W^otans Abschied (I) 
(Wotan's Farewell, 

By Clarence Whitehill. 

(German) 64218 10-ia„ 

!-1h vine la reach mr! 
W hrn 1 relinquish Ihcr. my brtoved 
Thou laughing deli|bl of mjr tytt, 
Tliy hril hlialt be lit with torchei 

ihall iiirdle the fell, 
ncnrcIiinKi scirinE Ihe timid 
may cross not nriinnhtlde'l 

BrOnnhllde sinks, wrapt and transfigured, on fVolan't breast; he holdi 
embrace. She throws her head back Bgain and gaze* with aole 
lather m eyei. 

Wotan'i Firevelt 


■Wotans Abschied OD (Wotan's 
Farewell. Part ID 

By Clarence ^^hitebill. Baritone 

(/n Gcnnon) 7430S ll-inch. 1140 


and clfar. 


" ' 






lej ( 

i'wart won 



■heir liwltous gaie lighls on me~QQW ■> mj 
lips imniint lHi< Ufl fareweU! 
In happier mortal here shall Ihcy bratii; 
'he KTief-sulferinR god may never henceforth 

behold them! 
low heirl-lorn. he gives thee hit lii», 
.nd takelh thy gcdaood away I 
e imprinU a long 
KiM on hec eyea ; ihe link* 
back in hU arm* with 
closed eyes, her powers 
gendy departing. He 
tenderlr helpa her to lie 
moaay lounge, 

■hield of the yaUaplt. 
point of his apear toward e 
q^ Firt. W 

Huge atone, and a 

!^ldi hear! Listen ar 
\s 1 found Ihce al 6, 


iaaues from the 
an ever bright - 

; bright flames 

Fire round this fell! 
Loki ! Loki I Appear I 

A atreatn of Are 
■tone, which .wella I. 
ening glow of flam . 
surround iVetan, leap in 

Magic Fire Spell (Feuer- 

By VeMclla'a Italian Band 

■3S387 12-inch, t1.2o 
By JuliuiL.Schende1. Pianist "" "'""' " »if.,mund 

'39448 12-incfa, 1.23 
By Alfred GrUnfeld. Pianiat 58006 12-incfa. 11.00 

The leavc-laklng and the breaking out o( the flamca are 
muaically pictured in one at ihote marvelous bila of writing 
which only Wagner could produce. The number begina with 
the passage just preceding IVolan'i summons to Logt. 


'DraH'-FactJ Rtant—Slt tatt54l. 



He who my sprar in snirii fMreth. 
Ne'er apTings ihraufih ihis fiery bat! 
He csMa a lart look on BrOnnhlJe a 
(Jiaappenr* through (he fire. 

{ The curtain fall: ) 

V3S387 12-inch. >US 

/Magic Fire Scene By VcmcIIi'i Italian Bandl -, 

1 Rltnit Ooerlurt (Wagntr) Bff Pryor'i Bandr" 

JMafic Fire Spell By Juliua L. Schendel. Puniiti ,, , . . , , .. . .. 

\_Ruat of Spring {SlnJlng) Papltlon {Grlcg) Jullu3 L. Schatddr^**^ la-iOCh, 1.25 

JRide of the VJkyrici By Ve.aeUa'i Italian Bandl -,,._ , - ,„„. , ^, 

1 Gollttdammtrung—Sltgfrlcd'tFantmlMmh Sj, Ksue/ia'. Banrff^*^*' 12-iilcli. 1J» 

(Ride of the Valkyriei _._._. 

1 Lohengrin— PrtluJt. JJcl 

iSiefmundi Liebeilied By Paul Althouae, Tenor {In Gtnnan)\ .-„-. 
\ Qecenda-Qtlcemat (/n /(aftan)/ 

By La Scala Orcheitral .,. „- ,- . ^. „ 



Ubrctto by Edouard Blau. Paul Milliel and George Hartmfln. founded uprm Goe' 
elanchoJy and romantic Btory ol hi> o>vn Ufc TAi Sorrow, of Wcrlhtr. Muaic by Maiu. 
mt produced al the Imperial Opera Hou«e. Vienna. February 16. 1892. with Van [ 
id Renard, FirM Pari, production al the Opira Comique. January 16. 1893, with \ 
Etna, Firrt Milan production December. 1894. Given al the New Orleani 0| 
avember 3, 1894. First American production in New York at the Metropolllan O 
ouBe. April 20, 1694, with Eames, Amold«)n and Jean d= Reffike in the cast. Revive 
e New Theatre by the Metropolitan Opera Company, 1910. with Farrat. Clement, G 
,d Dinh-Gillyi and at the Boston Opera in 1913. 



ALBERT, the bailiff Baritone 

JOHANN. r" f""*^' iTenor 

Charlotte, his daughter Soprano 

Sophie, her si«ter Mezzo-Soprano 

BUHLMANN Baritone 

KATCHEN Mezzo-Soprano 

Six younger children of the bailiff. 

Time and 'Plme 1 In the cidnily of Frankfort. Gttmany, 1772. 


Ab the curtain rises, ChmhlU, surrounded by her" 
brothers and siateri is engaged in preparing the 
noonday meai, WerfAer, a serious -minded and 

friend Alherl. who is betrothed to Charlotlc. The 
charming domestic picture appeals to Wtrthtr greatly, 
and he promplly (alls in lave with the young girl. 
When W<Hhtr find* an opportunity to tell Chariollc of 



la it he 


Albert to 

(ulhll a 

made u 



r. and beg 

s him to 

e village 

and tells 



till loves her. She 

that he s 



but en. 


ge to Albert. 

eUing hin 

he hu 

d to goo 




nd aak>ng 

him for 

his love 
: fe 

his brace of pistols. Chadotle. greatly alarmed at 

this request, followa Wtrlber. It is Christmas Bve. 

neaiing midnight, and the snow, which is falling in 

wild gusts. almoBl blinds her as she staggers along. 

The scene changes to a tiny room, and reclining on a 

iMivfEB chair in the lamplight is Wtrihv, mortally wounded. 

Charlotte arrives too late, and he dies in her arm*. 

laJnlB on the body of her lover, while in strange contrast to this 

of bells and the {oyous voices of little children singing Chriatmu 

Lied d'Ossian (Ossian's Song} 

By Edinond Clement. Tenor (In 64234 10-inch.* 

■Ah I non mi ridestar ! (Do Not Waken Me !) 

By Mattia Battistini. Baritone {In Ilallani 883»4 13-inch. 




>. Hippolyte Bia and Armand Mar. 

ords by Elienne Jouy. Hippolyte Bia and Armand Marast. laken from Schiller's 
drama of the same name. Music by Gioachina itosiini. Firsi presented at the AcaJimIe, 
Paris. August 3. 1829. with Adolph Nourtlt as the original Arnold. Produced in Italy, at 
Lucca. September 17. 1631. First London production, in Enttlish. al Drury Lane. 1630. and 
in Italian at Her Majesty's. 1639. Produced at the New Orleans Opeta December 13. 1642. 
Revived at the Academy of Music by Leonard Grover's German Opera Company, Formea 
making his first appearance in opera in America. Produced at the Metropolitan Decem- 
ber 3. 1886. with Fischer, and March 31, 1890, with Tamagno. Again revived, after twenty- 
five years, al the Century Opera House September 22. 1914. Tell is orie of the longeM of 
aJ/ operas, latt'mg four houn and fifty minutea when given without cula. 



ARNOLD, •uitor of Matilda, ^SwinF^triot* {Tennr 


MELCTHAU Arnold", f-dier Bm« 

CESSLER. Governor of Schwitz and Uri Baaa 

LEUTHCXD, ■ ■hepherd • . B«»i 

Matilda, dauahter of Ceaaler Soprano 

HEDWIGA. Teir« wife Soprano 

JEMMV, Teir« aon Soprano 

Chorus o( Peuanta of the Thr«e Canlona ; Knight*. Pagea and Ladiea 
of the train of Matilda; Huntere, Soldierm and Guafd* of Gemler. 

Si:viu! anJ PaloJ : SuHlxtrtand ; tkiieailh ctnlui]). 


die weather 
mortal hatre 


The itory of Ttll, the dutinguiihed patriot, 
and chief inxrument of the revolution which 
dehvered the Swim canlona from the GermaD 
yoke in 1207, ha* been taken by Roaini for the 
theme of one of hi> moat admired opera*, the 
dramatic intercal being heightened by the intro- 
duction of love acene* and other epiaode*. 

In the libretto by Jouy and Marast GailtT ia 
endowed with a beautiful and amiable daughter, 
MaUlda, who ha* been saved from a watery grava 
by AmoU, ion of Mtidhal. the patriarch of the 
country, and ■ determined opponent of the tyrao- 
nie* of Cex/ar. As a matter of courie. mutual 
attachment enaue*. and lead* to the trouble* which 
might have been expected from *o ill.aart«d * 
that an agent of Goufer'i has attempted an autiua 
been slain by her father, LaitMJ. Obliged to_ fly 

;e, it become* ni 

le of the boBlmi 

nally undertakes 

I will 


:^uled. The 

e progresaes. the people become more and m( 
; and the father o( Arnold, euspecled of incill 
naubordination, ii aeiied by Catltr a 

. fee 

: thui 


between hia love for Matilda, 
daughter, his duty to his country, and hia desire to avenge 
Ilk father's death. He, however, renounce* his love, 
and joins the band of patriots now marshaled under 
WllUam Tell. Events are brought to a climax by Gui/er 
causing a cap to be elevated on a pole, and requiring 
•n passers-by to bow to it. Tdl firmly refuses to do so. 
and is thereupon subjected to the ordeal of the apple, beini 
required, under pain of death, to shoot at an appF 
on the head of his son. Although the distance wi 
otrable, he was able to strike the apple off without injuring 
me child. The tyrant perceiving another arrow concealed 
under Tdl't cloak, asks him for what purpose it was in- 
■vndad. To which he boldly repliea, " To have shot you 
t dut hear^ if 1 had killed my son I ** The ■"TTg^ governor 
"dan him to be haafad; but tba Swiia, «nin«»>«J by 
•h foctitiHla and patriotion, Br to arm^ a^ck a ' 
«Ui and AtmUmrm anitad. and Am IndapanJa 

placed r^J, 


This overture, which ._ ^ — __ 
die world over, was called by Berli 
to B noble work and aboundi in beauliluL c( 

The opening Andanle depicti the »eren 
enchantingly repoKhil. From the >lowl]F-cli 


played probably as often a* any other nngle work at concata 
" nphony in (our pajta." It is a fitting prelude 

the wayward, elusive air resolves alter a time into ■ more definite rhsrthmie tune. aooB 
lapsing into dreamy meditation, which continues to the close of the movement. Althon^i 
this first part is virtually a 'cello solo, the orchestral background is exceedingly beautiful, Am 
close being especially effective with its sustained shake on the richest string of the 'coDok 
while the orchestra slips gently away, downwards, climbing uptoaerenity again just at the 1b^ 
The tranquil mood of the Andante is rudely interrupted by the beginning of the ■""■mi l 
movement — -a string passage suggesting the distant mutterings of a storm. This cohmm 
nearer and nearer, until the full fury of the storm bursts upon the ear. The /orHulme pa> 
•age continues until the storm seems to have spent its force and the strain dies down into 
refreshing calmness once more. 

To the Slonn succeeds a beautiful psstoral with a delicious melody (or the English btwi^ 
and as Berlioz says, "with the gamboling of the flute above this calm chant produciti( h 
charming freshness and gayety." As the last notes of the melody die away, the tni 
enter with a brilliant fanfare on the splendid finale, a fitting climax to a great work. 

(Part I— At Dawn 

(Part II— The Storm 

fPirt Hi—The Calm 
iPsrt IV— Finale 
/Part I— At Dawn 

(Part II— The Storm 

/Part III— The Calm 

IPart IV— Finale 

Part 1— At Dawn Part II— The Storm 
Part III— The Calm Part IV-Finale 

By Victor Concert Orchestra\, --, , 
By Victor Concert Orchestra/' '""' 
By Victor Concert Orchestral , _„, _ 
By Victor Concert Orchestra r"*"^ 
By Pryor's Bandt „ 
By Pryor-s Bandr*^"" 

l!;Ks-:E:3'"" ■»-'■"'■■ 

By Pryor's Band 39120 12-incb. 
By Pryor's Band 35121 12-inch. 

lO-inch, to. 7S 
10-inch. .75 




SCENE— ^ t'iilagt in Ihe Canlon of Uri 
The curtain risu on a peaceful scene, showing a charming village wilh the house o( 
William Tell in the foreground. Tell and his family are engaged in rural occupations, and 
the fishermen, while they prepare to put out the boats, sing a lovely barcarolle. 

Accours dans ma nacelle (Come. Love, in My Boat) 

M. Reffis. Tenor (D<.llWc-^«i^-5« p. 551) {In Frtnch) 49026 10-inch. »1.00 






;i:?.. .=3,^ 



The young man hesitatet between iuty to his country nod hia love for the tyrant** 
daughter, but iinally caata hia lot with Tdl, and 8<>e« to bid a laat farewell to Matilda. 

The festival now begina, but ia intemipled at intervals by the aound of hunting homa, 
■howing that Catler and hii huntsmen are in the mauntaina near by. The young couple* 
•re wedded, and all are rejoicing in their happineas when the featival is rudely inter- 
rupted by Ltulhold, a ahepherd, who ruahea in crying. "Save me from the tyrant." He 
explains that one of Catler'i oflicerB had abducted his daughter, and to reacue her be 
had killed the villain. He beg* the fiahermen to row him across the lake to safety. They 
refuse, not daring to offend the tyrant, and because of the storm which i* raging, Tdl 
appears, rushes to the boat with Leuthold and puts out on the raging lake juat as the 
»oldiera of Gaaltr appear. BafRed of their revenge, they bum the village, devastate the 
fields, and strike down the aged Mdclhal 


SCENE— .4 deep ealUy In the Alp3. On the U/t the Lah "f the Four Cantons. Twilight 
Matilda appears and muses upon her love for Arnold, hier lover now joins her, and an 
elfeclive love scene ensues, which is inlerrupled by ihe approach of Tell and fValltr. 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. >1 maU confesses thai he loves Matilda, but 
aaya he will renounce her if his country demands the sacrifice. 

They then break to Arnold the news that Gessler has put his father to death, and feel, 
ings of vengeance drive from his mind all thought of Matilda. 

TTie men of ihe cantons now assemble, and in a splendid finale swear to conquer or die. 

Domo. o ciel, da uno straniero (By a Vile Foreigner Subdued) 

By >Iestore Delia Torre. Baritone {In Italian) 76013 12-inch. *2.00 

The curtain falls to a magnificent outburst of patrioliam, "To armal To armsl" 


SCENE— TAe Grand Square of Alloif—Geuler'i CatlU In the Background. In the Foregmind 
a Pole lurmounleJ by a Cap 
Cailet and hia barons are seated on a (hrone at one side of (he Square, while variou* 
amusements are given for their entertainment. It is here that the superb ballet, one of the 
most beautiful ever composed, is introduced. 

William Tell Ballet Music— Parts I and II By Pryor's Band *35042 12-Ulch. *I,2S 
WilliamTellBalletMusic— Part III By Pryor's Band * 1 65 « lO-inch. .15 

*D«^b.FaaJRta,fd-Sli page 551. 


Getiler, who, with much imtufaction, ha» been WBtching the populace bow to the tMp 
which be has had placed on a pole ■■ a ijinbol of hit authority, niddenly nodcea that TJB 
•nd hia ion fail to pay honor to the Handard, and he ordera them teized and brought befo(* 
him. He aaki if the boy is Tell'i ton, and when Tdl replies. " My only aon," a (iendiah idc« 
itriket the tyrant. He ordera Tell to thoot an apple from the boy's head on pain of inttant 
death for both, 7W/ refutes, but Jamny urget his fattier to obey, 
•aying. "Father, remember your skill [ Fearnot, [will not movel" 

TtSl embracea hi* hoy, and selecting an arrow, manages to 
coticeal another in hit coat. He casta a fierce look at the lyrant, 
then aimi with care and strikes the apple fairly in the centre. 
When he realizes Jtmmy is safe. Tell faints and the concealed 
arrow ia discovered. "For whom was the second arrow?" de- 
mands CtaItT, "Far you, tyrant, if 1 had harmed my child I" 

Caller then orders both put to death, but Matilda, who has 
entered, demands the life of the boy and takes him under hec 
protection. Teli is taken to prison amid the curses of the Swiss. 

SCENE— 7"Ae RitineJ Village of Act I 
Arnold, who knows nothing of the capture of Tell, has come 
to hia native villaee to bid farewell to the home of hit boyhood, 
iltage and tings hit charming and pathe 




-air. Oh. BleutdAMe. 

O muto asil Asile hereditaire (Oh. Blessed Abode) 

By Francesco Tafmgao. Tenor (/n Italian) 95009 10-inch, *5.00 

By M. Giutier. Tenor (In French) ■45007 10-inch. l.OO 

By Leon Beyle, Tenor (/n French) *4S026 lO-inch, 1,00 

This number, one of the most effective of those allotted to Arrtold. is reposeful and 

offers a fine contratt to the tumult of the latt tcene. 

Arnold: Oh! bicss'd abode, within whose walls 

' idon my resolve. Mine tvta first sa 

linn foiifvenpel ^ _ Once so btlov'd. yel 

lie imp«'t?entIx'Y ^V' " In "^a rcafl^ no U 

What silence in this lone place doth reign; Which fancy now to me'i repealing, 

I listen,— my own $tepa slone I hear! Will e'er again these can be meeting, 

Then ttome once lo»'d, torerermote, fare 

'Omik-FaaJIUicii—Smpate 551. 

My h. 


t' thy halls. 


Tett'i wife » rating here on her way 
to demand of Geu/«r her hiuband and tan. 
Suddenly ahe hears her son's voice and is 
overfoyed to aee him hroushl to her hy 
MaHlda. She clasps him in her aims, and 
aniiously inquires For her husbaad. Ma- 
lllda saya that Till has been removed from 
Altdon Prison, and taken across the lake. 
She has no HMnei spoken than Tell ap- 
pears, having escaped from the boat and 
sent Eui arrow through the tyrant's heart 
Arnold and ike patriots appear, rejoicing 
that Gaiia has been slain and that the 


breaks, and as if to an- 
nounce liberty to Switzerland the sun 
bursts [orth, revealing the glittering, snowy 

Eeaks of the Alps in all their dazzling 
eauty. An invocation to Freedom coma* 
from every throat : 


fOvei^ure, Part I— At Dawn 
lOverturc. Part II— The Storm 
/Overture. Part III— The Calm 
\Overture. Part IV— Finale Victi 

(Overture, Part 1— At Dawn 
lOverture, Part II— The Storm 
(Overture, Part III— The Calm 
lOverture. Part IV— Finale 
(Overture. Part I— At Dawn 
^Overture. Part 11— The Storm 
/Overture. Part III— The Calm 
\Overture. Part IV— Finale 
(Ballet Music. Part 1 
iBallct Music. Part II 

rillet Music, Part III 
Pro/do— Rt dtl dtlo By Lulgl Cola 

r 'ilium Tell FanUsie Xi/lophont 
Omtna Intemaia (Harfi) Ban/o 
/A»ae heredittire (Blessed Abode) By M. Gaurier tF'atch))..,^- 
\ Lf HaguoKlt—Pbu Umehe Bg M. Gmdltr, Tatn (In Fimc/i)}*^"*^ 

{Aeeoon dan* ma mfl<ilB — Barcanda (Cob 
Boat) By M. RkI*. T«nar 
Atib hcMdifiiira (BlMMdAbotU) Br i 

By Pryors Bandl,,,.- 
By Pryor-s BandP*'*" 
By Pryor's Bandl , 
ByPryor's Bandr""* 
By Pryor's Band) 
By Pryor's Band/ 
By Pryor** Band) 
By Pryo " " "^ 
By Pryor's Bandl 
By Pryor's Bandf 
By Pryo 
7, Tenor {Inllalion)! 





>>Bae, Love, In My 1 

rL«MtB«rU (Fimd^i 


10-inch. tO.Z5 
10-ioch. .75 
10-inch. .75 
lO-inch. .75 
12-inck. U5 
12-iaeh. IJtS 
12-inch. 1.25 
10- inch, .73 
lO-ioch, .75 
lO-inch. IXHt 
lO-inok IJOO 







Libretto adapted by 
Ruggiera Leoncavallo, First prodi 
Tivoli Opera Houk. San Franci»co. Novemlwr 27. 1903. 
New Tivoli, San Francicco. undei the di 
Leopcavailo himself. 


ZAZA A concert hall singer 

ANAIDE Her mother 

FLOW ANA A concert hall singer 

NATAUE Zaza'smeid 


MlUO DUFRESNE A wealthy Parisian 

CASCART A concert hall Binget 

BUZZY A journalist 

MALARDOT The proprietor of the concert caf* 

LARTICNON A monologue artist 

DUCLOU Stage manager 

MiCHEUN A ioumalist 

Marco Valet of Signor Dufresne 

Singers. Dancers. Scene SKiflets. Firemen. 
Property Men, etc. 

from a play by Simon and Berton ; music bj 

In Milan, 1900. First American production at the 

Revived in November, 1913, at the 

7<me and Place 

■»; the, 

i in London, Paris and Berlin, but 

2^Bza has had soi 
New Yorlt. although several Zaza excerpts were given at the Leoncavallo c 
when the composer visited America. The story is quite 
however, through the performances of the play of that 
many countries and many languages, and the musical vera 


The riang cunun dudoaea a 

ia arouaed, and ahe annount 

The third act ihowa a r 

her Tnaid, and, discovering 

married. His liltle giils ent 

>l the viailor. i* 

aide the dreaaing room of Zaia, 
and at the other the end of a 
■tase letting. Zaza, a concert 
haU ainger. ia in love with Dirfrant, 
and boaat* to Suuy, the jour- 
naliat, that ahe will have his love 
in return. She exerta all her 
channa, and Dafrant finally falla 
in love with the fascinating linger. 
The second act takea place 
in the reception room of Zaza't 
houae. Dafrant lella Zaia that he 
mult leave her to go to America 
for aeveral monthi. She pleads 
with him not to go. and he finally 
consents to postpone hia trip, but 
tells her he must go to Paris at 
once on busineaa. CoKati. an old 
lover of Zaxa'i, enters and hinti 
that Du/reine may have other 
leaioni for the trip, and apeaka 
of seeing him in Pirii with 
another woman. Zaxa 'i jealouay 
. her intention of following him to Parii 
m in Dafrant 't houae in Parii. Zata < 
letter addressed to Signora Dufr 

_ , , ilizea that he __ 

id linally SigTiora Duftant herself, who gazes with aatoniah- 
ely aays she has made ■ mistake in the houae and goea awB]r. 
The scene of the laat act ia again Zoia'f 
houae in the suhurh^ CiacaTi, who h>a 
learned of (he linger'i viait to Paris, pleada 
with her to give up Duftttnt. but ahe onk 
hiughi at the suggestion end Ctactat reminda 
her itemly that it is a matter of dulT. 
Cdjcarf leaves and Dafrtmc ia announced. He 
greets Zaia in the old affectionate way, but 
ahe informs him she knows of his marriage, 
but that she forgives hi* deception. She 
declares ihe hai told Slgnara Dafiane of their 

intimacy, and 

her. She 

then lends hii 

her love, aft 

her firtt 

and that Stfnon 

really knows nothii 

The rOle i 




are likely to regret thai the work has not bet 

Buona Zaza, del mio buon tempo 

By Tina Ruffo, Baritone 

Zaza. piccola zintfara (Zaza. Litde Gypsy) 

ByTittaRufib.BwiM«« 9«/ta&«0 S7ias lO-iacfa. 2,00 

best, and his rendition of the great air. Buona 
Zaxa, dtl mIo haon ttmpo, from the aecond 
act. ia a magnificent one. 

The second selection made by the bari- 
tone is the air from Act IV. sung by MiUt 
just before the parting of the lovers. It is a 
highly effective number, emotional yet veiy 
melodious. Those who hear these fine aJn 
adequately preiented here. 

ilalltdlan) B71I4 10-inch, 12,00 




1650) 723-1493 

All books ofB subiecl to recall.