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Presented to the LIBRARY of the

UNIVERSITY OF TORONTO

by

William L. Shelden

*£s

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"VICTOR I qT&c OPER6D

Stories of One-hundred Operas wit/i^Five-Tfundred lustrations & (Descriptions' of One-Tbousand Opera F^cords

victor Talking Machine Co

Ca mden,

Copyright 1912 VICTOR TALKING MACHINE COMPANY

Camden, New Jersey, U. S. A.

REVISED EDITION

Copyright 1913

VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U. S. A.

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•	plllllllllllllllllllllllllllWIIIIIIIIIIIIIIIIIIIII^yi^^ 111] lilllllllljlllllllll	it
	7 j JndQjC A LTHOUGH the Opera Stories in this book are in alphabetical order, *^ under the most familiar of the various titles, this index will be found convenient for quick reference.
I	Africana, Africaine 11 Fra Diavolo 146 Aida 15 Freeshooter, The ... 149
1	Amleto .... ... 169 Freischutz, Der .... 149	s
	Andrea Chenier . . 27 Germania 152
§	Ballo in ^Maschera 261 Gioconda La . 155	I
i	Barbiere di Siviglia 29 Gotterdammerung ^* ' " •»• 162	1
9	Bartered Bride .... 35 Griselidis . . 167	1
1	Boheme . 37 Guglielmo Tell 472	1
1	Bohemian Girl 43 Guillaume Tell 472	I
	Carmen 47 Hamlet 169 Cavalleria Rusticana .... 61 Hansel and Gretel 173 Chimes of Normandy ... 67 Hernani 94
!	Contes d'Hoffman . . .411 Herodiade, Herodias . . . .177 Huguenots Les .... 18O
	Damnation of Faust . . 68 Daughter of the Regiment'. . 72 Jewels of the Madonna . . 187 Dinorah 73 Don Carlos 75 v. r T t T^I
3	King of Lahore, The 384 Don Giovanni, Don Juan . . 77 T/- . , . < . Ort Konigskinder 189	I
	Donne Curiose 83 Don Pasquale 85 Dusk of the Gods 162 L'Africana, L'Africaine ... 11 Lakme 192
	Elisir d'Amore (Elixir) ... 91 Linda di Chamounix - • • ., 1M Ernani 94 Lobetanz 197
	Lohengrin -«-^=» 199 Falstaff 1O1 Louise 208
3	Faust 1O3 Lucia di Lammermoor . . . .209	I
	Favorita, La 126 Lucrezia Borgia 216 Fidelio 131 Flauto Magico 226 Madama Butterfly 219 Fl-vririrf T") 11+^ l-i man * •"" ^^^ I^A. ^^afific FlutC The • 226
	Force of Destiny 141 Manon (Massenet) . . . .231 Forza del Destine, La . . . - 141 Manon Lescaut (Puccini) 241 (Index continued on page 5)
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ITHE COLON THEATRE BUENOS AIRES |

FAMOUS AMERICAN OPERA HOUSES

continued

Maritana .......... 245

Marriage of Figaro ..... 247

Martha, Marta ....... 253

Masked Ball ........ 261

Mefistofele . . . . ..... 267

Meistersinger, Die iTT^. . .273 Mephistopheles ....... 267

Mignon .......... 279

Mikado .......... 286

Mireille .......... 289

Natoma .......... 291

Norma ........... 294

Nozze di Figaro ....... 247

Orfeo ed Euridice ...... 297

Orpheus and Eurydice 297

Otello ........... 300

Pagliacci ....... . . 3O5

Parsifal "T-. ........ 319

Patience .......... 336

Pearl Fishers ........ 338

Pearl of Brazil ..... 342

Pecheurs de Perles, Les . .338 Pescatori di Perle .... 338

Pinafore ...*•'.... 343

Pirates of Penzance ..... 345

Prof eta, Prophete ...... 347

Prophet, The ........ 347

Puritani, I ......... 352

Puritans, The ....... 352

Queen of Sheba (Goldmark) 355 Queen of Sheba tGounod) 356

Regina di Saba Re Pastore, II Rheingold, Das Rigoletto

355 358 359 365

Rinaldo .......... 379

Robert le Diable ...... 380

Robert the Devil 38O

Robin Hood 382

Roi de Lahore, Le . . . • . . 384

Romeo and Juliet 385

Rustic Chivalry 61

Samson and Delilah . . . . .391

Samson et Dalila 391

Sapho (Gounod) 394

Segreto di Susanna 395

Semiramide 396

Shepherd King, The . . 358

Sicilian Vespers 459

Siegfried . *z^s> 399

Snegourotchka 405

Snow Maiden, The 405

Sonnambula, La 4O7

Tales of Hoffman 411

Tannhauser ~«=~r--p. 415

Thais 425

Tosca 428

Traviata, La 435

Tristan und Isolde z^3 443

Trompeter von Sakkingen,The458

Troubadour, The 447

Trovatore, II 447

Trumpeter of Sackingen, The 458

Ugonotti, Gli 180

Valkyrie, La ~ r 46O

Vascello Fantasma, II . . .134 Vespri Siciliani, I ...... 459

Walkiire, Die . <^3?f .... 46O

Werther 47O

William Tell 472

Zauberflote, Die 226

Zaza 479

foreword

Ope

ra in

merica

The opera has at last come into its own in the United States. In former years merely the pastime of the well-to-do in New York City and vicinity, grand opera is now enjoyed for its own sake by millions of hearers through- out the country. Boston, Chicago, Philadelphia, New Orleans, San Francisco and Montreal now have their regular opera season ; while many other cities have arranged for occasional performances.

The Victor Responsible for Much of this Awakened Interest

During the recent season several hundred performances of grand opera, at an estimated cost of millions of dollars, were given in the United States. This great outlay for dramatic music alone would not have been possible had it not been for the increased interest aroused in opera by the wide- spread distribution by the Victor during the past ten years of hundreds of thousands of grand opera records, at widely varying prices — from the double-faced records by well-known Italian and French artists of Europe, at yil/2 cents per selection, to the great concerted numbers by famous singers at $6.00 and $7.00.

The Opera-Goer and the Victor

Even though fortunate enough to be able to attend the opera, the lover of operatic music is reminded that with the Victor and the operatic records his enjoyment of the opera may be greatly increased. The favor- ite singers may be heard at home as often as desired, and their voices will be just as natural as in life.

Do you think Caruso the greatest of tenors ? Then do not be satisfied with an occasional hearing of his glorious voice at the opera, but let him sing for you and your friends by means of the Victor.

Is Sembrich, Farrar, Tetrazzini, Gadski, Calve, Schumann-Heink, Homer or Amato your favorite singer ? The Victor makes it possible to hear these voices at any time, no matter where the artists may be singing.

Voices of Absent Singers

Do you regret that Melba is often in Australia or Europe ? There is consolation in the thought that her voice is always here in all its loveliness, indelibly impressed on Victor discs.

Have you memories of Tamagno when he was at his best ? The Victor will revive these memories for you by bringing the voice of this singer back from the grave. (Foreword continued on page 9)

The Victor an Excellent Substitute for the Opera

For every person who can attend the opera there are a hundred who cannot. However, many thousands of lovers of the opera in the latter class have discovered what a satisfactory substitute the Victor is, for it brings the actual voices of the great singers to the home, with the added advantage that the artist will repeat the favorite aria as many times as may be wished, while at the opera one must usually be content with a single hearing; and even though the scenery and costumes may be lacking, the absence of these accessories will now be atoned for in some measure by the graphic descriptions and numerous illustrations in this book.

The Victor Opera Season Never Ends

In former years, after the close of the opera season and the annual migration of the artists to Europe, no one seemed to think much about grand opera or opera singers. The Victor, however, has changed all this, and operatic records now form a most important part of the musical life of the home ; and at all seasons of the year may be heard the voices of the great singers, a consolation and a delight to opera lovers.

This Book the First of Its Kind

This little work is unique in many respects, and while there are many excellent books describing the plots of the operas, we think that in no other book on opera can be found all of these features : <]f Titles in various languages, with pronunciation of each. CJ Date and place of original production. <J Date and place of first performance in America.

<I Cast of characters and pronunciation of the same when necessary. €J Brief and clearly stated synopsis of plots of one hundred different operas. <I Translations (all or part) of the text of several hundred separate numbers. <J Every act and scene indicated, with description of the stage setting. <I Every separate number mentioned in its proper place in the opera, and

the numbers placed in the order in which they occur. <I More than five hundred portraits and pictures, making it the most

completely illustrated book on opera ever published.

NOTE— Acknowledgment must be made to Oliver Ditson Co. and G. Schirmer for kind permission to quote occasionally from their copyrighted publications. Both these houses have set new standards with their operatic publications — Schirmer with superbly printed opera scores and collections of opera airs entitled " Operatic Anthology"; and Ditson with the " "

Musicians' Library, masterpieces of music typography.

CARUSO AS VASCO DI GAMA

Vasco before the. Council- -Act I Scene in the Prison— Act II

SCENES FROM L'AFRICAINE

The Massacre— Act II T

The Indian Paradise— Act IV The. Fatal Tree— Act V

(Italian)

L'AFRICANA

(Laf-ree-kah' -nan) (German)

DIE AFRIKANERIN

(Dee Ah-free-kah' -ner-in)

(French)

L'AFRICAINE

(Laf-ree-kahn} (English)

THE AFRICAN

OPERA IN FIVE ACTS

Text by Scribe ; music by Meyerbeer. First produced at the jlcademie, Paris, April 28, 1865. First London production in Italian, under the French title, at Covent Garden, July 22, 1865; and in English at the Royal English Opera, Covent Garden, October 21, 1865. First New York production December 1, 1865. Revived in 1906 at the Metropolitan, with Caruso, Fremstad, Plancon and Journet.

Characters in the Opera

SELIKA, (Say-lee -kah) a slave, formerly an African princess Soprano

INEZ, (Ee'-nez) daughter of Don Diego Soprano

ANNA, her attendant Contralto

NELUSKO, (Nay-loos' -ko) a slave, formerly an African chief Basso

DON PEDRO, (Don Pop'-</ro) President of the Royal Council Basso

GRANDE INQUISITORS Basso

DON DIEGO, (Don Dee-a\/-go} Member of the Council

HIGH PRIEST OF BRAHMA (Brah'-mah)

DON ALVAR, Member of the Council Tenor

VASCO DI GAMA, (Vahs'-ko dee Gah'-mah} an officer in the Portuguese Navy, Tenor

Chorus of Counsellors, Inquisitors, Sailors, Indians and Attendant Ladies.

The action occurs in Portugal, on Don Pedro 's ship at sea, and in India.

11

VICTOR BOOK OF THE OPERA — THE AFRICAN

ACT I— Council Chamber of the King of Portugal

The first scene occurs at Portugal, in the King's Council Chamber, whither Vasco di Gama has come to announce his discovery of a strange land, producing two of the native slaves, Selika and Nelusko, as proof. In this scene is given the noble and stately chorus

Dio che la terra venera (Thou 'Whom the Universe Adores)

By La Scala Chorus (In Italian) *62614 10-inch, $O.75

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

ACT II — Prison of the Inquisition

As the curtain rises Vasco is seen asleep on a bench, while Selika watches over him. She gazes at the sleeping youth and sings this beautiful lullaby.

Aria de Sonno, ** In grembo a me" ("Lulled in My Arms)

By Margarete Matzenauer, Contralto

(In Italian) 8836O 12-inch, $3.0O

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

Sei Tangiol diletto (Oh ! Guardian Angel !)

By Tina Farelli, Soprano, and Gino Martinez-Patti, Tenor (In Italian) *62407 lO-inch, $O.75

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

ACT III— Decks of Don Pedro's Ship

Preludio (Prelude to Act III)

By La Scala Orchestra . *62614 10-inch, $O.75

Act III shows the decks of Don Pedro's vessel. Nelusko, who is secretly plotting to de- stroy the ship, is brooding over his plans ; and his gloomy bearing being noticed by the sailors, they ask him to relate the old legend of Adamastor, king of the seas.

Adamastor, Re dell' onde profonde (Ruler of Ocean)

By Francesco Cigada, Baritone (In Italian) *62407 10-inch, $O.75

NELUSKO: When the gale rolls o'er the deep,

Adamastor, monarch of the pathless deep, Then beware then beware!

c • f. , c bee, the lightning s flash reveals to thine eye,

Swift o er foaming waves How the £rk w|veg geek fa storm.laden J^

To sound of fierce winds tramping; An h now ig lost

When his dark steeds vex the misty sea, For the doomed wretch no tomb,

Beware, mariner! Beware, mariner! None, none but a watery grave!

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

ACT IV— Temple of Brahma

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

* Double-Faced Record— For title of opposite side see DOUBLE-FACED L' AFRICAN A RECORDS, page 13.

12

FAURE AS NELUSKO, 1865

VICTOR BOOK OF THE OPERA — THE AFRICAN

12-inch, $3.OO 12-inch, 1.5O 12-inch, 1.5O 12-inch, 1.25

Marcia Indiana (Indian March)

By Victor Herbert's Orchestra 7O068 12-inch, $1.25

By La Scala Orchestra *68O27 12-inch, 1.25

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

O Paradiso ! (Oh Paradise !)

By Enrico Caruso, Tenor (In Italian) 88O54

By Florencio Constantino (In Italian) 74O85

By Evan Williams (In English) 74 148

By Lambert Murphy (In Italian) 7O10O

VASCO:

Hail! fruitful land of plenty, beauteous gar- den, hail!

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

Caruso's singing of this famous air is a magnificent performance, while two other fine records are offered in both Italian and English. The soldiers are about to kill Vasco, but he is saved by Selifca, who announces that he is her chosen husband. A/e/us^o is forced to remain silent by threats that Selifca will destroy herself. Di Gama, forgetting Inez, yields to the spell and weds the Queen by the native rites.

ACT V— SCENE I— The Queen's Gardens

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

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

Aye! here I look upon the mighty sea — bound- less— infinite As is my woe! Its waves in angry fury break, and then anon

their course renew, As doth my sorrowing heart! (Observing the mancanilla tree.) Gathering the fatal flowers, she inhales their perfume, sadly saying : "Farewell, my Vasco, I forgive thee !" She is overcome and sinks unconscious beneath the tree. Nelusl^o, who has come in search of her, finds her dying ; and in a frenzy of grief, also inhales the deadly blossoms and falls lifeless by her side.

PHOTO BERT

AMATO AS NELUSKO

Thou leafy temple, thou vault of foliage dark,

After life's weary tumult I now come

To seek repose of thee, and find oblivion from

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

the tomb!

^62407 10-inch,

DOUBLE-FACED L'AFRICAINE RECORDS

/Marcia Indiana (Indian March) By La Scala Orchestral,. Qrk/>_ . „ . u *, „-

I Traviata—Preludio By La Scala Orchestra i™027 12-inch< $1-25

Adamastor, Re dell onde profonde (Adamaster, Ruler of the 1 Ocean) By Francesco Cigada, Baritone (In Italian) I

Sei L'angiol di letto (Oh, Guardian Angel ! ) By Tina

Far elli. Soprano; G. Martinez-Patti, Tenor (In Italian)}

Dio che la terra venera By La Scala Chorus (In Italian}\^^.., A . _ . ,

Preludio-Atto III By La Scala Orchestra f626 lnch'

* Double-Faced Record — For title of opposite side see above list.

13

75

.75

HOMER AS AMNERIS

(Italian)

AIDA

(Ah-ee'-dah)

OPERA IN FOUR ACTS

Text translated from the French of Lode by Antonio Ghislanzoni. v Music by Giuseppe Verdi. First produced in Cairo, December 24, 1871 ; at La Scala, Milan, February 8, 1872; in Paris, April 22, 1876; at Covent Garden, June 22, 1876; at St. Petersburg, 1879. First performance in America at the Academy of Music, New York, November 26, 1873, the cast including Tornani, Gary, Campanini and Maurel. Produced in New York in 1886 in both German and in English.

Soprano

Characters of the Drama AlDA, an Ethiopian slave

THE KING OF EGYPT

AMNERIS, (Am-nare'-iss) his daughter Mezzo-Soprano

RHADAMES, (Rahdr -ah-maze) Captain of the Guard Tenor

AMONASRO, <Am-oh-nahz'-roh) King of Ethiopia Baritone

RAMF1S, (Rahm'-fiss) High Priest Bass

A MESSENGER Tenor

Priests, Priestesses, Ministers, Captains, Soldiers, Officials, Ethiopian Slaves and Prisoners, Egyptians, etc.

The scene is laid in Memphis and Thebes, in Pharaoh1 s time.

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

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

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

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

ACT I

SCENE I- A Halt in the Palace. Through the grand gate at the back may he seen the Pyramids and the Temples of Memphis The opera has no overture. The curtain rises, showing a hall in the palace of the King of Memphis, where Rhadames and the High Priest, Ramfis, are discussing the coming

CARUSO AS RTTADAMKS

15

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

invasion of Ethiopia ; and Ramfis hints that some young and brave warrior may be chosen to command the expedition. Rhadames, left alone, hopes that he himself may gain the coveted honor, and promises to lay his triumphs at the feet of his Aida.

Celeste Aida (Heavenly Aida)

By Enrico Caruso, Tenor

(In Italian) 88127 12-inch, $3.OO By Leo Slezak, Tenor

(In German) 64113 lO-inch, l.OO

Then occurs the splendid gem of Act I, the Celeste Aida, beginning

Andantino ( f> - 1 16. Con esprest.

Ce-leste A-i -da, for • ma di vi - na.— mi-sti-co ser-to di lu - ce e fior Heav'n-ly A • i • da. beau ty re-splen-denl.—Ra • di • ant flow-er, bloom-ing and bright

in which Rhadames chants the praises of the peerless Aida. It is seldom enjoyed at the opera, especially in America, as it occurs almost immediately after the rise of the curtain, and is invariably marred by the noise made by late comers. With the Victor, however, it may be heard in all its beauty and the fine renditions by Caruso and Slezak fully appreciated.

RHADAMES:

Heavenly Aida, beauty resplendent,

Radiant flower, blooming and bright; Queenly thou reignest o'er me transcendent,

Bathing my spirit in beauty's light.

COPY'T DOVER ST. STUDIOS

MARTIN AS RHADAMES

COPY'T MISHKIN

SLEZAK AS RHADAMES

Would that thy bright skies once more behold- ing,

Breathing the soft airs of thy native land, Round thy fair brow a diadem folding,

Thine were a throne next the sun to stand!

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

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

By Elena Ruszcowska, Soprano ; Bianca Lavin de Casas, Mezzo-Soprano ; Egidio Cu- nego. Tenor (In Italian) 88261 12-inch, $3.OO The King's daughter, Amneris, enters, and seeing the young warrior's glowing enthusiasm, delicately hints of her secret affection for him, saying:

AMNERIS:

What unwonted fire in thy glance! With what noble pride glows thy face! Worthy of envy — oh, how much — Would be the woman whose beloved aspect Should awaken in thee this light of joy!

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

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

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

16

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

GADSKI AS AIDA

Su ! del Nilo (Nilus' Sacred Shores !)

By Elena Ruszcowska, Soprano ; Maria Cappiello, Mezzo-Soprano; Tapergi and Davi (In Italian) 88266 12-inch, $3.OO Following the trio comes a grand chorus :

To battle! We'll hunt the invader down. On! Rhadames, thy brow may laurels crown!

All depart to prepare for the expedition, while Aida, left alone, gives way to her grief and sings the beautiful Ritorna oincitor, expressing her conflicting emotions.

Ritorna vincitor (Return Victorious !)

By Johanna Gadski, Soprano

(In Italian) 88137 12-inch, $3.00

AIDA:

Return victorious! And from my lips

Went forth the impious word! Conqueror

Of my father — of him who takes arms

For me — to give me again

A country; a kingdom; and the illustrious

name

Which here I am forced to conceal! The insane word forget, O gods; Return the daughter To the bosom of her father; Destroy the squadrons of our oppressors!. . . What am I saying? And my love, Can I ever forget

This fervid love which oppresses and enslaves, As the sun's ray which now blesses me? Shall I call death on Rhadames— On him whom I love so much? Ah! Never on earth was heart torn by more cruel agonies!

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

I sacri notni (The Sacred Names)

By Celestina Boninsegna, Soprano 88223

Rousing herself she calls on her gods for aid and goes slowly out as the curtain falls.

SCENE II— The Temple of Vulcan— in the centre an altar, illuminated by a mysterious light from above

Ramfis, the High Priest, and the priests and priest- esses have assembled to bless the expedition. The chant in praise of Ptah is heard from an invisible choir. Rhadames enters and receives the consecrated veil.

RAMFIS:

Mortal, beloved of the gods, to thee

Is confided the fate of Egypt. Let the holy

sword

Tempered by the gods, in thy hand become To the enemy, terror — a thunderbolt-death!

RHADAMES:

God, who art leader and arbiter Of every human war, Protect thou and defend The sacred soil of Egypt!

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

By Antonio Paoli, Tenor ; Perello de Segurola, Bass; and Chorus

(In Italian) 88268 12-inch, $3.OO

17

(In Italian) 12-inch, $3.OO

EAMES AS AIDA

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

Ramfis then sings the closing invocation, in which Rhadames joins.

He is invested with the sacred armor, and as the priestesses perform the mystic dance the curtain slowly falls.

ACT II

SCENE I — A hall in Amneris' apartments

The curtain rises, showing the Princess and her slaves, who are adorning her for the triumphal festival in honor of Rhadames, just returned with his victorious army. Amneris and the slaves sing the ode to the returned hero.

Chi mai fra (His Glory Now Praise)

By Maria Capiello, Mezzo-Soprano,

and Chorus (In Italian) *550O5 12-inch, $1.5O Seeing Aida approaching, the Princess dismisses her slaves and prepares to enjoy her revenge.

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

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

By Johanna Gadski, Soprano, and Louise Homer,

Contralto (In Italian) 89024 12-inch, $4.OO

By Elena Ruszcowska, Soprano, and Bianca

Lavin de Casas, Mezzo-Soprano

(In Italian) 88262 12-inch, 3.OO

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

By Johanna Gadski, Soprano, and Louise Homer, Contralto

(In Italian) 89O25

HOMER AS AMNERIS

DALMORES AS RHADAMKS

12-inch, $4.OO

Ebben qual nuovo fremito ("What New Alarm ?)

By Elena Ruszcowska, Soprano, and Bianca Lavin de Casas, Mezzo-Soprano

(In Italian) 88263 12-inch, $3.OO Amneris pretends to sympathize with the afflicted girl, saying:

AMNERIS:

The fate of arms was deadly to thy people.

Poor Aida! The grief

Which weighs down thy heart I share with thee.

I am thy friend;

Time will heal the anguish of thy heart,

And more than time — a powerful god-love. AIDA:

Oh! love immortal! oh! joy and sorrow,

Sweetest delirium, dark doubts and woes!

As in thy trials new life I borrow,

A heav'n of rapture thy smiles disclose. AMNERIS (aside) :

This death-like pallor, this strong emotion,

Plainly reveal the fever of love! (To Aida):

Among the braves who fought so well,

Lost in their country's service,

Has someone a tender sorrow haply waken'd

in your heart? AIDA:

What say'st thou?

* Double-FaceJ Record —For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 26,

19

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

AMNERIS: AMNERIS:

Tremble! I read thy secret, Tremble, vile minion! be ye heartbroken,

Thou lov'st him! lie no longer! Warrant of death this love shall betoken!

I love him too — dost thou hear? In the pomp which approaches,

I am thy rival, daughter of kings Egyptian. With me, O slave, thou shall assist;

Thou prostrate in the dust — AIDA: I on the throne beside the King;

Thou my rival? 'tis well, so be it — Come, follow me, and thou shalt learn

Ah, what have I said? forgive and pity, If thou canst contend with me!

Ah, let this my sorrow thy warm heart move. AIDA:

'Tis true I adore him with boundless love — Ah, pity! What more remains to me?

Thou art so happy, thou art so mighty, My life is a desert;

I cannot live hence from love apart! This love which angers thee

In the tomb I will extinguish!

Always a highly impressive number, this duet is doubly so when rendered by such famous exponents of the parts of Aida and Amneris. Mme. Gadski's Aida is one of her most effective roles — splendidly acted and vocally perfect ; while Mme. Homer's impersona- tion of the Egyptian Princess is always a thrillingly dramatic one.

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

SCENE \\-Without the City Walls

The scene changes to a gate of the city of Thebes. The King and his court are assembled on a magnificent throne to receive the conquering army. A splendid chorus is sung by people and priests. The Egyptian troops, preceded by trumpeters, enter, followed by chariots of war, ensigns, statues of the gods, dancing girls carrying treasures, and finally Rhadames, under a canopy borne by twelve slaves ; the procession headed by bands of musicians playing the famous Triumphal March.

Grand March (Triumphal March)

By Vessella's Italian Band *35265 12-inch, $1.25

Vessella has admirably produced the familiar effect of the two bands playing, at first separately, and then together.

KING (descending from the throne to embrace (Rhadames bows before Amneris, who places

Rhadames): the crown upon him.)

Saviour of our country, I salute thee. Now ask of me

Come, and let my daughter with her own hand What thou most wishest. Nothing denied to Place upon you the triumphal crown. thee

On such a day shall be — I swear it By my crown, by the sacred gods!

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

Quest' assisa ch'io vesto (This Dress Has Told You)

By Ernesto Badini, Baritone ; Sra. Fabris, Soprano ; Lavin de Casas, Mezzo-

Soprano; Egidio Cunego, Tenor (In Italian) 88264 12-inch, $3.OO

AMONASRO:

I am her father. I went to war, Lay the King, transfixed by many wounds;

Was conquered, and death I sought in vain. If the love of country is a crime

(Pointing to his uniform) We are all criminals — all ready to die!

This habit I wear may tell you (Turning to the King with a supplicating That I have defended my king and my coun- accent)

try. But thou. O King, thou powerful lord,

Fate was hostile to our arms: Be merciful to these men.

Vain was the courage of the brave! To-day we are stricken by Fate,

At my feet, in the dust extended, To-morrow Fate may smite thee!

The people and prisoners appeal to the King for mercy, while the priests demand that the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of his vow, and demands life and liberty for the captured Ethiopians. The King yields, stipulating only that Aida and her father be held as hostages, and then announces that Rhadames shall have the hand of Amneris as his reward.

The magnificent finale then follows, Aida and Rhadames gazing at each other in despair, Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his captors. The curtain falls amid general rejoicing.

* Double-Faced Record— For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 26,

20

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

THE GREAT CONSECRATION SCENE

ACT III

SCENE I— A moonlight night on the banks of the Nile— the Temple of Isis can be seen, half concealed by palm trees

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

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

By "Maria Cappiello, Soprano, and Chorus

(In Italian) *55OO5 12-inch, $1.5O

CHORUS (in the temple) : O Thou who art of Osiris, Mother immortal and spouse, Goddess who awakens the beatings In the heart of human creatures, Come piteous to our help, Mother of eternal love.

A boat approaches, bearing Rhadames and Amneris, who go into the Temple. Aida, veiled, cautiously enters, hoping thjat Rhadames will come thither, and sings a tender and despairing song of that lovely land which she may never see again.

O patria mia (My Native Land)

By Johanna Gadski, Soprano

(In Italian] 88O42 12-inch, $3.OO

By Emmy Destinn (In German) 92O58 12-inch, 3.OO

By Celestina Boninsegna (Italian) 88239 12-inch, 3.OO

By Lucy Isabelle Marsh (Italian) 60O98 lO-inch, .75

AMNERIS:

I will pray that Rhadames may

give me

His whole heart — as mine to him Is consecrated forever!

BERT, PARIS

DESTINN AS AIDA

* Double-Faced Record— For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 26.

21

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

A! DA- O home beloved, I ne'er shall see thee more!

O native land, no more to thee shall I return! O fresh and fragrant vales, O quiet dwelling, O skies of tender blue, O soft airs blowing, Promise of happy days of love that bore.

Where calm and peaceful my dawn of life Now hope is banish'd, love and yonder dream

dispelling,

pass'd o'er, O hills of verdure, O perfum'd waters flowing,

spelling, O home beloved, I ne'er shall see thee more!

Three fine renditions of this air, one of the most effective in the opera, are given here by three celebrated prima donnas, all of whom have been seen in America in this role.

Aida is about to depart when she is astonished to see her father. Amonasro re- proaches his daughter with her love for his enemy Rhadames, telling her with significant emphasis ihat she may behold her native land again if she wishes. He tells her that his people have risen again, and proposes that she shall influence Rhadames to betray the plans of his army in the new campaign. She at first refuses, but he bids her be true to her country, and pictures the sufferings of her people.

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

By Johanna Gadski, Soprano, and Pasquale Amato, Bari- tone (In Italian) 89O67 12-inch, $4-OO

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

By Elena Ruszcowska and Giuseppe Maggi (Italian) 88267 12-inch, $3.OO

3TINN AND SCOTTI IN AIDA

AIDA:

Heaven! My father!

AMONASRO:

Grave affairs lead me to thee, Aida.

Nothing escapes my sight; thou art destroying

Thyself with love for Rhadames; He loves thee

And here thou waitest him.

The daughter of the Pharoahs is thy rival —

An infamous race, abhorred and fatal to us!

AIDA:

And I am in her power! I, the daughter of Amonasro.

AMONASRO:

In her power! No! If thou wishest, This powerful rival thou shalt defeat, And country, and throne, and love all shall

be thine.

Thou shalt see again the balmy forests, The fresh valleys, our temples of gold!

AIDA (with transport) :

• I shall see again the balmy forests, Our valleys, our temples of gold!

AMONASRO:

Thou rememberest that the merciless Egyptian

Profaned our houses, temples and altars;

Mothers, old men and children he slew. AIDA:

Ah! well I remember those unhappy days.

I remember the grief that my heart suffered. AMONASRO:

Then delay not. In arms now is roused

Our people — everything is ready —

Victory we shall have. It only remains for me to know

What path the enemy will follow. AIDA:

Who will be able to discover it? Whoever? AMONASRO:

Thyself! AIDA:

I? AMONASRO:

Rhadames will come here soon — he loves thee —

He leads the Egyptians. Dost thou understand? AIDA:

Horror! What dost thou counsel me? No, no! Never !

Su, dunque ! (Up, Then !)

By Johanna Gadski and Pasquale Amato (Italian) 89068 12-inch, $4.OO

By Elena Ruszcowska and Ernesto Badini (Italian) 88265 12-inch, 3.OO

With growing excitement he describes the consequences of her refusal.

AMONASRO (with savage rage): AIDA-

Up, then! " AU' fothpr"

Rise, Egyptian legions!

With fire destroy our cities— AMONASRO (repulsing her):

Spread terror, carnage and death. My daughter

To your fury there is no longer check! Dost thou. call thyseh?

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

AIDA (terrified and suppliant"):

Pity! AMONASRO:

Rivers of blood pour

On the cities of the vanquished —

Seeth thou? From the black gulfs

The dead are raised —

To thee they point and cry;

For thee the country dies! AIDA:

Pity! AMONASRO:

A horrible ghost

Among the shadows to us approache

Tremble! the fleshless arms

Over thy head it raised —

It is thy mother — recognize her — She curses thee!

k

AIDA (in the greatest terror) : Ah, no! Father!

AMONASRO (repulsing her) :

Go, unworthy one! Thou'rt not my offspring — Thou art the slave of the Pharaohs!

AIDA (yielding) :

Father, their slave I am, not — Reproach me not— curse me not; Thy daughter again thou canst call me — Of my country I will be worthy!

AMONASRO :

Courage! he comes — there, I shall hear all. (Conceals himself among the palm trees.)

Rhadames now enters and tries to embrace her, but she repulses him, saying bitterly :

AIDA:

The rites of another love await thee, Thou spouse of Amneris!

He protests that he loves Aida alone, but she bids him prove his affection by fleeing with her.

AIDA:

Ah! fly with me, and leave behind These deserts bare and blighted; Some country, new and fresh to find, Where we may love united. There, 'mid virgin forest groves, By fair sweet flow'rs scented, In quiet joy contented, the world will we forget !

He finally consents, and reveals to her that the army will go by the pass of Napata. Amonasro, who has overheard, now enters, and Rhadames is horrified at the knowledge that he has betrayed the army to the King of Ethiopia. His scruples are finally overcome, Amonasro saying: AMONASRO:

No; thou art not guilty — It was the will of fate. Come; beyond the Nile await

Amneris, coming from the temple, pauses behind a pillar and overhears the final words. Mad with jealousy, she rushes in and denounces the guilty trio. Aida and Amonasro escape but Rhadames is taken in custody as a traitor.

ACT IV

SCENE I — A room in the Palace— on one side a door leading to Rhadames' prison cell

The curtain rises, disclosing Amneris in an attitude of despair. She is torn between her love for Rhadames and a desire for vengeance, and finally orders the prisoner brought before her.

AMNERIS (bitterly musing) : My rival has escaped me — And Rhadames awaits from the

priests

The punishment of a traitor. Traitor he is not, though he

revealed The high secret of war. He

wished to fly — To fly with her — traitors all! To death, to death! Oh, what am I saying? I love

him —

Oh! if he could love me! I would save him — but how? Let me try. Guards, Rhadames

comes.

RHADAMES

The brave men devoted to us; There the vows of thy heart Shall be crowned with love.

RHADAMES DENOUNCED AS A TRAITOR

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

Rhadames enters, and the first great duet of the act occurs.

Gia i sacerdoti adunnasi (The Priests Assemble)

By Louise Homer and Enrico Caruso (In Italian) 89O5O 12-inch, $4.OO

By Pietracewska and Barrera (In Italian) 88269 12-inch, 3.OO

Aida a me togliesti ( Aida Thou Hast Taken)

By Louise Homer and Enrico Caruso (In Italian) 89051 12-inch, $4.0O

Amneris offers to save his life if he will renounce Aida. He scorns her proposal, resolv- ing to die rather than be false to his Ethiopian Princess.

AMNERIS:

Who saves thee, From the fate

AMNERIS:

Renounce her forever

And thou shalt live! RHADAMES:

I cannot do it! AMNERIS:

Wouldst thou die, madman? RHADAMES:

I am ready to die.

O wretch, that awaits thee?

To fury hast thou changed A love that had no equal. Revenge for my tears Heaven will now consummate!

The guards now appear and conduct Rhadames to the judgment room. The ensuing scene is a highly dramatic and impressive one.

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

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

Bass ; and Chorus (In Italian) 882 7O 12-inch, $3.OO

Amneris, seeing Rhadames taken out by the Priests, repents her harshness and sinks down desolate on a seat.

Ah, let me not behold, those white robed

phantoms! (Covers her face with her hands. The voice

of Ramfis can be heard •within.') RAMFIS:

Rhadames, Rhadames: thou hast betrayed Of thy country the secrets to aid the foemin: PRIESTS:

Defend thyself! RAMFIS:

Rhadames, Rhadames: and thou wast absent From the camp the very day before the combat!

AMNERIS (falling on a chair, overcome) :

Ah me! Death's hand approaches! who now

will save him? He is now in their power. His sentence I have sealed — Oh, how I curse

thee, Jealousy, vile monster, thou who hast doomed

him

To death, and me to everlasting sorrow! (Turns and sees Ramfis and the Priests, who

cross the stage and enter the subterranean

hall.}

What see I? Behold of death The "ministers fatal, his merciless judges.

THE DESPAIR OF AMNERIS ACT IV

PRIESTS :

Defend thyself!

RAMFIS:

Rhadames, Rhadames: and

thou hast played The part of a traitor to King,

and to honor!

PRIESTS:

Defend thyself!

RAMFIS:

He is silent.

ALL:

Traitor vile!

RAMFIS:

Rhadames, we thy fate have

decided, Of all traitors the fate shall

be thine — 'Neath the altar whose God

thou'st derided Thou a sepulchre living shall

find.

AMNERIS:

Find a sepulchre living !

Hated wretches! Ever vengeful, blood-thirsty

and blind!

24

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

Sacerdoti, compiste un delitto ! (Priests, a Crime You Have Enacted !)

By Lavin de Casas, Mezzo-Soprano ; F. Rizzi, Bass ; and

Chorus (In Italian) 88323 12-inch, $3.0O

The priests now enter from the crypt and pass across the hall. The wretched woman denounces them.

Priests of Heaven, a crime you have enacted, Tigers even in bloodshed exulting. Earthly justice and Heaven's you are insulting, On the guiltless your sentence will fall ! PRIESTS: (Departing slowly.) None can his doom recall!

AMNERIS:

Impious priesthood, curses light on ye all ! On your heads Heaven's vengeance will fall! (Exit wildly.)

This is one of the most impressive records of the Aida series. The despair of the wretched jlmneris, and the solemn reply of the unbending priests are wonderfully expressed by Verdi.

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

' ' The work finishes in serenity and peace, and such terminations are the most beautiful. Above, the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent gods; below, two human beings dying in each other's arms. Their song of love and death is among the most beautiful of all music. ' ' — Camille Bellaigue.

When we hear the expression " the duet from Aida," our thoughts always instinctively turn to this number at the close of the work. There are other duets in the opera, some of them fine numbers, but this is the great one — perhaps the most intensely dramatic and melodiously beautiful of all Verdi's writings.

La fatal pietra (The Fatal Stone)

By Johanna Gadski, Soprano, and Enrico Caruso, Tenor

(In Italian) 89O28 12-inch, $4.OO By Nicola Zerola, Tenor (Part of scene — " To die, so

pure and lovely !") (In Italian) 74225 12-inch, 1.5O

This last scene is a highly picturesque one. Above we see the splendid Temple of Ptah, where priests and priestesses are chanting their strange songs. Below, a dark vault, in whose depths Rhadames is awaiting with patience a slow death by starvation.

RHADAMES (despairingly) :

The fatal stone upon me now is closing!

Now has the tomb engulf 'd me!

The light of day no more shall I see!

No more behold Aida!

Aida, where art thou now?

Whate'er befall me, may'st thou be happy!

Ne'er may my frightful doom be told to thine ear!

(Then suddenly in the shadows he sees a form — it is Aida, who has secreted herself in the crypt that she may die with her lover.)

What moan was that?

Is't a phantom, or vision dread?

No! 'tis a human being!

Heaven! Aida! AIDA: Yes! RHADAMES (in great desperation) :

Thou, with me here buried! AIDA:

My heart foreboded this, thy dreadful sen- tence,

And to this tomb that shuts on thee its portal,

I crept, unseen by mortal.

Here, free from all,

Where none can more behold u^, Clasp'd in thy arms, love, I resolved to perish! RHADAMES: To die! so pure and lovely!

To die! thyself thus dooming,

In all thy beauty blooming,

Fade thus forever!

Thou, whom the gods alone for love created;

Yet to destroy thee, was my love then fated!

Thou shalt not die! so much I love thee,

Thou art too lovely!

25

CAMPANINI AS RHADAMES

VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A

I see heaven's gates are open wide Where tears are never streaming,

Where only bliss and joy reside, jf never

fading, endless

AIDA (transported) :

See'st thou where death, in angel guise,

With heavenly radiance beaming,

Would waft us to eternal joys, The bliss and joy

On golden wings above! love!

The lovers sing their plaintive farewell to earth in hauntingly lovely strains, while in strange contrast the heathen chanting continues above.

O terra addio (Farewell, Oh, Earth)

By Johanna Gadski, Soprano, and Enrico Caruso, Tenor

(In Italian) 89O29 12-inch, $4.OO

AIDA AND RHADAMES:

Farewell, O earth, See, brightly opens for us

Farewell, thou dark vale of sorrow, Brief dream of joy, Condemned to end in woe!

Brightly opens now the sky, and endless mor- row, There, all unshadow'd, shall eternal glow!

(Curtain]

DOUBLE-FACED AND MISCELLANEOUS AIDA RECORDS

Chi mai fra (His Glory Now Praise) By Maria

Cappiello, Mezzo-Soprano, and Chorus (In Italian)

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

By Maria Cappiello, Mezzo-Soprano, and Chorus

(In Italian)

Celeste Aida (Heavenly Aida) Trombone By Arthur Pryor) II Guarany Overture By Pryor's Band/

The Fatal Stone Cornet- Trombone

By Arthur Pryor, Emil Keneke and Pryor's Band >35 ISO Serenade ( Till) 'Cello-Flute By Louis Heine and Darius Lyons]

Aida Fantasia

Cascades of Roses Waltz (Aida Selection

55OO5 12-inch, $1.5O

By Police Band of Mexico!,, -„ A _

By Police Band of Mexico}*™4 7

\ Attila— Grand Trio Aida Selection (Finale, Act II) /Aida — Grand March \ Rondo Capriccioso (Mendelssohn) fMarcha Triunfal (Triumphal March)

By Garde Republicaine Band L24O9 j Tosca — Tosca divina ! (In- Italian)

By Gustavo Berl-Resky, Baritone]

By Pryor's Band) ,,

By Kryl's Bohemian Band}**

By Pryor's Orchestra 31359 Vessella's Italian Band) Vessella 's Italian Bandi

12-inch, 1.25

12-inch, 1.25

12-inch, 1.25

12-inch, 1.25

12-inch, l.OO

12-inch, 1.25

lO-inch, .75

FINAL SCENE OF AIDA

26

(Italian)

ANDREA CHENIER

(Ahn-dree -ah Sheh neay)

OPERA IN FOUR ACTS

Libretto by Luigi Illica ; music by Umberto Giordano. First produced at La Scala, Milan, March 28, 1896. First performance in Berlin in 1898; in London, April 2, 1903, by the Carl Rosa Company, in English. Given in Italian some years afterward, with Starkosch, de Cisneros, Zenatello and Sammarco. First American production at the Academy of Music, November 13, 1896, with Durot, Ughetto and Bonaplata-Bau. Revived in 1908 by Oscar Hammerstein's Manhattan Opera Company, the cast including Mme. Eva Campanini, Bassi, Sammarco, Zeppili and de Cisneros.

Characters

ANDREA CHENIER Tenor

CHARLES GERARD Baritone

COUNTESS DE COIGNY Soprano

MADELEINE, her daughter Soprano

BERSI, her maid " . Mezzo-Soprano

ROUGHER Bass

MATHIEU : Baritone

MADELON Soprano

FLEVILLE Tenor

THE ABBE Tenor

SCHMIDT, jailer at St. Lazare . . Bass

A SPY

Ladies, Gentlemen, Servants, Pages, Peasants, Republican Soldiers, Masqueraders, Judges, Jurymen, Prisoners, etc.

Time and Place : Paris ; during the French Revolution.

The story tells of Andrea Chenier, a patriot, poet and dreamer, who was born in Con- stantinople, coming to Paris for his education. The French Revolution was in full swing, and being a worshipper of liberty and a hater of monarchs, he took vigorous sides, and was arrested, imprisoned and finally guillotined on July 25, 1 794. Illica's plot, however, is almost wholly pure fiction.

ACT I

SCENE— Hall in the Castle of Coigny

As the curtain rises the servants of the castle are preparing for a ball, and among them is Gerard, afterward to become the leader of the Revolution. As his old father enters, bent under the weight of a load of furniture, the young man wistfully sings the Son sessant' anni :

Son sessant' anni (My Aged Father)

By Ernesto Badini, Baritone (In Italian) 45O12 lO-inch, $1.OO

The guests arrive, including Andrea Chenier, the young poet, and during the festivities Madeleine coquettishly asks Chenier to improvise upon the theme of love.

27

VICTOR BOOK OF THE OPERA — ANDREA CHENIER

Improvviso — Un di all' azzurro spazio (Once O'er the Azure Fields)

By Enrico Caruso, Tenor (In Italian) 88O6O 12-inch, $3.OO

By Nicola Zerola, Tenor (In Italian) 74216 12-inch, 1.50

In this air Chenier sharply criticises the aristocracy, and speaks of the pride of the rich

and its effect upon the poor. The guests are displeased at his lack of taste, and later, when

Gerard appears with a crowd of ragged men and women, Chenier supports him and goes

with the party when it is ordered from the castle.

ACT II

SCENE— A Cafe on the Seine, Paris. Five years 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 cafe with the spy, but presently returning, mingles with the crowd and speaks to Chenier, begging him to await a lady whom she calls Speranza.

As darkness falls Madeleine 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 Madeleine. Chenier flees and the mob surrounds the wounded Gerard, while he declares his assailant is unknown to him.

ACT III

SCENE— At 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.

Si fui soldato (I 'Was a Soldier)

By Egidio Cunego, Tenor (In Italian} 45O12 lO-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.

ACT IV 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.

DOUBLE-FACED ANDREA CHENIER RECORDS

[Son sessant' anni (My Aged Father) By Ernesto Badini,

Baritone (In Italian)

| Si fui soldato (I 'Was a Soldier) By Egidio Cunego, Tenor

(In Italian)

45O12 lO-inch, $1.OO

28

(Italian)

IL BARBIERE DE SIVIGLIA

(Eel Bahr-beay' -reh dee See-tieef -yah) (English)

BARBER OF SEVILLE

COMIC OPERA IN TWO ACTS

Text by Sterbini, a Roman poet, founded on the celebrated trilogy of Beaumarchais. Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816. First London production March 10, 1818. First New York production November 29, 1825. The opera was at first called "Almaviva, or the Useless Precaution," to distinguish it from Paisiello's " Barber of Seville."

Cast

COUNT ALMAVIVA (Al-mah-oee -oah] Tenor

BARTOLO, (Bahr -to-low) physician Bass

ROSINA, his ward Soprano

BAS1L1O, (Bah-zeel-yoh] music master Bass

MARCELLINE (Mar-chei-iee -nek) Soprano

FIGARO (Fee -gah-row) Baritone

FlORELLO, servant to the Count Tenor

A Notary, Chorus of Musicians, Chorus of Soldiers

Scene and Period : Seville, the seventeenth century.

Rossini's opera is a marvel of rapid composition, having been composed in about fifteen days ! This seems almost incredible, but the fact is well authenticated. The composer had agreed to write two operas for the Roman carnival of 1816, the first of which was produced December 26, 1815, and on that day he was told that the second would be required on Jan- uary 20, 1816. He agreed to have it completed, although he did not even know what the subject was! The libretto was given to him by Sterbini in sections, and he wrote the music as fast as the verses were furnished. While the opera did not achieve an instantaneous suc- cess, it gradually found favor with opera-lovers on account of its brightness and the manner in which the humor of its action is reflected in the music.

The plot of Barber of Seville is very simple. The Count Almaviva loves Rosina, the ward of Dr. Bartolo, a crusty old bachelor who secretly wishes to wed her himself. Almaviva per- suades the village barber, Figaro, to arrange a meeting for him, and gains entrance to the house disguised as a dragoon, but is arrested by the guardian.

Not discouraged, he re- turns, pretending to be a sub- stitute for Rosina1 s music teacher, who, he says, is ill. The appearance of the real Don Basilio spoils the plan, and the Count retreats for the second time, having, however, arranged a plan for elopement.

Bartolo finally arouses Rosina's jealousy by pretend- ing that the Count loves another, and she promises to forget him and marry her guardian. When the time for the elopement arrives she meets the Count, intending to reproach him, but he con- vinces her of the base plot SETTING OF ACT i, SCENE i, AT LA SCALA of Bartolo, and the lovers are wedded by a notary, just as Bartolo arrives with officers to arrest the Count.

29

VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE Overture to Barber of Seville

By La Scala Orchestra 68O1O 12-inch, $1.25

ACT I

SCENE 1 — A Street in Seville. Day is Breaking

The Count, accompanied by his servant Fiorello and several musicians, enters to serenade the beautiful Rosina. Accompanied by the mandolins, he sings his serenade, Ecco ridente, considered one of the most beautiful numbers in the opera.

Ecco ridente (Dawn, "With Her Rosy Mantle)

By Fernando de Lucia, Tenor (Piano ace.} (In Italian) 76000 12-inch, $2.00

Lo! 'smiling in the Orient sky, But, hush! — methinks I view that face,

Morn in her beauty breaking, And all my doubts are vanished;

Canst thou, my love, inactive lie — Thine eyes diffuse soft pity's grace.

My life, art thou not waking? And all my fears are banished.

Arise, my heart's own treasure, Oh, rapturous moment of delight!

All that "my soul holds dear; All other blisses shaming;

Oh! turn my grief to pleasure! My soul's content, so pure and bright,

Awake, my love, appear! On earth no equal claiming!

Even such a lovely serenade as this fails to bring a response from the window, but the Count still lingers, concealing himself in the shadow as he sees Figaro, the jack-of-all-trades of the village and general factotum in the house of Bartolo. Figaro unslings his guitar and sings that gayest and most difficult of all airs, the joy or despair of baritones the world over, which has been recorded for the Victor by three famous baritones.

Largo al factotum (Room for the Factotum)

By Pasquale Amato, Baritone

(In Italian) 88329 12-inch, $3.OO By Emilio de Gogorza, Baritone

(In Italian) 88181 12-inch, 3.OO By Titta Ruffo, Baritone

(In Italian) 88391 12-inch, 3.OO

Figaro is thoroughly satisfied with himself, and gives a long list of his numerous accqmplishments, of which the following is a sample :

FIGARO: Room for the city's factotum here, La, la, la, la, la, la. .1 must be off to my shop, for the dawn is

near.

La, la,' la, la, la. la.

What a merry life, what pleasure gay, Awaits a barber of quality.

Ah, brave Figaro; bravo, bravissimo, brave. La, la, la, la, la, la.

Of men, the happiest, sure, art thcu, bravo. CAMPANARI AS FIGARO La, la, la, la, la, la, etc.

"Oh! what a happy life," soliloquizes the gay barber, "what pleasure awaits a barber of quality! — Oh, bravo, Figaro, bravo, bravissimo: thou

art sure the happiest of men, ready at all hours of the night, and, by day,

petually in bus nobler life for a barber than mine! Razors, combs, lancets, scissors — behold

, , , ,

perpetually in bustle and motion. What happier region of delight: what

them all at my command! besides the snug perquisites of the business, with gay damsels and cavaliers. All call me! all want me! — dames and maidens — old and young. My peruke! cries one — my beard! shouts another — bleed me! cries this — this billetdoux! whispers that. Figarp, Figaro! heavens, what a crowd. Fiearo, Figaro! heavens, what a tumult! One at a time, for mercy sake ! Figaro here : Fiearo there : Figaro above : Figaro below. I am all activity: I am quick as liehtning; in a word — I am the factotum of the town. Oh, what a happy life! but little fatigue — abundant amuse- ment — with a pocket that can always boast a doubloon, the noble fruit of my reputation. So it is: without Figaro there's not a girl in Seville will marry; to me the little widows have recourse for a husband: I, under excuse of my comb by day, and under favor of my guitar by night, endeavor to please all in an honest way. Oh, what a life, what a life!"

30

VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE

FROM AN OLD PRINT

THE DISGUISED COUNT AND BARTOLO IN SCENE II

Three fine records of this great air are given here. Ruffo, in his rendition, proves himself pos- sessed of an admirable sense of humor, and this, with his powerful and flexible voice, enables him to attack this difficult solo in the true opera- bouffe vein. The result is as fine a performance of the Largo as one would wish to hear. The ex- treme difficulties are made a venicle for the display of the baritone's ample vocal resources, which sweep everything before them ; he is indeed a little free with the text, and sings snatches of the accompaniment out of sheer bravado, while bits of comic characterization peep out at every avail- able opportunity. Amato's rendition is a fine ex- ample of how the music of this air should be sung, and is a veritable triumph for the singer.

Signor de Gogorza's version differs from the others in many respects. It is one of the finest records he has made for the Victor, and exhibits his fine voice and wonderful execution to per- fection.

The Count now accosts Figaro, asking him to arrange a meeting with Rosina, telling him that his rank must not be known and that he has assumed the name of Lindor.

II mio nome ? (My Name ?)

By Fernando de Lucia, Tenor (Piano ace.) (In Italian) 660OO lO-inch, $1.5O

Figaro consents to become his ally. Rosina and her guardian come to the balcony, and Rosina, perceiving the Count, manages to drop a note, which he secures. Bartolo leaves the house and orders that no one be admitted.

Figaro now says that he is expecting a military friend to arrive in the village, and suggests the Count dress himself as this soldier and thus gain admittance to the house. He agrees, and retires to assume the disguise.

SCENE II — A Room in Bartolo' s House

Rosina is discovered holding in her hand a letter from the Count. She is agitated and expresses her feelings in her celebrated entrance song.

Una voce poco fa (A Little Voice I Hear)

By Marcella Sembrich, Soprano

(In Italian) 88O97 By Luisa Tetrazzini, Soprano

(In Italian) 883O1 By Maria Galvany, Soprano

(In Italian) 87O6O By Giuseppina Huguet, Soprano

(In Italian) *68144

The number is in the form to which most Italian compos- ers of the period adhered — -a slow opening section (here accompanied by occasional chords for the orchestra) succeeded by a quicker movement culminating in a coda which presents many opportunities for brilliant vocal display. Musically the aria is full of charm, and is deservedly popular with those singers whose method enables them to deliver it with the req- uisite lightness and bravura.

ROSINA: A little voice I heard just now:

Oh, it has thrill'd my very heart! I feel that I am wounded sore;

And Lindor 'twas who hmTd the dart. Yes, Lindor, dearest, shall be mine! I've sworn it, and we'll never part.

* Double-Faced Record — For title of opposite side see double-faced list on page 34.

31

12-inch, $3.OO 12-inch, lO-inch, 12-inch,

3.OO

2.00

1.25

MELBA AS ROSINA

My guardian

But I must sharpen

sure will ne'er consent;

all my wit: Content at last, he will relent,

And we, oh, joy! be wedded yet.

Yes, Lindor I have sworn to love!

And, loving, we'll our cares forget.

VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE

A bewildering array of artists have essayed this charming song, and Victor audiences can choose whether they will have it sung by an Italian, Polish or Spanish prima donna.

Rosina runs out as her guardian and Don Basilio come in. Bartolo is telling Basilio that he wishes to marry his ward, either by love or force. Basilio promises to help him, and says that the Count is trying to make Rosina's acquaintance. They decide to invent some story that will disgrace him. "A calumny!" says Basilio. Bartolo asks what that is, and Basilio, in a celebrated air gives his famous description, which is a model of its kind.

La calunnia (Slander's Whisper)

By Marcel Journet, Bass

(In Italian) 741O4 12-inch, $1.5O

BASILIO: Oh! calumny is like the sigh

Of gentlest zephyrs breathing by; How softly sweet along the ground, Its first shrill voice is heard around. Then passing on from tongue to tongue, It gains new strength, it sweeps along In giddier whirl from place to place, And gains fresh vigor in its race; Till, like the sounds of tempests deep, That thro' the woods in murmurs sweep And howl amid their caverns drear, It shakes the trembling soul with fear. Thus calumny, a simple breath, Engenders ruin, wreck and death; And sinks the wretched man forlorn, Beneath the lash of slander torn, The victim of the public scorn! (They go cut.)

Rosina and Figaro return, and the barber tells her that her guardian is planning to marry her. She laughs at the idea, and then asks Figaro who the young man was she observed that morning. Figaro tells her his name is Lindor, and that he is madly in love with a certain young lady, whose name is Rosina.

COPY'T DUPONT

SEMBRICH AS ROSINA

Dunque io son (What ! I ?)

By Maria Galvany, Soprano,

and Titta Ruffo, Baritone

(In Italian)

925O1 12-inch, $4-OO

ROSINA:

What! 1? or dost thou mock me? Am I, then, the happy being? (But I all the scheme foreseeing, Knew it, sir, before yourself) ;

FIGARO:

Yes, Lindor loves you, lady;

Oft he sighs for his Rosina,

(As a fox she cunning seems,

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

ROSINA :

Still one word, sir — to my Lindor How shall I contrive to speak?

FIGARO:

Poor man, he but awaits some sign

Of your affection and assent;

A little note, a sinple line,

And he himself will soon present.

To this, what say you?

ROSINA:

I do not know.

FIGARO:

Take courage, pray you.

ROSINA:

I could not so — FIGARO :

A few lines merely. ROSINA:

I blush to write. FIGARO :

At what? Why really — may I indite?

Haste, haste, your lover quick invite.

(Going to the desk.) ROSINA:

A letter! Oh, here it is.

(Calling him, she takes a note from her bosom,

which she gives him.) FIGARO :

Already written! What a fool (astonished)

Was I to think to be her master!

Much fitter that she me should school:

Her wits, than mine, can flow much faster.

Oh, woman, woman, who can find,

Or fathom, all that's in thy mind?

(Exit Figaro.)

Bartolo comes in and accuses Rosina of dropping a note from the balcony, and when she denies it he shows her ink marks on her finger and calls attention to a cut pen and a missing sheet of paper. She says she wrapped up some sweetmeats to send to a girl friend, and cut the pen to design a flower for her embroidery. Bartolo then denounces her in another famous air :

VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE

Manca un foglio (Here's a Leaf Missing)

By Arcangelo Rossi, Bass

(In Italian) *68144 12-inch, $1.25

BARTOLO :

To a doctor of my rank, These excuses, Signorina, I advise another time That you better should invent. Why is the paper missing? That I would wish to know. Useless, ma'am, are all your airs Be still, nor interrupt me so. Another time, sweet Signorina,

When the doctor quits his house He will carefully provide For the keeping you inside. And poor innocent Rosina, Disappointed then may pout: In her room shall she be locked, Till I choose to let her out. (He goes out in a rage, followed by Rosina, who is laughing.)

PHOTO JOHNSON. SALT LAKE

NIELSEN AS ROSINA

A loud knocking is heard at the street door, — it is the Count in his soldier disguise. He pushes his way in, and insists that the commandant has ordered him to put up in Bartolo 's house. A long scene follows, full of comedy, finally ending in the arrest of the Count, who, however, privately informs the officer who he is ; and the astonished official salutes respectfully and takes his soldiers away. Bartolo is in such a rage that he can hardly speak, and the act ends with the famous quartet :

Guarda Don Bartolo (Look at Don Bartolo)

By Giuseppina Huguet, Soprano; Antonio Pini- Corsi, Baritone; Gaetano Pini-Corsi, Tenor; Ernesto Badini, Baritone *63171 10-inch, $O.75

ACT II

SCENE— A Room in Bartolo's House

Bartolo is discovered musing on the affair of the soldier, and as he has learned that no one in the regiment knows the man, he suspects that he was sent by the Count.

A knocking is heard and the Count is ushered in, dressed as a music master. He greets Bartolo, beginning the duet, Pace e gioia.

Pace e gioia (Heaven Send You Peace- and Joy)

By Antonio Pini-Corsi, Baritone, and Emilio Perea, Tenor (In Italian) *62105 10-irlch, $0.75

Bartolo says he is much obliged for these kind wishes and wonders who this can be. The Count explains that Don Basilio is ill and he has come in the music master's place to give Rosina a lesson. He shows Bartolo the note Rosina had written, saying he found it at the inn, and offers to make Rosina believe the Count has shown her note to another lady. Bartolo is pleased with thfc idea and calls Rosina. Then occurs the cele- brated "Lesson Scene" in which Rosina usually interpolates an air. Rossini wrote a trio for this scene, but in some manner it was lost.

Figaro now comes in to shave Bartolo, and in the course of the scene contrives to secure the key to the balcony. At this moment all are pet- rified at the entrance of Don Basilio, who is supposed to be confined to his bed. Figaro sees that quick action is necessary and asks him what he means by coming out with such a fever. " Fever ? " says the astonished music master. "A raging fever," exclaims Figaro, feeling his

* Double-Face J Record — For title of opposite side see double-faced list on page 34 '.

33

ROSINA AND COUNT ALMAVIVA

VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE

pulse. "You need medicine," says the Count, meaningly, and slips a fat purse in his hand. Don Basilio partially comprehends the situation, looks at the purse and departs.

The shaving is renewed, and Rosina and the Count pretend to continue the lesson, but are really planning the elopement. Bartolo tries to watch them, but Figaro manages to get soap in the Doctor's eye at each of his efforts to rise. He finally jumps up and denounces the Count as an impostor. The three conspirators laugh at him, and go out, followed by Bartolo, who is purple with rage. This scene is amusingly pictured in a famous fresco in the Vienna Opera.

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

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

By Emma Zaccaria (Double-Faced — See below) (In Italian) 621O5 lO-inch, $O.75 " What kind of thing is this love which drives everybody crazy ? " she asks. This air used to be called in Rome Aria di sorbetto (sherbet), because the audience used to eat ices while it was being sung!

Don Bartolo now desperately plays his last card, and shows Rosina the note, saying that her lover is conspiring to give her up to the Count Almavioa. Rosina is furious and offers to marry Bartolo at once, telling him that he can have Lindor and Figaro arrested when they arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when Figaro and the Count enter by means of the key which the barber had secured. Rosina greets them with a storm of reproaches, accusing Lindor of pretend- ing to love her in order to sacrifice her to the vile Count Almaoiva. The Count reveals himself and the lovers are soon clasped in a fond embrace, with Figaro in a "Bless you, my children," attitude. Don Basilio, who had been sent for a notary by Bartolo, now arrives. The Count demands that the notary shall wed him to Rosina. Basilio protests, but the sight of a pistol in the Count's hand soon silences him.

This scene is rudely interrupted by the arrival of Bartolo and the soldiers. The officer in charge demands the name of the Count, who now introduces Signor and Signora Almaviva to the company. Bartolo philosophically decides to make the best of the matter. However, he inquires of Basilio :

BARTOLO :

But you, you rascal — Even you to betray me and turn witness!

FIGARO :

Bravo, bravo, Doctor! Let me embrace you!

COPY'T MISH

SAM MARCO AS FIGARO

BASILIO:

Ah! Doctor,

The Count has certain persuasives

And certain arguments in his

pocket, Which there is no withstanding!

BARTOLO :

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

(Curtain)

ROSINA:

Oh, how happy we are!

COUNT:

Oh. propitious

love!

FIGARO:

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

DOUBLE-FACED BARBER OF SEVILLE RECORDS (Barber of Seville Selection By Pryor's Bandl 35125

1 Prophete Fantasie By Pryor's Band)

/Overture By La Scala Orchestral, ftn.~

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

(Manca un foglio (Here's a Leaf Out) By A. Rossi, Bassl , g.,,

\Una voce poco fa By Giuseppina Huguet, Soprano/

{Guarda Don Bartolo (Look at Bartolo) By Huguet, 1

A. and G. Pini-Corsi, and Badini (In Italian] [631 71 10-inch, .75

Fra 'Diavolo — Agnese la Zietella By Pietro Lara (In Italian)}

(II vecchietto cerca moglie By Emma Zaccaria (In Italian)\ /-«,rk(t , ~ • i -<

IPaceegioia By A. Pini-Corsi and Perea (In Italian)}62105 1O-mch' >75

12-inch, $1.25 12-inch, 1.25 12-inch, 1.25

By A. Pini-Corsi and Perea (In Italian) J 34

(English)

RTERED BRIDE IN GERMANY

(Bohemian)

BARTERED BRIDE PROD ANA NEVESTA

COMIC OPERA IN THREE ACTS

Libretto by Sabina. Music by Friedrich Smetana. First production, Prague, 1866. First London production, Drury Lane, 1895. First American production February 17, 191 1.

Characters

KRUSCHINA, a peasant Baritone

KATHINKA, his wife Soprano

MARIE, their daughter Soprano

MlCHA, a land owner Bass

AGNES, his wife Mezzo-Soprano

WENZEL, their son Tenor

I HANS, MlCHA'S son by first marriage Tenor

KEZAL, a marriage broker Bass

The Bartered Bride was intended by its composers to be typical of Bohemian life and character — -to be a national opera, and so it really is. The work illustrates accurately Bohe- mian village life, and is based on a simple story full of mirth and sometimes almost farcical.

Mane, daughter of Kruschina, a rich peasant, is betrothed to Hans, her father's servant. Hans and Marie, however, are threatened with separation because the maiden's father has determined she shall marry Wenzel, a half-witted, stuttering lad, who is the son of Kruschina' 's old friend, Micha. Kruschina and Kezal endeavor to arrange this marriage, but the girl flatly refuses to give up her old lover. Kezal finally offers Hans three hundred crowns if he will renounce Marie. At first the offer is indignantly rejected, but later Hans consents, insisting on a rather strange condition — that these words be inserted in the agreement, "that Marie shall only be married to a son of Micha. " Kezal, although he does not understand the reason for this, gladly agrees, and shortly afterward the paper is signed, the entire village being called in to witness the signature.

Marie refuses to believe that her lover has sold her for three hundred crowns, but is compelled to realize the truth when the marriage broker produces Hans' receipt for the money. The young girl meets her ruthless lover, who seems remarkably joyous over the affair, and still declares his love for her. The mystery is not explained until Micha and his wife arrive and recognize Hans to be their long-lost eldest son. So Hans not only wins his bride, but gains 300 crowns, for Kezal has agreed that Marie "shall marry only a son of Micha. " As the money remains in the family no one objects save Kezal, who departs in wrath.

The famous Overture to Bartered Bride is a work of delightful melody, and has had number- less performances as a concert number. It is delightfully spontaneous and highly interesting, containing parts of the national airs of Bohemia.

/Overture By Arthur Pryor's Band).,- , AR ,~ :n^ *i 9*

\ Madam Butterfly Selection (Puccini) ' By Pryor's Band}*'

35

(French)

LA BOHEME

(English)

THE BOHEMIANS

(La BoTo-ehm)

OPERA IN FOUR ACTS

Text by Giacosa and Illica ; music by Puccini. First produced at the Teatro Reggio, Turin, February 1, 1896. In English, as "The Bohemians," at Manchester (Carl Rosa Com- pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same year. In Italian at Covent Garden, July 1, 1899. First American production, November 28, 1899.

Characters

RUDOLPH, a poet

MARCEL, a painter

COLLINE, a philosopher

SCHAUNARD, a musician

BENOIT, an importunate landlord

ALCINDORO, a state councilor and follower of Musetta

PARPIGNOL

MUSETTA, a grisette

MlMI, a maker of embroidery

Students, work-girls, citizens, shopkeepers, street venders, restaurant waiters, boys, girls, etc.

Tenor

. . . . Baritone

Bass

. . . . Baritone

Bass

Bass

Tenor

. . . .Soprano . . . . Soprano >ldiers,

Scene and Period : Paris, about 1830.

Puccini's Boheme is an adaptation of part of Miirger's La Vie Boheme, which depicts life in the Quartier Latin, or the Students' Quarter, in 1 830. It being impossible to weave a

complete story from Miirger's novel, the librettists have merely taken four of the principal scenes and several of Miirger's characters, and have strung them together without much regard for continuity.

The principal characters in Puccini's delightful opera are the inseparable quartet described by Murger, who with equal cheerfulness defy the pangs of hunger and the landlord of their little garret. In the scenes of careless gaiety is interwoven a touch of pathos ; and the music is in turn lively and tender, with a haunting sweetness that is most fascinating.

Rudolph, a poet; Marcel, a painter; Colline, a philosopher; and Schaunard, a musician, are four friends who occupy an attic in the Quartier Latin, where they live and work together. Improvident, reckless and careless, these happy-go-lucky Bohe- mians find a joy in merely living, being full of faith in themselves.

ACT I

SCENE— A Garret in the Quartier Latin The opening scene shows the four friends with- out money or provisions, yet happy. Marcel is at work on a painting, "Passage of the Red Sea," and remarks, beginning a duet with Rudolph, that the

THE FOUR BOHEMIANS

passage of this supposedly torrid sea seems a very cold affair!

Questo mar rosso (This Red Sea)

By Gennaro de Tura, Tenor, and E. Badini, Baritone

(In Italian)

37

88233 12-inch, $3.0O

VICTOR BOOK OF THE OPERA— PUCCINI'S LA BOHEME

CAMPANARI

Rudolph says that in order to keep them from freez- ing he will sacrifice the bulky manuscript of his tragedy. Marcel holds the landlord at bay until Schaunard arrives with an unexpected store of eatables. Having dined and warmed themselves, Marcel, Colline and Schaunard go out, leaving Rudolph writing. A timid knock at the door reveals the presence of Mimi, a young girl who lives on the floor above. She has come to ask her neighbor for a light for the candle, which has gone out. They enter into conversation, and when Mimi artlessly asks Rudolph what his occupation is, he sings the lovely air usually termed the " Narrative."

Racconto di Rodolfo (Rudolph's Nar- rative)

By Enrico Caruso, Tenor

(In Italian) 88OO2 12-in., $3.OO By Herman Jadlowker, Tenor

(In Italian) 76O23 12-in., 2.OO By John McCormack, Tenor

(In Italian) 74222 12-in., 1.5O By Florencio Constantino, Tenor

(In Italian) 741O6 12-in., 1.5O By George Hamlin, Tenor

(In Italian) 74185 12-in., 1.5O By Evan Williams (English) 74129 12-in., 1.5O

Caruso has never done anything more perfect in its way than his superb delivery of this number. It is one of his great scenes in the opera, and always arouses the audience to a high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which holds one spellbound. The tender sympathy of the opening — " Your little hand is cold " ; the bold avowal — " I am a poet " ; the glorious beauty of the love motive at the end — all are given with characteristic richness and warmth of style by this admired singer, while the final high note is brilliantly taken.

Two entirely different interpretations, though also very fine ones, are given by Mr. Jadlowker and Mr. McCormack, while three other versions — in Italian by Constantino and Hamlin, and in English by Evan Williams — complete a list in which every lover of this beautiful air can find a record to suit his taste and purse.

Mi chiamano Mimi (My Name is Mimi)

By Nellie Melba, Soprano (Italian) 88074 12-in., $3.OO

By Geraldine Farrar, Soprano (Ital) 88413 1 2-in., 3.OO

By Alice Nielsen, Soprano (Italian) 74062 12-in., 1.5O

Then follows the charming Mi chiamano Mimi, in which the young girl tells Rudolph of her pitifully simple life ; of how she works all day making artificial flowers, which remind her of the blossoms and green meadows of the country; of the lonely existence she leads in her chamber up among the housetops.

O soave fanciulla— Duo and Finale, Act I (Thou Sweetest Maiden)

By Nellie Melba, Soprano, and

Enrico Caruso, Tenor 9520O 12-in., $5.00

Mimi 's delicate perfection enchanted the young poet — especially her little hands, which in spite of her menial work, she managed to keep as white as snow. ' ' — Miirger's La Vie de la Boheme.

This lovely duet occurs just after the Mi chiamano Mimi. The young girl having finished her story, Rudolph hears the shouts of his friends in the courtyard below. He opens the window to speak to them, letting in a flood of moonlight which SEMBRICH AS MIMI

38

COPVT DUPONT

VICTOR BOOK OF THE OPERA — PUCCINI'S LA BOHEME

FARRAR AS MIMI

brightens the room. The Bohemians go off singing. As Rudolph turns to Mimi and sees her in the moonlight, he is struck with her beauty, and tells her how entrancing she appears to him.

Love awakens in the heart of the lonely girl, and in this beautiful duet she pledges her faith to the handsome stranger who has come into her life.

Mm©, Melba's singing in this scene is of exquisite beauty, while Caruso's delivery of the passionate phrases of Rudolph is superb. The beautiful motive with which the duet begins is associated throughout the opera with the presence of Mimi, and is employed with touching effect in the death scene in Act III.

Mimi consents to go to the Cafe Momus, where his friends are to dine, and after a tender scene at the door they go out, and the curtain slowly falls.

ACT II

SCENE— A Students' Cafe in Paris This act represents the terraces of the Cafe. Momus, where the artists are holding a carnival. Puccini has pictured with mas- terly skill the noisy, bustling activity of this scene, and the boisterous merriment of the gav revelers. The Bohemians of Act I are seated at a table with Mimi, when Musetta,

an old flame of Marcel's, appears with her latest conquest, a foolish and ancient beau named Alcindoro. Marcel pretends not to see her, but Musetta is determined on a reconciliation, and soon gets rid of her elderly admirer and joins her old friends.

The gem of this gay scene is the charming waltz of Musetta, which Mme. Viafora sings here with spirit and delightful abandon.

Musetta Waltz

By Gina C. Viafor a, Soprano (Italian) 64O85 lO-inch, $1.OO By Guido Gialdini (Whistling) *16892 10-inch, .75 COPY.T M1SHK1M

Mme. Viafora's light soprano is heard to advantage in this pretty CLUCK AS MIMI waltz, which she sings with fluency and skill.

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

ACT III

SCENE— A City Gate of Paris

This act begins in the cheerless dawn of a cold morning at the city gates, the bleakness of the scene being well expressed in Puccini's music. The snow falls, work- men come and go, shivering and blowing on their cold fingers. Mimi appears, and asks the officer at the gate if

THE CAF6 MOMUS ACT II

* Double-FaceJ Record— For title of opposite side see DOUBLE-FACED LA BOHEME RECORDS, page 42.

39

VICTOR BOOK OF THE OPERA — PUCCINI'S LA BOHEME

COPY'T DOVER ST. STUDIOS

MARTIN AS RUDOLPH

he will find Marcel, that good and kind-hearted Bohemian painter, now sojourning at the inn on the Orleans Road and painting, not landscapes, but tavern signs, in order to keep body and soul together. Marcel enters and is surprised to see Mimi, whom he sup- poses to be in .Paris. Noticing that she is melancholy and apparently ill, he kindly ques- tions her and learns her sad story.

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

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

(In Italian) 89O16 12-inch, $4.OO

By Dora Domar, So- prano, and Ernesto Ba- dini. Baritone 88228 12-inch, 3.OO

This duet is one of the finest numbers in Puccini's opera, and Miss Farrar and Mr. Scotti have made a strikingly effective record of it, while the other ren- dition by La Scala artists is also a very fine one.

Mimi tells her friend that she can no longer bear the jealous quarrels with Rudolph, and that they must sep- arate. Marcel, much troubled, goes into the inn to summon Rudolph, but before the latter comes, Mimi secretes her- self, and when he enters she hears him again accuse her of fickleness.

Mimi e una civetta

(Coldhearted Mimi !)

By Laura Mellerio, Soprano ; Gennaro de Tura, Tenor ; and Ernesto Ba- dini. Baritone

(In Italian) 88227 12-inch, $3.OO

PHOTO BERT

FARRAR AND SCOTTI AS MIMI AND MARCEL ACT III

40

VICTOR BOOK OF THE OPERA — PUCCINI'S LA BOHEME

A distressing fit of coughing reveals her presence, and she appears and sings the sad little air which is one of the features of this act.

12-inch, $3.OO

AM MARCO AS MARCEL

Addio (Farewell)

By Nellie Melba, Soprano (In Italian) 88O72 By Geraldine Farrar, Soprano

(In Italian} 88406 12-inch, 3.0O

By Alma Gluck, Soprano (7n Italian) 64225 10-inch, 1.00 Most pathetically does the poor girl's " Farewell, may you be happy " come from her simple heart, and she turns to go. Rudolph protests, some- thing of his old affection having returned at the sight of her pale cheeks. Musetta now enters and is accused by Marcel of flirting. A furious quarrel follows, which contrasts strongly with the tender passages between Mimi and Rudolph as the lovers are partially reconciled.

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

By Geraldine Farrar, Soprano ; Gina

C. Viafora, Soprano; Enrico

Caruso, Tenor; and Antonio

Scotti, Baritone

(In Italian) 960O2 12-inch, $6.OO By Dora Domar, Soprano; Annita

Santoro, Soprano; Gino Gio-

vannelli. Tenor; and Ernesto

Badini, Baritone (In Italian) 89O48 12-inch, 4.00

Like the Rigoletto Quartet, this number is used by the com- poser to express many different emotions: The sadness of Mimi's

farewell to Rudolph; his tender efforts to induce her to remain;

the fond recollections of the bright days of their first meeting —

and contrasted to these sentiments is the quarreling of Musetta

and Marcel, which Puccini has skillfully interwoven with the

pathetic passages sung by the lovers.

\n^ Mimi Miss Farrar has added another r6le to the long list

of her successes in America, and her impersonation is a most

charming one. She was in superb voice and has given this lovely music most effectively.

. Caruso sings, as he always

does, with a beauty of voice and a sincerity of emotion which cannot fail to excite admiration.

Mme. Viafora, who is al- ways a piquant, gay and inter- esting Musetta; and Signor Scotti, whose admirable Marcel is one of his finest impersonations, both vocally and dramatically, round out an ensemble which could not be surpassed.

Truly a brilliantly sung and perfect balanced rendi- tion of one of the greatest of concerted numbers. An- other version by famous artists THE DEATH OF MiMi of La Scala is also offered.

COPY'T MISHKIN

TRENTINI AS MUSETTA

41

VICTOR BOOK OF THE O PERA— PUCCINI'S LA BOHEME

ACT IV

SCENE— Same as Act I

' 'jit this time, the friends for many weeks had lived a lonely and melancholy existence. Musetta had made no sign, and Marcel had never met her, while no word of Mimi came to Rudolph, though he often repeated her name to himself. Marcel treasured a little bunch of ribbons which had been left behind by Musetta, and when one day he detected Rudolph gazing fondly at the pink bonnet Mimi had forgotten, he muttered : ' It seems I am not the only one I ' ' '— Miirger.

Act IV shows the same garret in which the events of Act I took place. Bereft of their sweethearts, the young men are living sad and lonely lives, each trying to conceal from the other that he is secretly pining for the absent one.

In the opening scene, Marcel stands in front of his easel pretending to paint, while Rudolph, apparently writing, is really furtively gazing at Mimi's little pink bonnet.

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

By Enrico Caruso, Tenor, and Antonio Scotti, Baritone

(In Italian) 89OO6 12-inch, $4.OO

By McCormack and Sammarco (Italian) 89044 12-inch, 4.OO By Da Gradi and Badini (In Italian) *45O13 lO-inch, l.OO Three records of this favorite duet are offered — by Caruso and Scotti, McCormack and Sammarco — and a popular priced version.

The friends, however, pretend to brighten up when Schaunard and Colline enter with materials for supper, and the four Bohemians make merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. The poor girl is brought in and laid on Rudolph 's bed, while he is distracted with grief. The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He bids farewell to the coat in a pathetic song, which Journet delivers here with much feeling.

Vecchia zimarr a (Coat Song)

By Marcel Journet, Bass (In Italian) 64035 lO-inch, $1.OO

Collfne goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet.

Sono andati ? (Are We Alone ?)

By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor

(In Italian) *45013 10-inch. $1.00

The past is all forgotten and the reunited lovers plan for a future which shall be free from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons his friends, who are returning with delicacies for Mimi. But the young girl, weakened by disease and privations, passes away in the midst of her weeping friends, and the curtain falls to Rudolph's despairing cry of "Mimi! Mimi!"

CONSTANTINO AS

DOUBLE-FACED AND MISCELLANEOUS BOHEME RECORDS

By Victor Sorlinl „-..,- By Pryor's Band} 2

/Scheme Fantasie ( 'Cello)

\ Calm Sea and Happy Voyage — Overture

JBoheme Selection By Pryor's Band\ .,,,„__

\ Jolly Robbers Overture (Suppt) By Pryor's Band)**

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

< By Da Gradi and Badini (In Italian) U5O13

[Sono andati? By Bronzoni and de Gregorio (In Italian) I

/Musetta Waltz (Whistling Solo) Guido Gialdinil. , ft£>_ . ft . «

\ Carmen Selection (Xylophone) Wm. H. Reitzf1'

* Double-Faced Record — For title of opposite side see above list.

42

. ,. . , *, 12-mch, ?1.

. ,, . , . 2-

lO-inch, l.OO

THE ABDUCTION OF ARLINE ACT I

THE BOHEMIAN GIRL

OPERA IN THREE ACTS

Text by Bunn; music by Balfe. First produced at Drury Lane Theatre, London, November 27, 1843. First American production November 25, 1844, with Frazer, Seguin, Pearson and Andrews. Bunn took his plot from a ballet written for Ellsler, the dancer, by St. Georges, but transferred the scene from Scotland to Hungary. The work was immedi- ately successful in England, and was eventually translated into almost every language of Europe, and during the next twenty years was produced in Italy as La Zingara ; in Hamburg as La Gitana ; in Vienna as Die Zigeunerin ; and in Paris, with additional numbers, as La Boh£mienne.

Characters

ARLINE, daughter of Count Arnheim Soprano

THADDEUS, a Polish exile Tenor

GYPSY QUEEN Contralto

DEVILSHOOF, Gypsy leader Bass

COUNT ARNHEIM, Governor of Presburg Baritone

FLORESTINE, nephew of the Count Tenor

Retainers, Hunters, Soldiers, Gypsies, etc.

Time and Place : Presburg, Hungary ; nineteenth century.

The story of this opera is quite familiar, and can be dismissed with a brief mention. Thaddeus, an exile from Poland, is fleeing from Austrian troops, and to facilitate his escape he casts his lot with a band of gypsies, headed by Devilshoof. As the tribe is crossing the estate of the Governor of Presburg, Count Arnheim, Thaddeus is enabled to rescue the little daughter of the Count from a wild stag, and in his gratitude the Count invites the gypsies to the hunting dinner. In the course of the festivities Thaddeus refuses to drink the health of the Emperor, and is about to be arrested when Devilshoof interferes and is himself confined in the Castle, while Thaddeus is permitted to go. Devilshoof climbs from a window and

43

VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL

steals the little Arline, making his escape good by chopping down the bridge across the ravine as the soldiers pursue him.

Twelve years elapse and we see the camp of the gypsies, among whom Arline has grown to be a beautiful girl of seven- teen. Thaddeus, who has fallen in love with the young girl, now tells her of his love, and in a beautiful duet the lovers plight their troth. The Gypsy Queen, herself enamored of Thaddeus, is forced to unite him to Arline, but secretly plans vengeance. Her oppor- tunity soon comes, as she con- trives to have A rline accused of stealing a medallion from the young nephew of Count Arn- heim, who has come to the fair at Presburg, near where the gypsies are camped. Arline is arrested and taken before the Count, who in the course of the examination recognizes her as his daughter, from the scar made by the stag in her child- hood.

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

THE COUNT RECOGNIZES HIS DAUGHTER ACT II

THE VENGEANCE OF THE QUEEN ACT

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

44

VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL

Many of the most effective numbers from this pretty opera have been recorded by the Victor, besides the brilliant potpourri made by the Opera Company, which includes no less than seven of the most tuneful bits.

DOUBLE-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS

/Overture to Bohemian Girl \ La Czarine Mazurka (Ganne) /I Dreamt I Dwelt in Marble Halls iThen You'll Remember Me

Pryor's Bandl Pryor'sBandf1*287

Elizabeth Wheelerl

(The Heart Bow'd Down \ Good Bye, Sweetheart (The Heart Bow'd Down 1 Home to our Mountains

(Then You'll Remember Me \ /'// Sing Thee Songs of Araby (Clay} Then You'll Remember Me /Then You'll Remember Me \I Dreamt I Dwelt in Marble Halls

nen You'll Remember Me ''ilia Song

/Fantasia of Principal Airs "Wm.

\ Jig Medley (Rollinson} /Selection from Bohemian Girl \ Yelca Overture (Reissiger)

1, Harry Macdonough/'

Herbert Goddard (Piano acc.)\ , ,-,>,- A Herbert Goddardf1™**4

Alan Turner) Morgan and Macdonoughj Frederic Freemantell

16398

16407

Harry Macdonough)

George Hamlin 74134 Harry Macdonoughl , _ _ Elizabeth Wheeler/1*

lO-inch, $O.75

lO-inch, .75

lO-inch, .75

lO-inch, .75

12-inch, 1.25

12-inch, 1.5O

lO-inch, ,75

12-inch, 1.25

10-inch, .75

12-inch, 1.25

Gems from Bohemian Girl

Part of Overture — Chorus, " In the Gypsy's Life " — Chorus, "Come with the Gypsy Bride " — Entr'act Waltz — Chorus, " Happy and Light " — " Then You'll Remember Me "—Finale, " Oh, What Full Delight " By the Victor Light Opera Company 31761 12-inch, $1.OO

PHOTO BYRON

THE CARNIVAL AT PRESBURG ACT II

45

CARMEN

OPERA IN FOUR ACTS

Text by Meilhac and Halevy, founded on the novel of Prosper Merimee. Music by Bizet. First production at the Opera Comique, Paris, March 3, 1875. First London produc- tion June 22, 1878. First New York production October 23, 1879, with Minnie Hauk. Some notable revivals were in 1893, being Calve's first appearance; in 1905 with Caruso; and the Hammerstein revival of 1 906, with Bressler-Gianoli, Dalmores, Gilibert, Trentini and Ancona.

Characters

DON JOSE, (Don Ho-zay} a Brigadier ............................... Tenor

ESCAMILLO, (Es-ca-meef -yo} a Toreador .............................. Bass

DANCAIRO, (Dan-ky-row) \ Smu lerg r . . . Baritone

REMENDADO, (Rem^n-daK -M I s t ...................... Tenor

ZUNIGA, (Zoo-nee'-gah) a Captain ............ . . . . ................... Bass

MORALES, (Moh-raK -lez) a Brigadier .............................. *. .Bass

MlCAELA, (Mih-ky-ay'-lah) a Peasant Girl ......................... Soprano

.. Mezzo-Soprano

, . 0

- Mezzo-Soprano

CARMEN, a Cigarette Girl, afterwards a Gypsy ................... Soprano

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

FRASQUITA, (Frass-kee'-tah) } „ r-j £/-

> Gypsies, friends of Carmen MERCEDES, (M

Scene and Period : Seville, Spain; about 1820.

47

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

BIZET

Georges Bizet was a native of Paris, where he was born on October 25, 1838. Like Gounod and Berlioz, he won the Prix de Rome (Pree de Roam'); in this case in 1857, the year that his first opera, Docteur Miracle, was produced. Among other productions came Les Pecheurs de Perles, in 1863, an opera recently revived at Covent Garden with Mme. Tetrazzini as Leila. Carmen was produced in 1875, and this most Parisian of all operatic works was received at its production with a storm of abuse. It was immoral, it was Wagnerian — the latter at that time being a deadly sin in France! Nevertheless, the supreme merits of Carmen have won it a place among the two or three most popular operas in the modern repertory.

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

It was probably not a little owing to the hostile reception of this, his finest work, that its composer died three months later. The music Bizet has written, however, is likely long to survive him, and chief among the works into which he ungrudgingly poured his life's energy was Carmen.

THE PLOT

I

Carmen has its opening scene in a public square in Seville, showing at one side a guard- house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved in his village home, comes hither to seek him with a message from his mother. As Jose appears, the girls stream out from the cigarette factory hard by, and with them their leading spirit in love and adventure, Carmen, the gypsy, reckless and bewitching. Heedless of the pressing throng of suitors, and attracted by the handsome young soldier, Carmen throws him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of her dark eyes. A moment later a stabbing aff ray with a rival factory girl leads to the gypsy's arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a sudden struggle and confusion — the soldier lets go his hold — and the bird has flown !

II

Act II takes place in the tavern of Lillas Pastia, a resort of smugglers, gypsies and ques- tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug- glers, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany them. But she is awaiting the return of the young soldier, who, as a punishment for allow- ing her to escape, had gone to prison, and she will not depart until she has seen him. The arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to return. The arrival of his captain, who orders him back, decides Jose. He defies his officer, who is bound by the smugglers, and Jose deserts his regiment for Carmen.

Ill

The next scene finds Jose with the smugglers in the rocky camp in the mountains. The career of a bandit, however, is one to which a soldier does not easily succumb. His distaste offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion, with the cards, that they will end their careers tragically together. In the midst of this strained situation twa visitors arrive : Escamillo, the toreador, in the character of a new suitor for Carmen ; and Micaela, with a message from Jose '$ dying mother. The soldier, frustrated in his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return later for his revenge. j-y

The final act takes place outside the Plaza de Toros, at Seville, the scene of Escamillo 's triumphs in the ring. Carmen has returned here to witness the prowess of her new lover, and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of desperate deeds. They soon meet, and the scene between the maddened soldier and the gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with scorn, although she knows it means death. In a rage Jose stabs her, and thus the end comes swiftly, while within the arena the crowd is heard acclaiming the triumph of Escamillo.

48

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

Prelude (Overture)

By La Scala Orchestra *68O52 12-inch, $1.25

By La Scala Orchestra *62617 lO-inch, .75

The Prelude to Carmen opens with a quick march in 2-4 time, on the following theme :

The march is of an exceedingly virile and fiery description and is taken from the music preceding the bull-fight in the last act. Following this stimulating march comes the "Toreador's Song," leading to the march theme again. These two sections, complete in themselves, are now followed by a short move- ment in triple time indicating the tragic con- clusion of the drama. Here, the appealing notes of the brass, heard beneath the tremolo of the strings, gives poignant expression to the pathos which lies in the jealous love of the forsaken Jose, and expresses the menace of the future death of Carmen. This movement breaks off on a sudden detached chord of the diminished seventh as the curtain rises.

ACT I

SCENE— A Public Square in Seville

The curtain rises on a street in Seville, gay with an animated throng. In the fore- ground are the military guard stationed in front of their quarters. The cigarette factory

lies to the right, and a bridge across the river is seen in the background.

Among the crowd which throngs the stage a young girl may be seen searching for a familiar face. It is Micaela, the maiden whom Jose has left behind in his native village. The soldiers accost her, and from them she learns of her lover's absence. She declines the invitation to remain, and departs hastily.

The cigarette girls now emerge from the factory, fill- ing the air with the smoke of their cigarettes, and with them Carmen, who answers the salutations of her admirers

SETTING OF ACT i among the men by singing the

gay Habanera.

Habanera (Love is Like a "Wood-bird)

By Jeanne Gerville-Reache, Contralto (In French} 88278 12-inch, $3.OO

By Emma Calve, Soprano (In French) 88O85 12-inch, 3.OO

By Maria Gay, Mezzo-Soprano (In Italian) 92O59 12-inch, 3.0O

This charming "Habanera" has always been a favorite Carmen number, its entrancing

rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found

it irresistible when sung by Carmen.

Though ^often attributed to Bizet, the air was not original with him, but was taken from Yradier's "Album des Chansons Espagnoles. " The refrain,

u AUeffretto quasi Andantino.

L'a-mourest en - fant de Bo • hfime It n'a ja - tnais, ja-mais con-nu de . loi, And Love' 3 a gyp • sy boy so true. He ev • er was a rov-er free as air!

is a particularly fascinating portion of the number. * Double-FaceJ Record— For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60.

49

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

PHOTO MAIRET

CARMEN SINGING "HABANERA" ACT I

Ah, love!

For love he is the lord of all, And ne'er law's icy fetters will he wear, If thou me lovest not, I love thee, And if I love thee, now beware! If thpu me lovest not, beware! But if I love you, if I love you, beware! beware!

HABANERA. -"Love is Like a Wood-Bird Wild.'

CARMEN:

Ah! love, thou art a wilful wild bird, And none may hope thy wings to tame, If it please thee to be a rebel, Say, who can try and thee reclaim? Threats and prayers alike unheeding; Oft ardent homage thou'lt refuse, Whilst he who doth coldly slight thee, Thou for thy master oft thou'lt choose.

To a large number of opera-goers and music-lovers there is but one emotional soprano — but one exponent of such roles as Carmen and Santuzza. Calve's Carmen, especially, is almost universally accepted as the greatest of all impersonations of the role.

Gerville-R^ache's Carmen is a fine impersonation, on quite original lines, her conception being based on a careful study of Merimee's story and on the teachings of her Spanish mother: Carmen, according to Mme. Gerville-R6ache, was a passionate and fickle woman, but not a vulgar one.

The men invite Carmen to choose a new lover, and in reply she flings a flower in the face of the sur- - '"•i".'^,"' prised Jose and laughingly departs.

Mia madre vedo ancor (My Mother **" "^ I Behold)

By Fernando de Lucia, Tenor, and Giuseppina Huguet, Soprano (Piano ace.)

(In Italian] 92O52 12-inch, $3.OO

Parle-moi de ma mere (Tell Me of My Mother)

By Lucy Marsh, Soprano, and John McCormack,

Tenor (In French) 74345 12-inch, $1.50

Now Micaela returns, and finds the soldier she seeks. Her song tells of the message of greeting she brings Jose from his mother, and with it a kiss. The innocence of Micaela is here a foil to the riper attractions of the gypsy, and the music allotted to the maiden possesses the same simple charm ; the conclusion of Micaela's air being a broad sustained melody of much beauty. Jose takes up the strain, as the memories of his old home crowd upon him, and the beautiful duet follows.

GAY AS CARMEN

50

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

JOSE:

Ah! tell me of he

my mother far away.

CALVE AS CARMEN

Micaela leaves him after a tender farewell, and Jose begins to read his mother's letter, but is interrupted by a commotion within the factory. Carmen has stabbed one of her companions, and is arrested and placed under the guard of Don Jose. The soldiers drive away the crowd, and Carmen, left alone with Jose, brings her powers of fascination to bear on the young soldier, partly to facili- tate her escape, and partly because he has attracted her attention. Here she sings the Seguidilla, a form of Spanish country dance.

Seguidilla (Near the 'Walls of Seville)

By Maria Gay, Mezzo- Soprano (In Italian)

91085 lO-inch, $2.OO By Margarete Matzenauer, Mezzo-Soprano (In French)

87103 lO-inch, 2.OO The Seguidilla is one of Spain's most beloved dances, and its rhythm is most fascinating. Bizet has given us a brilliant to Michael Carre's words. CARMEN (airily) :

Nigh to the" walls of Sevilla,

Soon at my friend Lillas Pastia

I'll trip thro' the light Seguidilla,

And I'll quaff Manzanilla,

I'll go seek out my friend Lillas Pastia.

MICHAELA:

Faithful messenger from her to thee,

I bring a letter,

And some money also;

Because a dragoon has not too much.

And, besides that — JOSE: Something else? MICHAELA:

Yes, I will tell you.

What she has given, I will to thee render.

Your mother with me from the chapel came,

And then, lovingly, she kissed me.

"My daughter," said she, to the city go:

When arrived in Seville,

Thou wilt seek out Jose, my beloved son;

Tell him that his mother,

By night, by day, thinks of her Jose:

For him she always prays and hopes,

And pardons him, and loves him ever.

And then this kiss, kind one,

Thou wilt to him give for me." JOSE: A kiss from my mother? MICHAELA:

To her son.

Jose, I give it to thee — as I promised.

(Michaela stands on tip-toe and kisses Jose— a true mother's kiss. — Jose is moved and regards Michaela tenderly.) JOSE:

My home in yonder valley,

My mother lov'd shall I e'er see?

Ah fondly in my heart I cherish

Mem'ries so dear yet to me. MICHAELA:

That one sweet hope,

'Twill strength and courage give thee.

That yet again thou wilt thy home

And thy dear mother once more see.

example in this dainty number, which he has set

(Plaintively, casting glances at Jose) : Yes, but" alone one's joys are few, Our pleasures double, shared by two! So just to keep me company, My beau I'll take along with me!

51

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

THE INN OF PASTIA ACT II

Although Jose says to himself that the girl is only amusing herself, and whiling away the time with her gypsy songs, the words which fall on his ear — of a meeting-place on the ramparts of Seville — of a soldier she loves — a common soldier, all these play upon the feel- ings of Jose and rouse in him a love for the changeful gypsy, who is fated to be the cause of his downfall.

He unties her hands, and when the soldiers are conducting her to prison she pushes Jose, who falls, and in the confusion she escapes.

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

Intermezzo (1st Entr'acte)

By Victor Herbert's Orch. 6O067 lO-inch, $O.75

ACT II

SCENE — A Tavern in the Suburbs of Seville The second act opens amid the Bohemian surroundings of the tavern of Lillas Pastia ; the wild tune with which the orchestra leads off depicting the freedom and gaiety with which the mixed char- acters here assembled are wont to take enjoyment and recreation.

Les tringles des sistres (Gypsy Song)

By Emma Calve, Soprano

(In French) 88124 12-inch, $3.OO

Carmen again leads them with her song, another lively gypsy tune, in the exulting refrain of which all join, a picture of reck- less merriment resulting.

Ah! when of gay guitars the sound On the air in cadence ringing, Quickly forth the gipsies springing, To dance a merry, mazy round. While tambourines the clang prolong, In rhythm with the music beating, And ev'ry voice is heard repeating

The merry burthen of glad song. CALVE SINGING THE GYPSY

Tra la la la, etc. SONG — ACT n

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

COPY'T DUPONT

CARUSO AS DON JOSE

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

Cancion de Toreador (Toreador Song)

By Titta Ruffo, Baritone, and La Scala Chorus

(In Italian) 92065 12-inch, $3.OO By Emilio de Gogorza, Baritone, and New York

Opera Chorus (In Spanish) 88178 12-inch, 3.OO By Pasquale Amato, Baritone

(In Italian) 88327 12-inch, 3.0O By Giuseppe Campanari, Baritone

(In Italian) 85O73 12-inch, 3.OO By Alan Turner, Baritone

(In English) * 16521 lO-inch, .75 By Francesco Cigada, Baritone; Giuseppina Huguet, Soprano; Inez Salvador, Mezzo- Soprano ; and La Scala Chorus

(In Italian) *62618 lO-inch, .75

No less than six renditions of this universal favorite are offered by the Victor for the choice of customers.

After Escamillo 's departure, Carmen 's comrades invite her to part upon a smuggling expedition, but she refuses to stir until she sees the soldier for whom she is waiting. Their

efforts to persuade her has been put by Bizet into the form of a brilliant quintet.

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

By Mmes. Lejeune, Soprano; Duchene, Mezzo- Soprano ; Dumesnil, Soprano ; Mm. Leroux, Tenor; Charles Gilibert, Baritone

(In French) 88237 12-inch, $3.0O

This is one of the favorite numbers in Bizet's opera, and at the same time one of the most difficult imaginable. When sung as the tempo indicates, it goes at break-neck speed, and it is only the most capable artists who can do it justice.

For the present reproduction, the Victor assembled a most competent corps of singers, who were under the direction of the late Charles Gilibert, himself the most famous of Remendados.

Jose's voice being heard outside, Carmen pushes her compan- ions from the room, and greeting him with joy, questions him about his two months in prison. She then tries her fascinations on the stolid soldier to induce him to join the band of smugglers. Carmen dances for the soldier while he watches her with fascinated gaze. Her efforts are useless, as he is reminded of his duty when he hears the bugle in the distance summoning him to quarters. "Then go, I hate you ! " says Carmen, and mocks him, singing

Ah, this is too mortifying!

All to please you, sir, I gaily sang and danced. (Aside.) But now ta ra ta! he hears the trumpet call! Ta ra ta ra! and then off he flies Like a guest to a feast!

She is furious, and pitches at him his cap and sabre, and bids him begone.

* Double- Faced Record— For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60.

53

copy DALMORES

DON JOSE

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

Air de la fleur (Flower Song)

By Enrico Caruso, Tenor

(In French) 882O8 12-inch, $3.OO By Enrico Caruso, Tenor

(In Italian) 882O9 12-inch, 3.0O By Charles Dalmores, Tenor

(In French) 85122 12-inch, 3.OO By Herman Jadlowker, Tenor

(In French) 76027 12-inch, 2.OO By Fernando de Lucia, Tenor

(In Italian) 76OO1 12-inch, 2.00 By Evan "Williams, Tenor

(In English) 74122 12-inch, 1.5O By John McCormack, Tenor

(In Italian) 74218 12-inch, 1.5O

Desperate at the thought of losing her forever, *Don Jose shows her the flowers she threw him at their first meeting, and which he had preserved, then sings this lovely romance, beginning:

BRESSLER-GIANOLI AS CARMEN

•ZE3

S

La fleur que tu ma-vais je • te - e Dans ma pri-son m'e-tait res • t6 • e This flow'r you gave to me, de -grad • ed 'Mid fri • son walls I've kept tho* fad • ed

The struggle between love and duty which has been distracting the unfortunate lover is now seemingly forgotten, and he pours out his heart in this romanza, telling only of his great passion for the beautiful but heartless gypsy.

DON JOSE:

This flower you gave to me, degraded 'Mid prison walls, I've kept, tho' faded; Tho' withered quite, the tender bloom Doth yet retain its sweet perfume. Night and day in darkness abiding, I the truth, Carmen, am confiding; Its loved odor did I inhale, And wildly called thee without avail. My love itself I cursed and hated,

Then alone myself I detested, And naught else this heart interested, Naught else it felt but one desire, One sole desire did it retain, Carmen, beloved, to see thee once again! O, Carmen, mine! here as thy slave, love binds me fast,

Carmen, I love thee!

From Schirmer score. Copy't G. Schirmer

The number might have been written expressly for Caruso, so well does it suit his voice and style. One can but marvel at the masterful ease of phrasing, and the warmth of vocal coloring imparted by the singer. The changing moods of the lover are here indicated with dra- matic expression — the regret at the havoc Carmen has played with his life mingling with the devotion for her he still feels. This is a remarkable and memorable performance, the whole song being lighted up with that rich vocal beauty and artis- tic genius which belong only to a Caruso.

Other fine renditions, at varying prices, in both Italian and English, are also offered. Carmen then paints the joys of the gypsies' life which might be Jose 's, if he would desert his regiment and follow her.

54

COPY'T DUPONT

DE LUSSAN AS CARMEN

VICTOR BOOK OF THE O P E R A— B I Z E T ' S CARMEN

JOSE:

Carmen! CARMEN :

Wilt come with me?

Up yonder, up yonder, thus will we go

Away, if thou lov'st me, together!

Las bas dans la montagne (Away to Yonder Mountains)

By Emma Calve, Soprano, and Charles Dalmores, Tenor

(In French) 89O19 12-inch, $4.0O

The soldier listens with half -willing ears, his voice joining hers at the close, in a lovely duet passage.

CARMEN :

For roof, the sky — a wandering life;

For country, the whole world;

Thy will thy master;

And above all — most prized of all —

Liberty! freedom!

Up yonder, up yonder, if thou lov'st me,

To the mountains, together we'll go.

However, in spite of Carmen 's fascinations, Jose is about to return to his duty, when the appearance of his superior officer Zuniga, who orders him back, decides the matter. Don Jose resents the overbearing tone his captain uses and defies him. Zuniga is finally overpowered and bound by the gypsies, and the smugglers all depart on their expedition.

Aragonaise (2d Entr'acte)

By Victor Herbert's Orchestra 70067 12-inch, $1.25

By La Scala Orchestra (Double-faced— See page 60) 62102 lO-inch, .75

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

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

instruments in turn, the strings joining in the coda.

Andantino quasi allegretto.

This is one of the finest records made by the Herbert Orchestra, who have given an artistic and finished rendering of the interlude.

MICAELA PLEADS WITH JOSE ACT III

55

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

CARD SCENE ACT III

ACT III

SCENE— A Wild and Rocky Pass in the Mountains As the curtain rises, the smugglers are seen entering their rocky lair. Here occurs the

famous sextette, a portion of which is given in the "Gems from Carmen" (page 60).

The smugglers prepare to camp for the night. It is evident that Jose is already repenting

of his folly, and that Carmen is tiring of her latest lover. After a quarrel with Jose, she joins

Frasquita and Mercedes, who are telling fortunes with cards.

En vain pour eviter (Card Song)

By Lavin de Casas, Mezzo-Soprano (Piano ace. ) (In Italian) *62617 10-inch, $O.75

Carmen tells her own fate by the cards, reading death, first for herself and then for her lover. In vain she shuffles and re-tries the result ; the answer is ever the same.

This highly dramatic air, one of the most impressive numbers, in Bizet's opera, is effect- ively sung by Mme. d6 Casas.

The neighboring camp being ready, the smugglers retire, and the stage is once more deserted.

Je dis que rien ne m'epouvante (Micaela's Air/* I am not Faint- Hearted")

By Geraldine Farrar, Soprano

(In French) 88144 12-inch, $3.0O

By Alma Gluck, Soprano

(In French) 74245 12-inch, 1.5O

Into this strange and wild scene now enters Micaela, the peasant sweetheart of Don Jose, who has forgotten her in his fascination for the wayward Carmen. Micaela has braved the dangers of the road to the smugglers* retreat, whither Don Jose has followed Carmen, to carry to the soldier a message from his dying mother. The innocent girl is frightened by the vast and

THE CARDS PREDICT CARMEN'S DEATH (EMMA CALVE)

* Double-Faced Record— For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60.

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

lonely mountains, and in her aria appeals to Heaven to protect her, ingenuously confessing her love for Don Jose and her detestation of the woman who has led him away from his duty.

MICAELA:

I try not to own that I tremble;

But I know I'm a coward, altho' bold I

appear. Ah! how can I ever call up my courage,

While horror and dread chill my sad heart

with fear? Here, in this savage retreat, sad and weary

am I,

Alone and sore afraid. Ah ! heav'n, to thee I humbly pray,

Protect thou me, and guide and aid! I shall see the guilty creature,

Who by infernal arts doth sever From his country, from his duty,

Him I loved — and shall love ever! I may tremble at her beauty,

But her power affrights me not. Strong, in my just cause confiding,

Heaven ! I trust myself to thee. Ah! to this poor heart give courage,

Protector! guide and aid now me!

The young girl, hearing a shot fired, runs into a cave in fright. Jose, who is guarding the smugglers' effects, has seen a stranger and fires at him. It proves to be Escamillo, the toreador, who has come COPV to join Carmen. He appears, examining his hat with rueful gaze, as TRENTINI AS FRASQUITA Jose's bullet had gone through it. "Who are you?" says the latter. " I am Escamillo, toreador of Granada ! " replies the bull fighter.

The duet which follows is given here by two famous artists of the Paris Opera.

Je suis Escamillo (I am Escamillo !)

By Leon Beyle, Tenor, and Hector Dufranne, Baritone

(Double-faced— See page 60) (In French) 62750 10-inch, $O.75

The two men compare notes, and learning that they are rivals, Jose challenges the other to a duel with knives, which is interrupted by the timely arrival of Carmen herself. This dialogue, with the fiery duet at the close, well depicts this exciting scene.

A popular priced rendition by Beyle and Dufranne, of the Opera, is listed above.

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

By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano;

Inez Salvador, and Francesco Cigada (In Italian) 92O35 12-inch, $3.00

A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to

return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his

rival in possession of the field is too much for the soldier, who swears never to be parted

from the gypsy until death.

MICHAELA:

CARMEN (to Jose): Be not deaf to my prayers;

Go, and go quickly; stay not here; Thy mother waits thee there.

This way of life is not for thee! The chain that binds thee, Jose

JOSE (to Carmen) : Death will break.

To depart thou dost counsel me? JOSE (to Michaela):

CARMEN: Go from hence;

Yes, thou shouldst go — I cannot follow thee.

JOSE (fiercely): (To Carmen.)

Yes, that thou mayst follow Mine thou art, accursed one!

Another lover — the toreador! And I will force thee to know

No, Carmen, I will not depart! And submit to the fate

That both our lives unites!

The message from his dying mother, however, decides him ; he will go, but vows to return. In this wild and tumultuous number the jealous anger of Jose gives rise to some highly dramatic singing, delivered with extreme intensity and power by Paoli, the tragic theme at the close being introduced with meaning effect. The Toreador chorus indicates the triumph of Escamillo in the gypsy's attentions, and this with the orchestral close slowly sinking to rest brings the powerful act to a finish.

f>7

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

ACT IV

(A Square in Seville, with the walls of the Bull Ring shown at the back)

Prelude

By Victor Herbert's Orchestra

70066 12-inch, $1.25 The fourth act opens with a momentary brightness. Outside the Plaza de Toros, in Seville, an animated crowd awaits the procession about to enter the ring. This short movement is a quick bustling one, only the plaint- ive oboe solo indicating the tragedy which is soon to occur. The playing of this striking prelude is on the same artistic level which marks each of the renditions by this famous orchestra.

This scene, as the orange sellers, hawkers of fans, ices and the rest, press their wares on the waiting crowd, is extremely gay, and affords welcome relief from the intensity of the drama. Escamillo, who has returned to take part in the bull-fight, now enters, and all join in the refrain of the Toreador Song in his honor.

Se tu m'ami (If You Love Me)

By Margarete Matzenauer, Mezzo-Soprano ; Pasquale Amato, Baritone ;

with Metropolitan Opera Chorus (In Italian) 89O61 12-inch, $4.OO

By Inez Salvador, Mezzo-Soprano, and Francesco Cigada, Baritone

(Double-faced— See page 60) (In Italian) 621O2 10-inch, .75

Escamillo takes farewell of Carmen before entering the arena. He promises to fight the better for her presence, and she, half conscious of what is coming, avows her readiness to die for him. This number is full of lovely melodies and one of the most beautiful records of the Carmen series.

PLEADING WITH CARMEN A(

THE DEATH OF CARMEN ACT IV

58

VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN

As the procession passes on, the warning comes to Carmen that Jose is here, to which she replies that she fears him not.

Duetto e Finale (Duet and Finale)

By Maria Passeri, Mezzo-Soprano ; Antonio Paoli, Tenor; and La Scala Chorus 9205O 12-inch, $3.00

Jose now enters and makes a last appeal, which is dramatic in its intensity. It takes the form of a swinging melody to an insistent triplet accompaniment. To each request of her lover, Carmen adds her disdainful negative, reckless of the danger which threatens her.

JOSE (in desperation) :

Now thou refusest my prayers, Inhuman girl! For thy sake am I lost! And then to know thee shameless, infamous! Laughing, in his arms, at my despair! No, no! it shall not be, by Heaven! Carmen, thou must be mine, mine only! CARMEN (proudly): No, no, never! JOSE: Ah! weary am I of threats. CARMEN: Cease then, — or let me pass! CHORUS (in bull ring): Victory! victory!

Viva Escamillo!

JOSE: Again I beseech thee, Carmen, Wilt thou with me depart?

COPY1! DUPONT

MARTIN AS DON JOSE

Carmen's last refusal, as she flings him back his ring, rouses the soldier's jealousy to madness and he stabs her to the heart. As she falls the success of the Toreadorin the arena is announced by the singing of his well-known refrain. The last notes of the opera are a few pitiful tones from the stricken Jose addressed to the mute form of his beloved.

This is another truly powerful record by Paoli, worthy of a climax such as this. The music is delivered with the realism and earnestness beyond the reach of all but the very few tenors, and it enables the listener to fully realize the stress and pathos of this moving dra- matic picture.

DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS Carmen Selection By Pryor's Band 31562 12-inch,

/Carmen Selection By Sousa's Band\«-ftnn ,~ • <

Freischutz-Overture By Sousa's Bam//350' 12-inch<

Carmen Selection By Pryor's Band\ ...,._,, in;««k

Manon—^h I fuyez douce image ! By M. T^occa, Tenor] l *

The selection begins with the brilliant and animated Prelude, the first part of which is given, including the refrain of the famous . p " Toreador Song." Then is heard (as a cornet Iffi solo) the quaint " Habanera,"

DON JOSE AND CARMEN

$1.00 1.25

.75

with its curiously varied rhythm, its chromatic melody and the changes from minor to major which are so effective. With the last note the full band takes up the rollicking chorus of street boys from Act I, and after a few measures there ,01, » p— -fe^^^V"! J8 ^=1^ — f^~^C I I* -'^ appears suddenly the weird strain from Act IV when sy— --^— ;p J;.,,. £. nt t« „ . ^ .,„ J^^T^ Carmen hurls at Don Jose her last defiance. *~ "' — •—• "•' "" ' " -•« *•

The spirited introductory strain returns, closing the selection.

59

VICTOR BOOK OF THE O P E R A — B I Z E T' S CARMEN

DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS— Continued

Gems from Carmen

Chorus, " Here They Are " — Solo and Chorus, " Habanera " (Love is Like a Bird) — Duet, " Again He Sees His Village Home " — Sextette, " Our Chosen Trade " — Solo and Chorus, " Toreador Song " — Finale.

By Victor Light Opera Company (In English) 31843 12-inch, $1.OO An amazing number of the most popular bits of Bizet's masterpiece have been crowded into this attractively arranged potpourri.

/Habanera (Whistling) By Guido Gialdinil. . ,

\ The Pretty Maiden (Xylophone) By Peter Lewinf1**752 O'inch' *°-75

{Toreador Song By Alan Turner, Baritone (In English) ]

Trooatore — Tempest of the Heart >16521 lO-inch, .75

By Jllan Turner, Baritone (In English)]

/Prelude (Overture) By La Scala Orchestral, _ft(% . , ,.

\ Damnation of Faust— Hungarian March By Sousa's Band}**""

Prelude (Overture) By La Scala Orchestra]

Scena delle carte (Card Song) By Lavin de Casas, Mezzo- >62617 lO-inch, .75

Soprano (Piano ace.) (In Italian)] [Canzone del Toreador (Toreador Song) By F. Cigada, Bari- ]

tone; G.Huguet, Soprano; I. Salvador, Mezzo-Soprano; L~,-ia ,n • i _-

La Scala Chorus (In Italian) 6261< °-mch' '75

[ Catialleria Rusticana — Intermezzo By Pryor's Orchestra]

[Intermezzo — Acto III, Aragonaise La Scala Orchestra, Milan]

{Setum'ami (If You Love Me) By Inez Salvador, Mezzo- >621O2 lO-inch, .75 [ Soprano ; F. Cigada, Baritone (In Italian) }

(Je suis Escamillo (I Am Escamillo !) By Leon Beyle, Tenor; ]

•\ Hector Dufranne, Baritone (In French) V6275O lO-inch, .75

[ Valse des looses (Metro) By Mile. Lucette Korsoff, Soprano (French) ] fPreludio, Acto IV By La Scala Orchestra]

\ Norma — Mira o Norma — By Ida Qiacomelli, Soprano; Lina Mileri, V621O1 lO-inch, .75 | Contralto (In Italian)}

/Carmen Selection (Xylophone) By Wm. Reitz)

\ Boheme— Musetta Waltz (Whistling) By Guido Gialdini]

lO-inch, .75

A FAMOUS OPEN-AIR PRODUCTION OF CARMEN IN FRANCE 60

THE METROPOLITAN OPERA HOUSE SETTING

(Italian)

CAVALLERIA RUSTICANA

(Kah-vahl-lay-ree -ah Roos-tee koh'-nah) (English)

RUSTIC CHIVALRY

OPERA IN ONE ACT

Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by Mascagni. First production in Rome, May 1 7, 1 890. First London production at the Shaftesbury Theatre, 1891. First American production in Philadelphia, 1891.

Cast

SANTUZZA, (San-foot'-zah) a village girl Soprano

LOLA, (Low-lafi) wife of Alfio Mezzo-Soprano

TURIDDU, (Too-ree -doo) a young soldier Tenor

ALFIO, (At-fee-oh) a teamster Baritone

LUCIA, (Loo-chee -ah) mother of Turiddu Contralto

Chorus of Peasants and Villagers. Chorus behind the scenes.

The scene is laid in a Sicilian village. Time, the present. THE COMPOSER

Pietro Mascagni, son or a baker in Leghorn, was born December 7, 1863. Destined by his father to succeed him in business, the young man rebelled, and secretly entered the Cherubini Conservatory. He began composing at an early age, but none of his works at- tracted attention until 1890, when he entered a contest planned by Sonzogno, the Milan publisher. Securing a libretto based on a simple Sicilian tale by Verga, he composed the whole of this opera in eight days, producing a work full of dramatic fire and rich in Italian melody, and easily won the prize. Produced in Rome in 1890, it created a sensation, and in

NOTE — The quotations from Cavalleria Rusticana are given by kind permission of G. Schirmer. (Copy'/ 1891 .)

61

VICTOR BOOK OF THE OPERA— C AVALLERI A RUSTICANA

a short time has become one of the most popular of operas. THE STORY

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

Prelude

By La Scala Orchestra *351O4 12-inch, $1.25 By Vessella's Italian Band

31831 12-inch, 1.00

The Prelude takes the form of a fantasia on the principal themes of the opera. Mascagni's lovely melodies are played with exquisite tone and expression, while at the climaxes the entry of the brass is most artistically managed. This is band playing of a high order, and certainly the best record of the Prelude we have heard. The La Scala Orchestra record is also a most interesting one.

During the prelude Turiddu 's voice is heard in the charm- ing Sidliana, in which he tells of his love for Lola :

CARUSO AS TURIDDU

Siciliana (Thy Lips Like Crimson Berries)

By Enrico Caruso, Tenor (Harp ace.) (In Italian) 87O72

By Enrico Caruso, Tenor (Piano ace.) (In Italian) 8103O

By George Hamlin, Tenor (Harp ace.) (In Italian) 64387

By Leo Slezak, Tenor (In German} 612O2

By Carlo Caffetto, Tenor (Piano ace.) (In Italian) *6262O

It is sung behind the scenes, before the rise of the cur- tain, making it peculiarly effective. At the close of the number Turiddu 's voice is heard dying away in the distance. This decrescendo passage is exquisitely sung by Caruso. This delightful serenade, one of the most popular of the Caruso records, is almost the only bright spot in Mascagni's passionate and tragic operatic melodrama.

The best of the many translations (Schirmer Edition, copy't 1891) is given here.

TURIDDU:

O Lola, with thy lips like crimson berries, Eyes with the glow of love deepening in

them,

Cheeks of the hue of wild, blossoming cherries, Fortunate he who first finds favor to win them;

10-inch, $2.OO lO-inch, 2.OO lO-inch, 1.00 lO-inch, l.OO lO-inch, .75

Yet tho' I died and found Heav'n on me

beaming,

Wert thou not there to greet me, grief I should cherish!

Fine renditions in German, by Slezak and in Italian by Hamlin and Caffetto are also listed.

SCENE— A Square in a Sicilian Village

After the Siciliana the chorus of villagers is heard, also behind the scenes, and during this chorus the curtain rises, showing a square in the village, with the church at one side and the cottage of Turiddu' s mother on the other.

*Double-Faccd Record — For title of opposite side see double-faced list, page 66.

62

COPY'T DUPONT

TAMAGNO AS TURIDDU

VICTOR BOOK OF THE OPERA— C AVALLERI A RUSTICANA Gli aranci olezza.no (Blossoms of Oranges)

By New York Grand Opera Chorus (In Italian) 64O48 10-inch, H.OO

By La Scala Chorus (In Italian) *68218 12-inch, 1.25

This beautiful chorus is rendered here both by the famous organization of La Scala, Milan, and the New York Grand ; Opera Chorus.

It is Easter Day and crowds- of villagers cross the stage and enter the church. Santuzza enters, and knocking at Lucia's door, asks her if she has seen Turiddu. His mother replies that he is at Francofonte, but the jealous girl refuses to believe it, and suspects that he is watching for Lola.

The cracking of a whip and shouts of the villagers announce Alfio, who appears and sings a merry song.

II cavallo scalpita (Gayly Moves the Tramping Horse)

By Pasquale Amato, Baritono

(with Metropolitan Opera C/io.) (In Italian)

87O97 lO-inch $2.OO By Renzo Minolfi, Baritone

(In Italian) *450O3 10-inch, l.OO

He is happy and free, his wife Lola loves him and guards his home while he is gone — this is the burden of his air.

The peasants disperse and Alfio is left with Lucia and Santuzza. When he says he has just seen Turiddu, Lucia is surprised, but at a gesture from Santuzza she keeps silent.

After Alfio has entered the church, the Easter music is heard within and all kneel and join in the singing.

Regina Coeli (Queen of the Heavens)

By La Scala Chorus (In Italian) *68218 12-inch, $1.25

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

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

This is one of the most

AMATO AS ALFIO

Surf ly you know, ok.

as she pours out her sad history to the sympathetic Mamma Lucia. powerful numbers in Mascagni's work.

Voi lo sapete (Well You Know, Good Mother)

By Margarete Matzenauer, Soprano (In Italian) 88430 12-inch, $3.0O

By Emma Calve, Soprano (In Italian) 88O86 12-inch, 3.OO

By Emma Eames, Soprano (In Italian) 88037 12-inch, 3.OO

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

*Double-FaceJ Record— For title of opposite aide see double-faced list, page 66.

63

VICTOR BOOK OF THE OPERA— CAVALLERI A RUSTICANA

Then the thought of her rival, Lola, returns and she gives way to despair, throwing herself at the feet of the gentle mother of Turiddu, who is powerless to aid her and who can only pray for the wretched woman.

SANTUZZA:

Well do you know, good mother, Ere to the war he departed Turiddu plighted to Lola his troth, Like a man true-hearted. And then, finding her wedded * Loved me ! — I loved him ! —

She, coveting what was my only treasure —

Enticed him from me!

She and Turiddu love again!

I weep and I weep and I weep still!

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

Lucia tries to comfort her and passes into the church just as Turiddu appears. He asks Santuzza why she does not go to mass. She says she cannot, and accuses him of treachery, which puts him in a rage, and he tells her brutally that she is now nothing to him.

Tu qui Santuzza (Thou Here, Santuzza!)

By B. Besalu, Soprano, and G. Ciccolini, Tenor

(In Italian} *55O22 12-inch, $1.5O

No, No, Turiddu

By Besalu and Ciccolini (Italian} *55O22 12-in., 1.5O This scene is now interrupted by Lola 's voice, heard behind

GADSKI AS SANTUZZA the SCCnCS.

LOLA (behind the scenes) : None like to him so bright

My king of roses, That land discloses,

Radiant angels stand My king of roses! —

In Heav'n in thousands;

She enters, and divining the situation, shows her power by taking Turiddu into the church with her. Frantic with jealousy, Santuzza turns to Alfio, who now enters, and tells him that his wife is false. Two records are required to present this powerful scene.

Turiddu mi tolse (Turiddu Forsakes Me !)

By B. Besalu and E. Badini

(In Italian) *55021 12-inch, $1.5O By Clara Joanna, Soprano, and Renzo Minolfi, Baritone

(In Italian) *45OO2 lO-inch, l.OO

Ad essi io non perdono ('Tis They Who Are Shameful)

By Clara Joanna and Renzo Minolfi

(In Italian) *45OO2 10-inch, $1.OO

Alfio swears vengeance, while Santuzza already regrets her disclosure, but is powerless to prevent the consequences of her revelation. They go out, leaving the stage empty, and the beautiful Inter- mezzo follows.

Intermezzo

By Victor Herbert's Orchestra

6OO74 lO-in., $0.75

Pryor's Orchestra *62618 lO-in., .75 Victor Orchestra 4184 lO-in., .60

The instantaneous popularity of this selection

was remarkable, and in no small measure helped SANTUZZA PLEADING WITH TURIDDU— ACT i to make Cavalleria Rusticanathe tremendous success (DESTINN AND CARUSO)

that it was. These records bring out the beautiful melody — the harp lending a lovely back- ground of peaceful harmony — and makes the Intermezzo a tone picture of exquisite coloring. * Double-Face J Record — For title of opposite side see double-faced list, page 66.

64

VICTOR BOOK OF THE OPERA— C AVALLERI A RUSTICANA

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

PART II

A casa, a casa (Now Homeward)

By La Scala Chorus (In Italian) *450U 10-inch, $1.0O

The services being over, the people now come from the church, and Turiddu in a reck- less mood invites the crowd to drink with him, and sings his spirited Brindisi.

Brindisi (Drinking Song)

By Enrico Caruso, Tenor (In Italian) 81O62 lO-inch, $2.0O

By George Hamlin, Tenor (In Italian) 64245 lO-inch, l.OO

In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry drinking song, which Turiddu sings as gaily as if he had not a care in the world, although at that moment the culminating

Ctnu lure, good frirnds.comtkrrt, it ft train • trimming ft/4*

Turiddu calls to the crowd about the inn : then sings the

tragedy of the duel was close at hand. ^^ '£? ml : "' *"• *.*..«-» wc-cht.

Brindisi, which |(^§ "" |«E"^ ^ J^-^ I •* J * If! 6 P j£ has a most fas- *> ^^ „

sw^ing : "lii'/ '*» '

TURIDDU:

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

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

Like young love, with smiles bestowing, Brings peace, pleasure it redoubles,

Now our holiday 'twill bless. Causes sweet forgetfulness!

Alfio now enters, and when Turiddu offers him a cup refuses, saying :

Thank you! Poison I might be drinking. Turiddu throws out the wine, saying carelessly :

Very well! suit your pleasure!

The seriousness of this scene is not lost on the peasants, who now leave the young men together. The challenge is quickly given and accepted after the Sicilian fashion, Turiddu viciously biting Alfio's ear, and they arrange to meet in the garden.

Turiddu now calls his mother from the cottage, and asks for her blessing, bidding her, if he does not return, to be a mother to Santuzza.

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

By Riccardo Martin, Tenor (In Italian) 88277 12-inch, $3.OO

By Gennaro de Tura, Tenor (In Italian) 76015 12-inch, 2.OO

By G. Ciccolini, Tenor (In Italian) *55021 12-inch, 1.5O

By Giorgio Malesci, Tenor (Piano ace.) (In Italian) *6262O lO-inch, .75

TURIDDU (calling): Mother! To Santuzza be a mother!

(loiter Lucia.) I have sworn to shield her

Exciting surely that wine was. And lead her to the altar.

I must have taken LUCIA:

Too many cups Why speakest thou so strangely?

While we were drinking! My son, oh, tell me?

For a stroll I am going, TURIDDU (nonchalantly) :

But first, I pray you, Oh, nothing! the wine

Give your son your blessing Has filled my brain with vapors!

As when I left you O pray that God forgive me!

To become a soldier! One kiss, dear mother!

If I return not, you must not falter And yet another! (He rushes off.)

Finale to the Opera

By Clara Joanna, Soprano ; Sra. Rumbelli, Mezzo-Soprano :

and Chorus (In Italian) *45OO3 lO-inch, $1.OO

Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are now heard and a woman screams " Turiddu is murdered ! " Santuzza and Lucia sink down senseless, and the curtain slowly falls.

* Double-Face d Record — For title of opposite side see double-faced list, page 66.

65

VICTOR BOOK OF THE OPERA— CAVALLERI A RUSTICANA

DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA RECORDS Selection — Parti By Victor Orchestra 31057 12-inch, $1.OO

Selection — Part II By Victor Orchestra 31 05 8 12-inch, l.OO

Gems from " Cavalier ia Rusticana"

44 Blossoms of Oranges " — "Alfio's Song " — Lola's Ditty, " My King of Roses " — "Santuzza's Aria " — "Drinking Song" — "Easter Chorus"

By Victor Opera Company (In English] 31874 12-inch, l.OO (Turiddu, mi tolse (Turiddu Forsakes Me !) By ]

B. Besalu, Soprano, and E. Badini, Baritone (In Italian)]. ,. *Mi i o • u i «^

Mamma, quel vino e generoso (Mother ! the Wine '

[ Cup too Freely Passes) By G. Coccolini, Tenor (In Italian)) /Tu qui Santuzza (Thou,Santuzza) By Besalu and Ciccolini I ,,,,__ _ \No, No, Turiddu By Besalu and Ciccolini (In Italian)}**

(Prelude By La Scala Orchestral.,. ft.

\Selection ("Alfio's Song." "Easter Chorale," "Intermezzo") Pryor's Bj f

jCoro d' Introduzione By La Scala Chorus (In Italian)

\Regina Coeli By La Scala Chorus

I Turiddu, mi tolse 1'onore (Turiddu Forsakes Me!) By Clara Joanna and Renzo Minolfi (Ad essi io non perdono — By Joanna and Minolfi I Finale dell' Opera — By Clara Joanna, Soprano; Sra. < Rumbelli, Mezzo-Soprano ; and La Scala Chorus (In Italian) >45003 [II cavallo scalpita By Renzo Minolfi, Baritone (In Italian)}

|A casa, a casa (Now Homeward !) La Scala Chorus (Dalian)} .f.... . \ Guglielmo Ratdiff— Padre Nostro Mussini and Molinari (Italian))** ' I Intermezzo By Pryor's Orchestra]

I Carmen— Toreador (Bizet) 162618

By Cigada, Huguet, Salvador and Chorus (In Italian)} jAddio alia madre (Piano ace.) By Giorgio Malesci, Tenor

\Siciliana (Piano ace.) By Carlo Caffetto,

(In Italian

(In Italian) U5OO2 (In Italian) }

12-inch, 1.50 12-inch, 1.25

68218 12-inch, 1.25

10-inch, 1.00

lO-inch, l.OO

lO-inch, l.OO

10- inch, .75

lO-inch, .75

Caruso Toscanini Destinn Catti-Ca/za/a Martin

I IOIIUT

A REHEARSAL OF CAVALLERIA AT THE METROPOLITAN OPERA HOUSE, NEW YORK

GO

(French)

LES CLOCHES DE CORNEVILLE

(English)

THE CHIMES OF NORMANDY

COMIC OPERA IN THREE ACTS

Text by Clairville and Gabet ; music by Robert Planquette. First produced at the Folies Dramatiques, Paris, April 19, 1877. First N. Y. production at the 5th Avenue Theatre, 1877.

Characters

HENRI, the Marquis of Valleroi Baritone

GRENICHEUX, a young villager Tenor

GASPARD, a miser Bass

SERPOLETTE, the good-for-nothing Soprano

GERMAINE, the lost Marchioness Mezzo-Soprano

SHERIFF . . Bass

Time and Place : Normandy ; lime of Louis XV.

The Chimes of Normandy abounds in striking numbers, and the music is full of gayety and French grace. It has had no less than six thousand performances, a testimony to its enduring place in popular appreciation.

The opera opens in an old Norman village, where a fair is in progress. Henri, the Marquis of Valleroi, has just returned to his native town after an absence of many years. The

ROBERT PLANQUETTE village gossips are discussing with vehemence scandals about

Serpolette, the village good-for-nothing, who arrives just in

time to vindicate herself by turning the tables on her traducers. Gaspare/, the miser, has a plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him that if she must wed she feels it her duty to marry Grenicheux, a young villager, in gratitude for his saving her life. To escape the marriage, which is distasteful to both Germaine and Grenicheux, and to fly from the vengeance of Gaspare/ and the sheriff, she and Grenicheux take advantage of the privileges of fair time and become servants of the Marquis.

In the second act the ghosts are reported to be roaming the Castle of Valleroi. The Marquis does not credit these stories and soon discovers it is only old Gaspard, the miser, who, when found out, goes crazy through fear of losing the treasures he has concealed there. In the last act the castle is restored to its former splendor and the Marquis is giving a fete to which he invites all the villagers, including the crazy Gaspard. Serpolette is there as a fine lady with Grenicheux as her factotum. After a love scene between the Marquis and Germaine, it is discovered that the latter is the rightful heiress and true claimant to the title of Marchioness. The story comes to a fitting conclusion with the betrothal of the Marquis and Germaine, over whom the bells of Corneville ring out sweetly and gladly to tell the happy news. The Victor offers three band records of the principal airs, and an unusually effective selection of five of the most popular numbers in the opera by the Victor Light Opera Company.

Gems from " Chimes of Normandy "

Chorus, "Silent Heroes" — "Just Look at This, Just Look at That" — "Cold Sweat is on My Brow" — "That Night I'll Ne'er Forget" — "Bell Chorus"- -Finale. By the Victor Light Opera Company 31 788 12-inch, $1.OO

Selection of the Principal Airs

By Sousa's Band /Selection of the Principal Airs \ Naila Intermezzo (Pas des Fleurs) (Selection of the Principal Airs \ Poet and Peasant Ooerture (von Suppe)

By Sousa's Bandl.,,,- A By Pryor's Bane//35134

By Pryor's Band)

By Pryor's Band r/16385

3118O 12-inch, l.OO

... , 12'inch' 1-25

. 12-mch, .75

67

PHOTO BERT

DAMNATION OF FAUST FOURTH SCENE PARIS OPERA

(French)

LA DAMNATION DE FAUST

(Lah Dan-nah-see-on' deh Fowst)

DAMNATION OF FAUST

Hector Berlioz's dramatic legend in four parts; book based on de Nerval's version of Goethe's poem, partly by Gandonniere, but completed by Berlioz himself. First performed December 6, 1846, at the Opera Comique, Paris, in concert form, and in New York under Dr. Leopold Damrosch in 1880. It was given at Monte Carlo as an opera in 1903. First American performance of the operatic version in New York, 1908.

Cast

MARGUERITE (Mahr-guer-ee/) Soprano

FAUST (Fowst) Tenor

MEPHISTOPHELES (Me/-/as-/0/-e/-/eez) Baritone or

BRANDER . .

Place : A German village.

THE COMPOSER

No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising his originality, his spontaneous force and immense creative power. Le Damnation de Faust, his best known work, originally written as an oratorio, but which has since been adapted for the stage, was first produced in 1846 and met with a cold reception. Ten years after his death, however, what a change began ! A Berlioz memorial in Paris, at the Hippodrome, where thousands were turned away; Berlioz monuments erected in Grenoble and other cities of France ; and finally, the production of Damnation of Faust as an opera at Monte Carlo in 1903, amid scenes of the wildest enthusiasm.

VICTOR BOOK OF THE O P E R A — B E RL I O Z* S FAUST

AUERBACH S BEER CELLAR IN LEIPSIC ACT II

In his " Faust " Berlioz has given us a musical legend which has all the picturesqueness of the original work.

Whatever severe critics may say of its merits in the highest artistic sense, it is nevertheless a wonderful work. Strange eccentricities and rare beauties are found side by side ; even the wild orgie of fiends called " Pandemonium," which almost transgresses the license of genius, must be admired for its astound- ing orchestral effects. On the other hand, there are melodies of purest beauty, such as the numbers for Marguerite. How- ever, the most striking numbers in the opera are those written by Berlioz for Mephistopheles, three of which have been most effectively rendered for the Victor by Plancjon.

THE OPERA

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

Hungarian (Rakoczy) March

BySousa'sBand (Double- faced, see f>. 7 /) 68052 12-inM $1.25 By Sousa's Band 31424 12-in., l.OO

This is Berlioz's treatment of the famous "Rakoczy March," known as a national Hungarian melody for a hundred years. Its stirring measures so fascinated the composer that, contrary to his original intention, he laid the scene of his " Faust " legend in Hungary in order that he might make use of this wild and pulse-quickening melody. His treatment of it is brilliant in the extreme, and it remains one of the most effective portions of his " Faust."

In this connection it is interesting to remember that Liszt, although a warm friend of Berlioz, considered himself aggrieved and wrote to Mme. Tardieu in 1882: "My transcription of the Rakoczy March * * is twice as long as the well-known version of Berlioz, and it was written before his. Delicate sentiments of friendship for the illustrious Frenchman induced me to withhold it from publication until after his death. In writing it he

made use of one of my earlier transcriptions, particularly in the harmony."

Scene II shows Faust alone in his study, as in the Gounod version. He is about to take poison, when the strains of the Easter hymn come from the adjoining church and arrest his purpose. Mephistopheles then appears and suggests that they go forth and see the world together, to which Faust consents.

In the third scene Faust and Mephistopheles go to a beer cellar in Leipsic, where students and soldiers are carousing. Brander sings his song of the rat, which as in the Gounod opera, meets with

69

RENAUD'S STRIKING CON- CEPTION OF MEPHISTO

VICTOR BOOK OF THE O P E R A — B E R L I O Z ' S FAUST

but ironical praise from Mephistopheles, and he volunteers his famous " Romance of the Flea," a curiosity of music as effective as it is difficult to render.

Chanson de la puce (Song of the Flea)

By Pol Plancon, Bass

(In French) 81087 10-inch, $2.00

Gounod's Mephistopheles is mild and innocent by the side of the strange utterances of the Devil as portrayed by Berlioz.

This is one of the most interesting numbers in the •work, for Berlioz has described, by means of clever forms in the accompaniment, the skipping of the flea in various directions. The words are most fantastic —

Once a king, be it noted, had a fine and lusty flea,

And on this flea he doted, cherish'd him tenderly,

So he sent for his tailor, and to the tailor spake:

"Please to measure this youngster, and coat and breeches make!"

In velvet and in satin

He now was duly drest

Had jewels rare his hat in,

And medals deck'd his breast!

Faust dislikes the scene, and the two vanish from the gaze of the astonished students amid a fiery glow.

Voici des roses ('Mid Banks of Roses)

By Mattio Battistini, Baritone <.„„ , UUp0»T PLANCON

(In Italian) 92023 12-inch, $3.OO

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

'Mid banks of roses, softly the light reposes, On this fair, fragrant bed, rest, 0 Faust, rest thy head- Here slumber, while lovely visions haunt thy dream Of radiant forms, rare lips and eyes that fondly beam!

while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seen for the first time.

The next scene corresponds to the Garden Scene of Gounod, and shows a room in Marguerite's cottage. The demon now sum- the will - o'- the-

mons te w - o- te- > *~

Wisps in this eVOCation: *« .pir H.olin<o»um fire. Hast «, here. onthewinr.ol.irl

The sprites come flying to Marguerite's door to aid in her enchantment, and the demon continues :

Ye spirits of caprice and of evil, conspire

To enchant and subdue, and win a maiden soul.

Now dance, ye sons of Evil, dance in the name of the devil,

Will-o'-the-wisp and gnome, dance, or away you go!

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

"To this lute, I'll sing a serenade One that shall please the lady .... It is moral, her tastes to suit!"

Serenade — Mephistopheles

By Pol Plancon, Bass (In French) 81034 lO-inch, $2.OO

Mephistopheles then warbles in his scoffing voice this mocking serenade :

De-vant la mai MO De ce lul qul t'» do • • rc.de ce lul. de ce • lui qui t'« do re

Dear KfUfrint. vly la Uu door -of thy lav er. la the door, to the door of Uiy lav - er

in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by pizzicato crescendos for strings.

70

VICTOR BOOK OF THE O P E R A — B E R L I O Z ' S FAUST

MEPHISTOPHELES:

Dear Katherine, why to the door of thy lover,

Drawest thou nigh? Why there timidly hover? why

art there? Oh, sweet maiden, beware;

come away do not enter; It werevfplly to venture,

Refrain, nor enter there!

Ah, heed thee well, fair lass, Lest thy lover betray thee; Then good night, alas!

From ill-hap what shall stay

thee? But let thy lover prove the

truth of his advances; When the ring brightly

glances, Ah! then only, believe his

love!

Berlioz's Mephistopheles is a much more sardonic and less gentlemanly devil than the one we are accustomed to see in Gounod's opera. Plancon interprets this difficult character admirably, and delivers this sneering serenade with great effectiveness.

While the sprites dance Marguerite apparently sleeps, but soon comes from the house in a kind of trance. She tries to enter the church, but the influence of Mephistopheles prevents, and she returns to the house and falls into the arms of Faust.

The last act contains four scenes. Scene I shows a moonlit room where the unhappy Marguerite sings her lament. This changes to a rocky pass where Mephistopheles informs Faust that Marguerite is about to be executed for the murder of her mother. Faust demands that she be saved, but is first required by Mephistopheles to sign the fatal contract which pledges his soul to the Devil. Summoning the infernal steeds Vortex and Giaour, the wild Ride to Hell commences, shown by a striking moving panorama, while at the close the angels are seen hovering above the town to rescue the soul of the pardoned Marguerite.

FOURTH ACT SETTING — DAMNATION OF FAUST

DOUBLE-FACED DAMNATION OF FAUST RECORDS

(Hungarian March \ Carmen — Prelude

By Sousa's Band) By La Scala Orc/»eS/ra/

THE RIDE TO HELL ACT V

71

(English)

DAUGHTER OF THE REGIMENT

(French)

LA FILLE DU REGIMENT

(Lah FeepeA deh Rezh'-ee-mong')

COMIC OPERA IN TWO ACTS

Words by Bayard and St. Georges. Music by Donizetti. First produced at the Oplrct Comique, Paris, 1840; Berlin, 1842; London, 1847.

Characters

TONIO, a peasant of Tyrol Tenor

SULPIZIO, Sergeant of the 21st Bass

MARIE, Vivandiere of the 2 1 st Soprano

MARCHIONESS OF BERKENFIELD Mezzo-Soprano

The scene is laid in the Swiss Tyrol.

Donizetti's Daughter is a brilliant little opera, with its rollicking songs, its drums, its vivacious heroine and its comic old Corporal.

At the beginning of the opera Marie is a beautiful girl of 1 7, who had been found on the battlefield as an infant, and brought up by Sulpizio as the daughter of the regiment. Marie is loved by Tonio, a young peasant, who had saved her life in the Alps and who follows the regiment to be near her. The young girl returns his affec- tion, and they decide to appeal to Sulpizio.

In asking for Mane's hand in marriage Tonio' 's suit is brought before the regiment, which decides that he may have the Vivandiere providing he joins the army, which he promptly does. Sulpizio meets the Marchioness of Berfcen- field and gives her a letter which he had found addressed to her at the time the baby Marie was found on the battlefield. The Marchioness, who had married a French army captain far beneath her own rank, immediately rec- ognizes the young girl as her daughter. The marriage had been a secret one and the child was confided to her father's care at her birth. Not wishing to acknowledge this marriage even now, the Marchioness declares Marie to be her niece, and dismisses Tonio as a totally unfit person to wed a high-born maiden. Marie assumes her proper position in society, her "aunt" selecting a wealthy Count as a future husband for her. However, in the midst of all her beautiful surroundings Marie continues to long for her sweetheart Tonio. Her mother, still pretending to be her aunt, endeav- ors to persuade her to give up Tonio and marry the Count, but Marie flatly refuses. In desperation the Marchioness reveals herself as the girl's own mother, and the maiden then agrees to accede to her wishes and marry the Count. Touched by Marie's filial devotion, the Marchioness consents to allow her to marry Tonio, who in the meantime, through rapid promotion, has reached a high rank in the French army under Napoleon.

The Victor offers three records from this charming opera ; the first being the tuneful Per viver oicino, the song of the lover Tonio. Mr. McCormack gives a spirited performance of this delightful Romanza. Two splendid band records are also offered — a Pryor's Band rendition of the gay and COPY|' FOLEY spirited Overture and a Vessella Band record of the principal airs in the opera. MC CORMACK AS

TONIO

Per viver vicino (To Be Near Her)

By John McCormack, Tenor (In Italian] 74221 12-inch, $1.50

DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS /Overture By Pryor's Band\.,-OA- , ,, . « >., «-

\ Dance of the Serpents (Boccalari) By Pryor's Band]* '

/Principal Airs of the Opera By Vessella's Bandi „< , Oi , <> • t, i o«t

\ Fra Diavolo Selection (Auber) By Vessella' s Band}^ 12-inch, 1.25

72

DINORAH

(Din-oh'-rah)

OPERA IN THREE ACTS

Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris, 1859. First London production, under direction of Meyerbeer, July 26, 1859. First New York production, Opera Comique, 1864, with Cordier, Brignoli and Arnodio.

Cast

HOEL, a goatherd Bass

CORENTINO, bag-piper Tenor

DINORAH, betrothed to Hoel Soprano

HUNTSMAN . . . . Bass

Place: Breton village of Ploermel.

Although the name of Meyerbeer is usually as- sociated with Robert le Diable, Prophete and Huguenots, his opera, Pardon de Ploermel (afterwards revised and renamed Dinorah) , was at one time a favorite work with opera-lovers.

The revival of Meyerbeer's sparkling opera during the last Manhattan season was most welcome, not only for its tunefulness, but because it was an ideal medium for the exhibition of Mme. Tetrazzini's marvelous gifts. Old opera-goers in America will remember the productions of the past — that arranged for Marie Van Zandt in 1892; Patti's famous performance a dozen years before; and the fine impersonations of Gerster, di Murska and Marimon. But it is safe to say that no exponent of the part of the wandering Breton shepherd- ess has ever excelled Mme. Tetrazzini in the role.

The plot is utterly absurd — its demented goat- girl, seeking a runaway lover; the lover himself, who con- trary to operatic precedent is a baritone, and who spends a year chasing an imaginary treasure; a weak- kneed bag-piper. These are the principal characters.

But in the music Meyerbeer has atoned for the triviality of the libretto, and the audience listens to the delightful melodies and pays little attention to the plot. The action is laid in Brittany. Dinorah, a maiden of the village of Ploermel, is about to be wedded to Hoel, a goat-herd, when a storm destroys the house of the bride's father. Hoel resolves to rebuild it, and goes off to seek treasure in a haunted region, while Dinorah, thinking herself deserted, loses her reason, and wanders through the country with her faithful goat, seeking the absent Hoel.

Overture

By La Scala Orchestra 68010 12-inch, $1.25

ACT I

As the curtain rises, Dinorah enters in her bridal dress, seeking her goat, and finding the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object.

Si, carina caprettina (Yes, My Beloved One)

By Giuseppina Huguet, Soprano (In Italian) *35180 12-inch, $1.25

Mme. Huguet has sung this pretty air with charming fluency, and the record is one of the most attractive in her list. The translation follows:

Perchance she has wandered on the hills Amid the thorns!

Ah ! wert thou to be seized by the wolf — fear not! I will be there to defend thee — fear not! Yes, darling sleep in peace,

FAURE AS HOEL, 1859

Slumber, darling, sweetly slumber, Sleep, my belov'd one, sleep! Soft the evening breeze is playing, 'Neath the cooling shadows here Flows a streamlet, fresh and clear, Swift, among the flowers straying. Alas! six days has she been away, Nor yet returns!

Sweet little birds your warbling cease, My beauteous one must sleep. Awake her not! Yet softer still!

* Double-Faced Record — On opposite side is the Mad Scene from Hamlet, by Mme. Huguet.

73

VICTOR BOOK OF THE OPERA— ME YERBEER'S DINORAH

Corentino, a bag-piper, enters and is terrified at the sight of Dinorah, believing her to be an evil fairy about whom he had heard, who causes the runaway traveler to dance till he dies. Dinorah, in a spirit of mischief, makes him dance until he is exhausted, and runs away laughing.

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

ACT II

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

Ombra leggiera (Shadow Song)

By Luisa Tetrazzini, Soprano 88298 12-inch, $3.0O By Maria Galvany, Soprano 88222 12-inch. 3.OO

Light flitting shadow, companion gay

Go not away!

Play here beside me, dark fears betide me When thou dost go far from me! Ah! go not away, go not away!

Each coming morn I thee would find, Ah prithee stay and dance with me! Tf thou wilt stay, nor go away, Thou thus shalt hear me sing.

Know'st thou not that Hoel loves me? That as his bride he claims me! Love well hath known Our two hearts to unite! (A cloud passes over the moon — the shadow disappears.)

This dance is accompanied by a waltz, which is full of the most brilliant vocal effects, including a florid cadenza for voice and flute, as in Lucia.

The act closes with the rescue of Dinorah by Hoel when the bridge, on which she was crossing a ravine, gives away.

ACT III

Act III opens with the famous "Hunter's Song," long a favorite concert number.

Chant du Chasseur (Hunter's Song)

By Pol Plan?on, Bass (Piano ace.)

(In French) 81065 lO-inch, $2.00

COPY'T fOLEY

TETRAZZINI AS DINORAH

The fresh morning breeze

Plays light in the trees,

Like a young, a young and happy lover!

Hunting is jolly, when night is over.

On, on to the hunt!

To follow the trace of beast or bird.

The day is awake,

The mist from the lake

Rising, passes over,

Hoel enters, bearing the form of Dinorah, who is still senseless. Thinking her dead, he bitterly reproaches himself in the great air, Sei oendicata

HOEL:

(He anxiously ivatchcs Dinorah, ivho gradu- ally recovers.)

Great heaven! my pray'r hath risen unto thee! Yes! she breathes again; her eyes she opens! But why thus fixedly they gaze upon me? O heaven, I had forgotten That grief of reason had bereft her!

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

74

'Twas on this self-same spot — a year ago When from the tempest an asylum my D

sought ;

inorah

Within these arms I pressed her; and now! Dead! — ah! heaven, I 11 not believe it yet! Look up again, dear angel, thy pardon I im- plore!

FROM A PAINTI

SCENE FROM DON CARLOS

DON CARLOS

(Don Kahr'-los)

OPERA IN FOUR ACTS

Libretto by Mery and Du Locle ; music by Verdi. First produced at Paris, March 11, 1867; in London, at Her Majesty's Theatre, June 4, 1867.

Original Paris Cast

PHILIP II Obin, Bass

DON CARLOS Morere, Tenor

MARQUIS DE POSA Faure, Baritone

GRAND INQUISITOR Belval, Bass

ELIZABETH DE VALOIS Sass, Soprano

PRINCESS EPOLI . . . . Gueymard, Soprano

The libretto is based on Schiller's drama of Don Carlos, and tells of the erratic and morbid son of Philip II of Spain, who was engaged to Elizabeth of France, but subsequently became her stepson. The conduct of Don Carlos finally became so scandalous that his father placed him under arrest and confined him in the Madrid prison, where he died in 1 568, at the age of twenty-three.

The same plot had previously been used by Bona, Milan, 1847; Costa, London, 1844; Moscuzza, Naples, 1862; and also by Ferrari.

Don Carlos is not one of Verdi's popular operas, but the music is dramatic, effective and full of genuine Italian warmth and passion. Schiller's drama has been much changed, and made to conform to the dramatic requirements of the stage and the music.

75

VICTOR BOOK OF THE OPERA— VERDI'S DON CARLOS

Don Carlos, son of Philip II of Spain, is in love with Elizabeth of Valois, daughter of the French King, Henry II. For state reasons, however, Henry has arranged that his daughter

shall marry King Philip, and accordingly the royal ceremony takes place. The passion which Carlos feels for his young stepmother is as intense as ever, and he confides in Rodrigo, Marquis of Posa, who entreats the Prince to leave the Spanish Court in the hope that he will forget his love. Carlos begs the Queen to obtain Philip's permission for him to join the Flemings in their struggle against the cruelties of the Spaniards. Time seems to have but strengthened the mutual affection of the pair, and the Queen is unable to conceal from Carlos the fact that her love for him is greater than ever.

Princess Eboli, who is herself in love with Carlos, learns of the Queen's affection for the Prince. Her jealousy is aroused and she tells all to Philip. This maddens the King, who is already angry with his son for his sympathy with the Flemings, and, on the advice of the Grand Inquisitor, Carlos is thrown into prison. Rodrigo visits the Prince there, and is shot by friends of the King, who suspect him of helping the Flemings. Carlos is freed and goes to St. Just Monastery to keep a tryst with Elizabeth. The King surprises them there, and his anger being once more aroused, he hands over Carlos to the Officers of the Inquisition, who bear him away to his death as the curtain falls.

O don fatale (Oh, Fatal Gift!)

By Janet Spencer, Soprano

FAURE AS DON CARLOS

(In Italian} 74253 12-inch, $1.50

Dio che nell' alma (God in My Soul)

By Enrico Caruso and Antonio Scotti (In Italian) 89064 12-inch, 4.OO

Per me giunto e il di supremo (The Supreme Day)

By Titta Ruffo, Baritone (In Italian) 92038 12-inch. 3.OO

DOUBLE-FACED DON CARLOS RECORD

fGrand March By Sousa's Band) . _. _ . « 4n ,.

\ Tannhauser— Pilgrims' Chorus (Wagner) Victor Brass Quartet}111™ lO-mcn, $O.75

DON CARLOS AT LA SCALA, MILAN ACT II, SCENE II

76

(Italian)

DON GIOVANNI

(Don Joh-vahn' -nee)

(French)

DON JUAN

(Don Huahn)

OPERA IN TWO ACTS

Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced at Prague, October 29, 1787, and at Vienna, May 7, 1788. First London production April 12, 1817; produced in New York May 29, 1826. Some notable revivals occurred in 1898 with Sembrich, Nordica, Eames and Plancon, and in 1909 with Russ, Donalda, Bonci and Renaud.

Cast

DON GIOVANNI, a licentious young nobleman Baritone

DON OCTAVIO, (Oct-tah' -vee-oh) betrothed to Donna Anna Tenor

LEPORELLO, (Lep-oh-rel'-low) servant of Don Giovanni Bass

DON PEDRO, (Pay-dro) the Commandant Bass

DONNA ANNA, his daughter Soprano

MASETTO, (Mas-set' -to) a peasant Bass

ZERLINA, (Zer.lee'-nah) betrothed to Masetto Soprano

DON ELVIRA, a lady of Burgos Soprano

Peasants, Musicians, Dancers, Demons.

Scene and Period : Seville, in the middle of the seventeenth century.

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

ACT I

SCENE I — The Courtyard of the Commandant 's Palace at Seville. It is Night

The wicked Don Giovanni, ever pursuing his gay conquests, attempts to enter Donna Anna 's apartments. She cries for help and he tries to escape, but is pursued by the angry girl, who endeavors to penetrate his dis- guise. Her father comes to the rescue and is mortally wounded by the Don, who makes his escape, followed by Leporello, his servant. Donna Anna is overcome with grief, and charges her betrothed, Don Octavio, to avenge her father's death.

SCENE II— An Inn in a Deserted Spot Outside Seville

Don Giovanni and Leporello enter and conceal them- selves as a lady approaches in a carriage. Hoping for a new conquest, the Don comes forward, hat in hand, but is surprised to find that it is Donna Elvira, a young woman whom he has lately deceived and deserted. She denounces him for his baseness and he makes his escape, leaving Leporello to explain as best he can. Leporello rather enjoys the situation, produces his diary and adds to the lady's anger by reading a list of the mistresses of the Don. This list is recited by Leporello in the famous // catalogo.

77

SCOTTI AS DON GIOVANNI

VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI

Madamina, il catalogo (Gentle Lady, this List)

By Marcel Journet, Bass (In Italian) 64150 10-inch, $1.00

By Arcangelo Rossi, (Double-faced— See page 81}

Nella bionda (The Fair One)

By Marcel Journet, Bass

(Italian) 62623 lO-inch, .75

74191 12-inch, $1.50

LEPORELLO

(In Italian)

LEPORELLO:

Ev'ry country, ev'ry township, fully confesses Those of the sex whom to his rank he presses. Gentle lady, this my catalogue numbers All whose charms lent my master beguiling. 'Tis a document of my compiling, An it please ye, peruse it with me. In Italia, — six hundred and forty: Then in Germany, — double fifty seem plenty; While in old Spain here, — we count thousands

three!

Some you see are country damsels, Waiting-maids and city ma'amselles, Countess', duchess', baronesses, Viscount' — ev'ry kind of 'esses. Womenfolk of all conditions, Ev'ry form and ev'ry state!

Journet's Leporello is a unique performance of its kind, and his characterization always stands forth as an admirable foil to the polished villainies of the suave and distinguished Don. This great buffo number, usually called the Catalogue Song, is full of the broadest humor, and is given by this artist with all the sly humor, gaiety, irony and sentiment which it requires.

Donna Elvira is horrified and drives off, swearing vengeance.

SCENE III— In the Suburbs of Seville. Don

Giovanni's Palace Visible on the Right A rustic wedding party comprising Zerlina, Masetto and a company of peasants are enjoy- ing an outing. Don Giovanni and Leporello appear, and the Don is charmed at the sight of so much youthful beauty. He bids Leporello conduct the party to his palace and give them re- freshments, contriving, however, to detain Zerlina. Masetto protests, but the Don points significantly to his sword and the bridegroom follows the peasants.

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

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

By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone

(In Italian} 89015 12-inch, $4.00 By Emma Eames, Soprano, and Emilio de Gogorza, Baritone

(In Italian] 89OO5 12-inch, 4.0O By Graziella Pareto, Soprano, and Titta Ruffo, Baritone

(In Italian) 925O5 12-inch, 4.OO By Mattia Battistini, Baritone, and Emilia Corsi, Soprano

(In Italian^ 92O24 12-inch, 3.OO

NIELSEN AS ZERLINA

78

VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI

This celebrated number, which has been sung by many famous artists during the one hundred and twenty years since its first hearing, is one of the best examples of the many spark- ling concerted numbers which Mozart has written. Always interesting, it is wholly delightful when sung by such artists as those who have rendered it for the Victor. Not less than four versions, by famous exponents of the characters of Zerlina and Don Giovanni, are presented here. DON GIOVANNI:

Nay, bid me not resign, love, coldly the hand

I press, Oh! say thou wilt be mine, love, breathe but

that one word "yes-" ZERLINA:

I would and yet I would not, I feel my heart

misgive, Shouldst thou prove false, I could not, become

thy scorn and live. DON GIOVANNI:

Come then, oh come then, dearest. ZERLINA:

Yet should thy fondness alter. DON GIOVANNI:

Nay, love, in vain thou fearest. BOTH:

Yes, hand and heart uniting, each other's

cause requiting, Our joy no bounds shall know!

Miss Farrar's Zerlina is a dainty and fascinating character, and she sings the music brilliantly. It is hardly necessary to JEAN DE RESZKE AS DON GIG- say anything about Scotti's Don Giovanni, as it is quite familiar to VANNI. HIS DEBUT AS A opera-goers, ranking among his best impersonations. The BARITONE (LONDON, 1875) j- • u iv/i i? j jv/i j /- • j i- L^

rendition by Mme. Eames and Mr. de Gogorza is a most delight- ful one, while two other records by famous European artists are also offered.

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

The scene changes to Don Giovanni's garden. Zerlina is endeavoring to make her peace with Masetto, but he is sulky. She then sings her lovely Batti, batti.

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

By Marcella Sembrich, Soprano

(In Italian) 88O26 12-inch, $3.OO This gentle number is in striking contrast to the brilliant writing in the lighter bits of Zerlina 's music.

Chide me, dear Masetto, Chide Zerlina at your will;

Like the patient lamb I'll suffer, Meek and mute and loving still.

Ah! I see, love, you're relenting, Pardon, kneeling, I implore!

HOTO BFRGFR

ABOTT AND RENAUD AS ZERLINA AND DON GIOVANNI

Night and day, to thee. devoted, Here 1 vow to err no more.

79

VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI

Masetto is only half appeased, but goes in to dance with his bride. Donna Anna, Donna Elvira and Don Octavio, disguised and masked, enter and sing a trio, in which they pledge them- selves to have revenge on the traitor.

The scene changes to the interior of the palace, where the ball is in progress. Don Giovanni continues his efforts to get Zerlina away from her jealous and watchful lover, and finally succeeds, but Zerlina calls for help and Masetto and the three conspirators rush to her assistance. They denounce Don Giovanni, who defies them with drawn sword, and makes his escape from the palace.

ACT II

SCENE I — A Square in Seville. Donna Elvira' s Residence on the Left. It is a Moonlight Night

Don Giovanni, followed by his servant, enters, wrapped in a mantle and carrying a mandolin. He has heard of a pretty servant whom Donna Elvira possesses, and is plotting to get the mistress out of the way. As 'Elvira sits at her window, he addresses her, pretending to be repentant, but when she comes out he pushes Leporello forward to impersonate him. While they are conversing, the Don makes a great outcry and the pair run off in fright. The coast clear, the Don sings his famous Serenade to the fair waiting maid.

MAUKEL AS DON GIOVANNI

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

By Antonio Scotti, Baritone

(In Italian} 88194 12-inch, $3.OO By Titto Ruffo, Baritone

(In Italian) 87112 10-inch, 2.OO By M. Hector Dufranne, Baritone

(In French) *45O11 10-inch, 1.00 By Giuseppe de Luca, Baritone (Piano

ace.) (In Italian) .*62623 10-inch, .75

DON GIOVANNI: Ope, ope thy casement, dearest,

Thyself one moment show; Oh, if my pray'r thou hearest,

Wave but that arm of snow. Canst thou my ceaseless sighing

With cold indif'rence greet? Ah! wouldst thou see me dying

Despairing, at thy feet? Thy lip outvies Hymettian-honied bowers;

Virtue worthy an angel, thy heart doth

cherish; Thy sigh were balm amid a heav'n of flowers;

O, for one kiss, this soul would perish !

Ruffo's impersonation of Don Giovanni is admir- able in every respect. He is the profligate nobleman and irresistible wooer to the life, and sings the difficult score with ease. Scotti's rendition of this famous serenade is given by the baritone with the grace and ease which never fail him, while two lower priced records are also offered.

His amours are rudely interrupted by Masetto, who appears with a company of villagers, all armed with muskets, seeking the villain. The Don, pretending to be Leporello, offers to put them on the right track. Then follows a series of amusing situations, ending with the capture of the supposed Don by the three conspirators, but it proves to be Leoorello, who takes advantage of the situation to make his escape.

* Double-Faced Record— For title of opposite side see DOUBLE-FACED DON GJOVANNI RECORDS, page 81.

VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI

The next scene shows the Cathedral Square, with the statue of the murdered Commandant in the centre. The Don and Leporello enter, and are discuss- ing the events of the evening, when the statue speaks to them. Leporello is terrified, but the Don defies all spirits and boldly in- vites the statue to supper.

The scene changes to the banquet hall in the palace of the Don. In the midst of the festivities a loud knocking is heard. The guests flee in terror, the lights go out, and the gigan- tic figure of the Commandant appears at the door. Leporello cowers in terror under the table, but Don Giovanni is defiant until the ghost seizes his hand, when he feels for the first time a ter- rible fear. The statue sinks, flames appear on all sides, and demons rise and seize the guilty libertine.

EDOUARD DE RESZKE AS LEPORELLO

(Minuet from Act I \ Forward March — Two Step

LEPORELLO

By Victor Dance Orchestral ,,-n,ft - . « . , Bi/ Pfc/or Dance Orcnes/ra/35060 12-mch- *1- (Serenade By M. Hector Dufranne, Baritone (In French}} ,*

Sij 'etais Roi — Un regard de ses yeux I—Leon Beyle, Tenor (French] J 4 (Madamina, il catalogo — By Arcangelo Rossi, Bass (In Italian)} <Serenata — Deh! vieni alia finestra (Open Thy [62623

[ Window, Love) By Giuseppe de Luca, Baritone]

10-inch, 1.00

lO-inch, .75

ELVIRA, LEPORELLO AND THE DON ACT II

81

FAMOUS OPERA HOUSES OF EUROPE

(German)

DIE NEUGIERIGEN FRAUEN

(Italian)

LE DONNE CURIOSE

(Don-neh Koo-ree-oh'-seh) (English)

INQUISITIVE WOMEN

MUSICAL COMEDY IN THREE ACTS

Libretto by Luigi Sugana, after Carlo Goldoni ; music by Ermanna Wolf-Ferrari. Produced in Munich in 1903 as Die Neugierigen Frauen. First production at the Metropolitan Opera House, New York, January 3, 1912, with Farrar, Jadlowker, Scotti, Fornia and Murphy.

Characters

OTTAV1O, a rich Venetian Bass

BEATRICE, his wife Mezzo-Soprano

ROSAURA, his daughter Soprano

FLORINDO, betrothed to Rosaura , Tenor

PANTALONE, a Venetian merchant Buffo-Baritone

LELIO, \i-r- j /Baritone

LEANDRO, fhlS fnends "I Tenor

COLOMBINA, Rosaura's maid Soprano

ELEANORA. wife to Lelio Soprano

ARLECCHINO, servant to Pantalone Buffo-Bass

Servants, gondoliers, men and women of the populace.

Time and Place : Venice ; the middle of the eighteenth century.

VICTOR BOOK OF THE OP ER A — INQU I S ITI VE WOMEN

Le Donne Curiose is a genuine comedy. The plot is very simple, and deals with the schem- ing of Beatrice, Rosaura, Eleanora and Colombina to gain entrance to the Friendship Clubhouse, of which their husbands and lovers are mem- bers. Over the door of the club may be seen the motto, " No Women Admitted." Each woman has her own theory as to the doings behind closed doors, and they seek in various ways to gain an entrance. In reality the men are enjoying themselves with simple masculine pleasures, and chuckling over the intense curiosity of their wives and sweethearts.

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

The Victor offers two interesting airs from Act II. The first, Tutta per te mio bene, is sung by Rosaura as Beatrice and Colombina go off together to try to effect an entrance into the Club, and the second is the love duet of Rosaura and Florindo, sung after she has induced him to give her the keys.

Tutta per te, mio bene (Only For Thee, My Sweetheart)

By Geraldine Farrar, Soprano (In Italian} 88356 12-inch, $3.OO

II cor nel contento (My Heart, How it Leaps in Rejoicing)

By Geraldine Farrar and Herman Jadlowker (Italian) 88359 12-inch, $3.OO

FARRAR AND JADLOWKER AS ROSAURA AND FLORINDO

SCENE FROM ACT III 84

(Italian)

DON PASQUALE

(Don Pahss-quah' -leh)

COMIC OPERA IN THREE ACTS

Text and music oy Gaetano Donizetti. Libretto adapted from the older Italian opera Ser Marc' Antonio, by Camerano. First presented at the Theatre des Italiens, Paris, on January 4, 1843. First production in Paris in French, 1 864. First London production June 30, 1843. First New York production March 9, 1846, in English, and in 1849 in Italian.

Recently revived at the Metropolitan with Sembrich, Scotti and Rossi; and at the Bos- ton Opera House with Nielsen, Bourrillon, Antonio Pini-Corsi and Fornari.

Characters

Bass

Baritone

Tenor

Soprano

Baritone

Chorus of Valets and Chambermaids, Majordomo, Dressmaker and Hairdresser.

DON PASQUALE, an old bachelor

DR. MALATESTA, his friend, a physician

ERNESTO, nephew of Don Pasquale

NORINA, beloved of Ernesto

A NOTARY . .

Scene and Period : Rome ; the beginning of the nineteenth century.

This brightest of genuine lyric comedies always appeals to that class of opera-goers who find the present-day comic opera or musical comedy to be cheap, gaudy and lacking in genuine humor. Don Pasquale is pure entertainment, nothing else, the true spirit of comedy being found in the music as well as the plot; and both are delightful when the opera is presented by such artists as the Victor has assembled for this series.

85

VICTOR BOOK OF THE OPERA— DONIZETTTS DON PASQUALE

ACT I

SCENE— A Room in Don Pasquale 's House

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

Son nov'ore CTis Nine O'Clock !)

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

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

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

Un foco insolito (A Fire All Unfelt Before)

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

(In Italian) *621O4 10-inch, $0.75

PASQUALE:

A fire, all unfelt before, Ah! hasten speedily,

Burns in my heart's core: Sweet little bride, to me!

I can resist no more — Yes, I am born again! Now for my nephew,—

I'll strive no longer. By playing thus the careless, heedless hair-

Of old age enfeebling me, brain,

Forgot is the misery, See what it is the wise and wary gain!

Feeling still young to be — (Looking off.)

Than twenty much stronger. Ah! here the very man comes, apropos!

His nephew enters, and is again urged by his uncle to give up Norina, whom the uncle calls a vain, coquettish widow. Ernesto refuses, and Don Pasquale announces his intention of marrying and disinheriting his nephew. The young man, at first incredulous, is finally convinced that his uncle is in earnest and gives way to despair, beginning his first air:

Sogno soave e casto (Fond Dream of Love)

By Giuseppe Acerbi, Tenor (In Italian) *62624 lO-inch, $0.75

ERNESTO:

Sweet holy dreams I loved to cherish But now, poor and abandon'd, I,

Of early youth, adieu! ye vanish! Reduc'd from my condition high,

If I e'er long'd for riches, splendor, Sooner than thee in misery see,

It was but for thee, love; Dearest, I'll renounce thee.

Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don Pasquale says it was the Doctor himself who proposed the plan and offered his own sister as the happy bride. Ernesto is astonished to hear that the Doctor, who he thought was his friend, had deserted him.

SCENE II— A Room in Norina 's House Norina is reading a romance, and at the beginning of her air quotes from the book:

Quel guardo (Glances so Soft)

By Giuseppina Huguet, Soprano (In Italian) *68272 12-inch, $1.25

NORINA:

"Glances so soft revealing To that sweet maiden kneeling

The flame of truest love, He swore he'd faithful prove!"

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

By Amelia Pollini, Soprano (In Italian) *62103 lO-inch, $O.75

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

NORINA:

I, too, thy magic virtues know, I know the mode, oh, dear,

Of glance well tim'd and tender, Of love's bewitching wiles,

A gentle smile, born to beguile, His facile arts and guiles. . . .

I know — an old offender! To lure with wanton smiles.

A hidden tear, a languor near, I know the modes, oh, dear!

'Double-Faced Record— For title of opposite side see DOUBLE-FACED DON PASQUALE RECORDS, page 90.

86

VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE

A servant gives her a letter from Ernesto, just as the Doctor enters and informs her that he has conceived a scheme to force her lover's guardian to consent to the marriage. Norina declares she will have nothing to do with it, bidding him to read Ernesto's despairing letter, in which the young man tells her he is disinherited and will leave Rome, bidding her a last farewell.

The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals the details of the plot against Don Pasquale, in which he proposes to play on the vanity of the old bachelor, by pretending to find him a young and lovely wife. They decide that Norina shall play the part of this girl, and go through a mock marriage with Don Pasquale. Norina is delighted and begins to rehearse her new role. This takes the form of a charming duet, which ends the first act and which is always greatly admired. Two records of this sprightly duet, at widely varying prices, are cataloged here.

Pronta io son (My Part I'll Play)

By Marcella Sembrich, Soprano, and Antonio Scotti, Baritone

(In Italian) 89OO2 12-inch, $4.OO By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone

(In Italian) *68272 12-inch, 1.25

NORINA: DOCTOR:

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

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

Well the plot with me will fare! NORINA:

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

Our plot but tends, you may believe, DOCTOR:

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

NORINA: NORINA:

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

Would you have me gay or tearful? DOCTOR:

DOCTOR: Oh, clever creature! Just the thing!

Listen, and you'll all be told: — BOTH:

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

NORINA: This time the head will be quite turn'd!

I'll lessons give — leave that to me.

"I'm so confused — I'm young, you know —

Thank you — Your servant, — Yes, sir, — Oh!"

The scene is continued in another sprightly duet, which closes the act.

Vado corro (Haste "We !)

By Giuseppina Huguet and Ernesto Badini (Italian) *62097 10-inch, $O.75

ACT II

SCENE— A Richly Furnished Hall in Don Pasquale's House

Don Pasquale, in the most youthful of wedding garments, enters and struts up and down, admiring himself, until the Doctor arrives with Norina, who is closely veiled. She pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous trio, the first of the concerted numbers in this act, begs her to have courage.

The pretended notary now arrives, and another comical scene ensues as the mock ceremony is performed. Pasquale, so much in love that his judgment is clouded, is not only induced to sign over one-half his property to his wife, but agrees that she shall be absolute mistress of the house. As Norina is signing, Ernesto's voice is heard outside demanding admittance, having come to bid his uncle farewell. He is amazed to see Norina posing as the Doctor's sister and about to be wedded to his uncle, and tries to interfere, but is restrained by Malatesta.

The moment Norina affixes her signature to the contract her manner changes, and when Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her choice. Don Pasquale is thunderstruck and attempts to protest, but Norina warns him that if her words are not sufficient to keep him in his place she will beat him I This is the last straw, and the bewildered old man stands in a daze, his brain refusing to comprehend what has happened !

This tableau is followed by the quartet, E rimasto.

*Double-FaceJ Record— For title of opposite aide see DOUBLE-FACED DON PASQUALE RECORDS, page 90.

87

VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE E rimasto la impietrato (He Stands Immovable)

By Linda Brambilla, Soprano; Antonio Pini-Corsi, Baritone;

Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass PASQUALE: (In Italian) *16566 lO-inch, $O.75

Dream I? Sleep I? What's amiss? To know not if he wakes or dreams!

Kicks — cuffs: good — a fine pretext — He's like a man by lightning struck:

'Tis well she warn'd me now of this — what's No drop of blood runs in his veins.

that mean? MALATESTA:

We shall see what's coming next! Take heart, Pasquale, my old buck,

I, Don Pasquale, she'd think meet Don't be discouraged, use your brains.

To trample underneath her feet! NORINA:

NORINA AND ERNESTO: Now then, at least, my worthy friend,

He stands petrified, and seems — You must begin to comprehend.

The great finale to Act II then follows, and the curtain always descends amid a gale of laughter from the audience. Norina rings a bell, summoning the servants, and announces that she is now sole mistress of the house. She orders new servants engaged, two carriages, new furniture, etc., planning expenditures on a lavish scale. Don Pasquale attempts to pro- test, but is silenced, and in a voice choked with rage and astonishment begins the finale.

Son tradito (I Am Betrayed !)

By Giuseppina Huguet, Soprano; Antonio Pini-Corsi, Baritone;

Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass

PASQUALE: (In Italian) *62097 lO-inch, $O.75

I am betray'd, trod down and beat, ALL (pointing to Don Pasquale) :

A laughing stock to all I meet; Don Pasquale, poor, dear wight,

Oh! with mingled rage and spite Is nearly suffocated quite!

I am suffocating quite! MALATESTA (to Pasquale):

NORINA (to Ernesto) : You're a little heated, really —

Now you see, ungrateful heart, Do go to bed, dear Don Pasquale.

How unjust was your suspicion: (To Norina, in a tone of reproof.)

Love, to bring him to submission, On my brother-in-law to play

Counsell'd me to play this part. Thus, I'll not endure, I say!

ERNESTO (to Norina) : (To the lovers, who are embracing behind Don

You are justified, dear heart; Pasquale' s back.)

Momentary my suspicion. Silly ones, for Heaven's sake, pray,

Love, to bring him to submission, Don't, I beg, yourselves betray! Counsell'd thee to play this part.

ACT III

(Same as Act I — On the floor and furniture are piled up dresses, bandboxes, furs, etc., in great pro- fusion. Servants are running